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TRI ET FILTRES
TRI ET FILTRES
Tri et filtres :
--INSTRUMENTS--
ACCORDEON
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AUTOHARPE
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HARMONICA
HARPE
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271
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5
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9
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10
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6
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Cor (partie séparée)
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2 Euphoniums et 2 Tubas
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Quatuor à cordes: 2 violons, alto, violoncelle
90
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22
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21
Violon
19
Violoncelle
18
Violoncelle, Piano
16
Harpe
14
Trio à Cordes: 2 violons, violoncelle
14
Alto, Piano
11
Trio à Cordes: violon, alto, violoncelle
10
Contrebasse, Piano (duo)
10
2 Violoncelles (duo)
9
Violon (partie séparée)
8
Alto seul
7
Alto (partie séparée)
6
Contre Basse
4
Quintette à cordes: 2 violons, alto, violoncelle, basse
4
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4
Violon, Alto (duo)
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2 Violons (duo)
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Contrebasse (partie séparée)
3
Violoncelle , Guitare (duo)
3
Violoncelle (partie séparée)
2
Trio à Cordes: 3 violoncelles
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Harpe, Voix
2
2 Altos (duo)
2
Alto et Basson
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Harpe, Violon, Violoncelle
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Alto, Violoncelle (duo)
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Harpe, Flûte (duo)
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PERCUSSIONS & ORCHESTRES
Orchestre d'harmonie
93
Ensemble Jazz
28
Orchestre
25
Orchestre à Cordes
23
Ensemble de cuivres
20
Orchestre de chambre
8
Cloches
6
Percussion (partie séparée)
2
Fanfare
2
Ensemble de Percussions
2
Batterie
1
Marimba
1
Jazz combo
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Xylophone, Piano
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AUTRES
Vous avez sélectionné:
LOVE IS REAL
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Gregory Sullivan Isaacs: Henry Faust for tenor and piano
Voix Tenor, Piano
Tenor Voice,Vocal Solo - Level 5 - Digital Download SKU: A0.534399 Composed by Greg…
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Tenor Voice,Vocal Solo - Level 5 - Digital Download SKU: A0.534399 Composed by Gregory Sullivan Isaacs. 20th Century,Opera,Romantic Period,Standards. 126 pages. Musik Fabrik Music Publishing #3424583. Published by Musik Fabrik Music Publishing (A0.534399). Described as a « tour de force« during the operaâ??s initial run of performances â??Henry Faustâ? by Gregory Sullivan Isaacs is a three-act, one character opera based on Goëtheâ??s play as translated by Anna Swanwich (1859) with a libretto by the composer. It was premièred at the Circle Theatre in Chicago on April 11, 1993 with the Composer as Faust and Kevin Hinton, pianistâ??Henry Faustâ? started out as a thought about the â??essenceâ? of opera. Isaacs thought that one singer, one piano, and a black box theater were all that was really needed to achieve â??opera-nessâ?. Goetheâ??s play, â??Faust,â? immediately came to mind. The tale of the professor who makes a deal with the devil for infinite knowledge and the restoration of youth, only to betray himself by lust, seemed perfect. The three-act opera is for tenor and piano and in a Goethe-era English translation by Anna Swanwick. She was the leading translator of Goethe of her day and one of the first advocates for womenâ??s rights. Every word Faust sings is a line from the play.The opera is set in a miserable single-occupancy hotel room furnished with an iron cot, a beat-up dresser and a tattered arm chair. Faust, disheveled and in his pajamas, lives out the drama. The ensuing events, the feverish creations of an addled brain, are all real to Faust. He sees and interacts with the other two characters â?? the devil and Gretchen â?? and flies to hell to dance at the Witches Sabbath. Both the tenor and piano parts are equally demanding and require artists of the first order. The tenor part covers a great range â?? both vocally and dramatically. The piano part requires a virtuoso and musically expresses all of the imaginary characters.SOME SELECTED HENRY FAUST REVIEWS â??You can add Henry Faust to that short list of successful single-singer operas (Schoenbergâ??s Ewartung and Poulencâ??s La Voix Humaine) ... it proved to be a moving experience. Isaacsâ?? music, cast in traditional forms, such as fugue, passacaglia, rondo and variation, is always accessible... often strikingly beautiful, as in the Ländler that closes act two.â? THE DETROIT FREE PRESS (John Guinn) - Detroitâ??Written in what Isaacs calls â??refreshed tonality,â?? this lush, supplely intense music serves the drama well ... from the despairing agitato of Faust's opening agonies to the lyrical frenzy of his first glimpse of Gretchen to a hushed declaration of love as tender as we could wish... Isaacs' tour de force certainly has a future.â? THE CHICAGO READER (Larry Bommer) - Chicagoâ??...the first (full evening) operatic monodrama ever promises to give Goethe's thrice-told tale a fresh contemporary slantâ?¦ a theater piece that uses opera as its language... a prototype of a new kind of small theater piece, eminently practical at a time of reduced opera company budgets... (Isaacs) brings solid professional credits ... an experienced conductor as well as composer/performer.â? THE CHICAGO TRIBUNE (John von Rhein) â?? Chicago
$65.95
59.62 €
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Voix Tenor, Piano
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Gregory Sullivan Isaacs
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Gregory Sullivan Isaacs: Henry Faust for tenor and piano
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Musik Fabrik Music Publishing
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SheetMusicPlus
A Multitude of Beings for Tenor solo and piano
Voix Tenor, Piano
Tenor Voice,Vocal Solo - Digital Download SKU: A0.1004847 Composed by Leslie Kleen.…
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Tenor Voice,Vocal Solo - Digital Download SKU: A0.1004847 Composed by Leslie Kleen. Contemporary. 4 pages. Music From Riverside #4806311. Published by Music From Riverside (A0.1004847). A Multitude of Beings for Tenor and piano is from the Concert Musical, Darwin: To Love the Earth, which is about the life of Charles Darwin. The words are by Darwin written later in his life as he realizes that evolution takes an extremely long time and many generations.
$1.99
1.8 €
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Voix Tenor, Piano
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Leslie Kleen
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A Multitude of Beings for Tenor solo and piano
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Music From Riverside
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SheetMusicPlus
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