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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
Free in Christ
Non classifié
416
Piano & claviers
Piano seul
248
Orgue
127
Piano, Voix
93
Piano Facile
88
Piano, Voix et Guitare
46
Instruments en Do
34
1 Piano, 4 mains
17
Accompagnement Piano
17
Accordéon
8
Orgue, Piano (duo)
3
Piano Trio: piano, violon, violoncelle
1
Piano Quatuor: piano, violon, alto, violoncelle
1
Piano grosses notes
1
Clavecin
1
2 Pianos, 4 mains
1
Piano Quatuor: piano, 2 violons, violoncelle
1
+ 11 instrumentations
Retracter
Guitares
Guitare notes et tablatures
8
Ligne De Mélodie, (Paroles) et Accords
7
Guitare
7
2 Guitares (duo)
1
Paroles et Accords
1
Ukulele
1
3 Guitares (trio)
1
+ 2 instrumentations
Retracter
Voix
Chorale SATB
151
Chorale 3 parties
56
Chorale 2 parties
18
Chorale TTBB
14
Chorale Unison
12
Voix duo
8
Voix seule
8
Voix Alto, Piano
4
Voix Soprano, Piano
4
Chorale SSAA
4
Voix duo, Piano
3
Voix moyenne, Piano
1
Chorale SSAB a cappella
1
Chorale
1
Voix haute
1
+ 10 instrumentations
Retracter
Vents
Clarinette
79
Flûte traversière
48
2 Saxophones (duo)
38
Saxophone Tenor
37
Saxophone Alto
37
Clarinette et Piano
36
Saxophone Tenor et Piano
35
Quintette de Saxophone: 5 saxophones
33
Saxophone Alto et Piano
30
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
28
Quatuor de Saxophones: 4 saxophones
26
Hautbois, Piano (duo)
25
Flûte, Hautbois, Clarinette, Basson
22
Flûte traversière et Piano
21
Hautbois (partie séparée)
19
Cor anglais, Piano
13
3 Saxophones (trio)
13
Saxophone
12
Saxophone Baryton, Piano
12
Saxophone Soprano et Piano
12
2 Flûtes traversières (duo)
10
Saxophone, Clarinette (duo)
10
Quintette de Flûte : 5 flûtes
9
Saxophone (partie séparée)
9
Clarinette, Trompette (duo)
9
Clarinette, Violon (duo)
9
2 Clarinettes (duo)
9
Ensemble de Clarinettes
8
Flûte et Guitare
7
Flûte, Clarinette (duo)
6
Hautbois, Basson (duo)
6
Clarinette, Guitare (duo)
6
Quintette de Clarinettes: 5 clarinettes
6
3 Clarinettes (trio)
6
Quatuor de Clarinettes: 4 clarinettes
5
Hautbois, Clarinette (duo)
5
Flûte, Trompette (duo)
5
Flûte, Alto (duo)
5
2 Hautbois (duo)
5
Trio de Flûtes: 3 flûtes
5
Clarinette et Alto
5
Flûte, Saxophone (duo)
4
2 Flûte à bec (duo)
4
Quatuor de Flûtes : 4 flûtes
3
Flûte à bec Alto
3
Hautbois, Guitare (duo)
3
Clarinette Basse, Piano
3
Flûte, Hautbois, Clarinette (trio)
3
Ensemble de Hautbois
3
Flûte, Violon
3
Flûte à Bec
3
Saxophone Soprano
2
3 Flûtes à bec (trio)
2
Flûte, Alto et Piano
2
Ensemble de Flûtes
2
Ensemble de saxophones
2
Clarinette, Basson (duo)
2
Flûte à bec Soprano
2
Flûte et Trio à cordes
1
Hautbois, Clarinette, Basson (trio d'anches)
1
Flûte à bec Tenor
1
Flûte, Violoncelle
1
Hautbois, Flûte
1
Saxophone et violoncelle
1
Quatuor de Flûtes à bec
1
Flûte, Clarinette, Piano (trio)
1
Quatuor de Clarinettes: Clarinette, Violon, Alto, Violoncelle
1
Hautbois, Violoncelle
1
4 Hautbois
1
Saxophone, Basson (duo)
1
Hautbois et alto (duo)
1
Hautbois, Violin, Alto et Violoncelle (Quatuor)
1
Clarinette, Violoncelle (duo)
1
+ 68 instrumentations
Retracter
Cuivres
Trompette
106
Quatuor de cuivres: 4 trombones
43
Trombone
28
Trombone et Piano
27
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
20
Trompette, Piano
17
Cor et Piano
14
Cor
13
Cor anglais, Piano
13
Trompette (partie séparée)
10
Trompette, Saxophone (duo)
10
2 Trombones (duo)
10
2 Trompettes (duo)
9
Trompette, Trombone (duo)
9
Quatuor de Cuivres : 2 trompettes, trombone, tuba
8
Quatuor de cuivres: 4 cors
8
Euphonium, Piano (duo)
7
Ensemble de Trompettes
7
Quatuor de cuivres: 4 trompettes
6
Ensemble de Trombones
6
Ensemble de Cors
6
Trompette, Cor (duo)
6
3 Cors (trio)
5
3 Tubas (trio)
5
2 Cors (duo)
5
Tuba et Orgue
4
4 Tubas
4
Tuba et Piano
4
3 Trombones (trio)
4
2 Tubas (duo)
4
Trombone, Cor (duo)
3
3 Trompettes (trio)
2
Quatuor de Cuivres: 2 trompettes, Cor, trombone
1
Trompette, Tuba (duo)
1
Cor, Violoncelle (duo)
1
Quatuor de Cuivres
1
2 Trompettes, Clavier (piano ou orgue)
1
Euphonium, Tuba (duo)
1
+ 33 instrumentations
Retracter
Cordes
Violon
53
Violoncelle
43
Quatuor à cordes: 2 violons, alto, violoncelle
39
Violon et Piano
36
Violoncelle, Piano
34
Alto, Piano
28
Violon, Violoncelle (duo)
23
2 Violons (duo)
22
Alto seul
19
Violon, Alto (duo)
18
Harpe
17
2 Violoncelles (duo)
17
2 Altos (duo)
15
Alto, Violoncelle (duo)
9
Alto (partie séparée)
6
Trio à Cordes: 3 violoncelles
6
Alto, Guitare (duo)
6
Ensemble d'Altos
5
Ensemble de Violons
5
Violoncelle , Guitare (duo)
5
Trio à cordes: 3 altos
5
Quatuor à cordes: 4 violons
5
Trio à cordes: 3 violins
4
Quatuor à cordes : 4 altos
4
Trio à Cordes: violon, alto, violoncelle
3
Violon, Guitare (duo)
3
Contrebasse, Piano (duo)
3
Quintette à cordes: 2 violons, alto, violoncelle, basse
3
4 Violoncelles
2
Piano Trio: Violon, Alto, Piano
2
Trio à Cordes: 2 violons, alto
1
Trio à Cordes: 2 violons, violoncelle
1
Contrebasse (partie séparée)
1
+ 28 instrumentations
Retracter
Orchestre & Percussions
Ensemble de cuivres
18
Orchestre à Cordes
16
Cloches
15
Orchestre d'harmonie
14
Orchestre
13
Orchestre de chambre
10
Batterie
2
Ensemble Jazz
1
+ 3 instrumentations
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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
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LIVRES
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MANDOLINE
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Vous avez sélectionné:
Free in Christ
Saxophone Baryton, Piano
Partitions à imprimer
12 partitions trouvées
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1
Minuet in G major by Bach for Baritone Sax and Piano
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Saxophone Baryton, Piano
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DÉBUTANT
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Christian Petzold and Johann S
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Ander
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Minuet in G major by Bach for
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Woods Only, Arrangements
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SheetMusicPlus
Baritone Saxophone,Piano - Level 1 - SKU: A0.1073314 Composed by Christian Petzold and Johann Sebastian Bach. Arranged by Ander. Baroque,Easter,Renaissa...
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Baritone Saxophone,Piano - Level 1 - SKU: A0.1073314 Composed by Christian Petzold and Johann Sebastian Bach. Arranged by Ander. Baroque,Easter,Renaissance,Traditional. Score and part. 4 pages. Woods Only, Arrangements #677582. Published by Woods Only, Arrangements (A0.1073314). This easy arrangement for baritone sax and piano has been adapted to be simple to perform and understand the period minuet form of the original work for various levels of musical knowledge. It can be freely played by beginning students due to the ease built into the piece in relation to the author's suggested interpretation. Recommended for performance in academic recitals, and public festivals, it also serves as a study of Baroque repertoire. This famous piece has traditionally been attributed to Johann Sebastian Bach, as it appears in the Notebook for Anna Magdalena , a notebook that Bach gave to his wife Anna Magdalena in 1725 and which was to be filled with the favorite selections of Bach family members. However, recent research has concluded that this minuet, sometimes referred to as BWV Anhang 114. was probably composed by Christian Petzold, a German composer and organist contemporary with Bach.
$1.99
O Holy Night for Baritone Sax & Piano
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Saxophone Baryton, Piano
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DÉBUTANT
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Noël
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Adam
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James M
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O Holy Night for Baritone Sax
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jmsgu3
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SheetMusicPlus
Baritone Saxophone,Piano - Level 1 - SKU: A0.548670 Composed by Adam. Arranged by James M. Guthrie, ASCAP. Christian,Christmas. Score and part. 10 pages...
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Baritone Saxophone,Piano - Level 1 - SKU: A0.548670 Composed by Adam. Arranged by James M. Guthrie, ASCAP. Christian,Christmas. Score and part. 10 pages. Jmsgu3 #3410425. Published by jmsgu3 (A0.548670). Duration: 4:56 Score 5 pg. 44 ms. Solo part: 2 pg. Piano part: 3 pg. Cantique de Noël The French composer Adolphe Adam was already famous as a composer of many successful ballets and operas. Then, in the 1840’s he wrote his most famous work - O Holy Night. The original song title was Minuit Chretiens or Cantique de Noël. Placide Cappeau provided the original song lyrics. The song was first performed in Roquemaure by the opera singer Emily Laurey at midnight mass in 1847. It became very popular among the French, much the way that Silent Night was famous elsewhere. In the 1850’s John S. Dwight, a Unitarian minister and music teacher translated the song into English. Adolphe Adam In his younger years, Adam studied organ and composition at the Paris Conservatoire. He also played the timpani in the Conservatoire orchestra. Adam used his savings and borrowed money to open a new opera house - the fourth opera house in Paris in 1847. Unfortunately, the Revolution of 1848 forced him to close. He taught composition at the Paris Conservatoire from 1849 until his death in 1856. Placide Cappeau The poet Cappeau was an advocate of the French Enlightenment philosopher Voltaire. Voltaire was renowned for criticizing the Catholic church, religious intolerance, and dogma in general. Consequently, Cappeau made the Redeemer figure in his song a kind of reformer of injustices, in particular, the problem of original sin. To begin with, people recognized Cappeau’s theology as eccentric, probably even doubtful. Theology In the earlier form of Minuit, the Christ figure descends to intervene with His Father’s plan to punish mankind. Traditional doctrine pronounces that Christ came from love, not to intervene. This version also declares that Christ appeared to expunge the original sin of Adam. Cappeau removed this part from his poem years later, because he just didn’t believe it. He preferred to portray Christ as the reformer of disparity and unfairness. Before long, the writer/politician Alphonse de Lamartine referred to the Minuit as the the Marseillaise of religion. Most French churchmen agreed with this idea but certainly did not consider it a tribute. Register for free lifetime updates and revisions at www.jamesguthrie.com
$24.95
O Jesulein süss by Bach for Baritone Sax and Piano
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Saxophone Baryton, Piano
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DÉBUTANT
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Classique
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Johann Sebastian Bach
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Ander
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O Jesulein süss by Bach f
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Woods Only, Arrangements
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SheetMusicPlus
Baritone Saxophone,Piano - Level 1 - SKU: A0.1049990 Composed by Johann Sebastian Bach. Arranged by Ander. Baroque,Christmas,Easter,Sacred. Score and pa...
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Baritone Saxophone,Piano - Level 1 - SKU: A0.1049990 Composed by Johann Sebastian Bach. Arranged by Ander. Baroque,Christmas,Easter,Sacred. Score and part. 3 pages. Woods Only, Arrangements #654387. Published by Woods Only, Arrangements (A0.1049990). This easy arrangement for baritone sax and piano has been adapted to be simple to perform and understand the structure of the original work for various levels of musical knowledge. It can be played freely by beginning students because of the ease imposed on the piece. Recommended for performance in reverently Christian and liturgical ceremonies such as Good Friday and Christmas time. It also serves as a study for Baroque sacred song. The Jesulein süß, the Jesulein mild is an original traditional German choral melody for voice and continuous bass arranged by Johann Sebastian Bach around 1735. With lyrics by Valentin Thilo, O Jesulein süss is a sacred melody adapted and catalogued as BWV 493. The first translation is by Dirk van Hogendorp, who made it more of a song for the time of suffering.
$1.99
A Mighty Fortress is Our God by Luther for Baritone Sax and Piano
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Saxophone Baryton, Piano
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DÉBUTANT
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Martin Luther
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Ander
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A Mighty Fortress is Our God b
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Woods Only, Arrangements
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SheetMusicPlus
Baritone Saxophone,Piano - Level 1 - SKU: A0.1076837 Composed by Martin Luther. Arranged by Ander. Baroque,Easter,Renaissance,Sacred,Traditional. Score ...
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Baritone Saxophone,Piano - Level 1 - SKU: A0.1076837 Composed by Martin Luther. Arranged by Ander. Baroque,Easter,Renaissance,Sacred,Traditional. Score and part. 4 pages. Woods Only, Arrangements #680952. Published by Woods Only, Arrangements (A0.1076837). This easy arrangement for baritone sax and piano has been adapted to be simple to perform and understand, adapted for various levels of musical knowledge; from beginners to music professionals. It can be played freely due to the ease built into the piece in relation to the author's suggested interpretation. Recommended for performances at Christian ceremonies and liturgical events in churches, it also serves as a study of the Renaissance repertoire. A Mighty Fortress Is Our God or Ein feste Burg ist unser Gott is a hymn written by Martin Luther probably before 1529. The melody was also considered his work for a long time, but it was created at least with the collaboration of Johann Walter. The song is of great symbolic power for Protestantism; where it is also known as Deus noster refugium et virtus. Considered one of the most important hymns in the history of Christianity, it was considered by the Christian poet Johann Heirich Heine (1797-1856) to be the Marseillaise of the Reformation, in an allusion to the French national anthem.
$1.99
Swing Low Sweet Chariot. Gospel Song for Baritone Saxophone and Piano
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Saxophone Baryton, Piano
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FACILE
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Musique Sacrée
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Gospel Spirituel
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Traditional
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David McKeown
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Swing Low Sweet Chariot. Gospe
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David McKeown
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SheetMusicPlus
Baritone Saxophone,Piano - Level 2 - SKU: A0.593301 Composed by Traditional. Arranged by David McKeown. Christian,Gospel,Praise & Worship,Sacred,Spiritu...
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Baritone Saxophone,Piano - Level 2 - SKU: A0.593301 Composed by Traditional. Arranged by David McKeown. Christian,Gospel,Praise & Worship,Sacred,Spiritual. Score and part. 3 pages. David McKeown #6418269. Published by David McKeown (A0.593301). Swing Low, Sweet Chariot is a beautiful spiritual arranged here for Solo Baritone Saxophone and Piano.The words and music of Swing Low, Sweet Chariot are credited to Wallis Willis, a Native American freedman from Oklahoma. A local minister transcribed the song in 1865 and within a few years it became a firm gospel favourite. In recenttimes Swing Low, Sweet Chariot has been adopted by the Civil Rights movement on one hand, and the England rugby team on the other.
$2.49
Steal Away, Gospel Song for Baritone Saxophone and Piano
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Saxophone Baryton, Piano
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FACILE
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Musique Sacrée
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Gospel Spirituel
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Wallis Willis
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David McKeown
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Steal Away, Gospel Song for Ba
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David McKeown
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SheetMusicPlus
Baritone Saxophone,Piano - Level 2 - SKU: A0.593276 Composed by Wallis Willis. Arranged by David McKeown. Christian,Gospel,Praise & Worship,Sacred,Spiri...
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Baritone Saxophone,Piano - Level 2 - SKU: A0.593276 Composed by Wallis Willis. Arranged by David McKeown. Christian,Gospel,Praise & Worship,Sacred,Spiritual. Score and part. 4 pages. David McKeown #6418069. Published by David McKeown (A0.593276). Steal Away is a beautiful spiritual arranged here for Solo Baritone Saxophone and Piano.The words and music of Steal Away are credited to Wallis Willis, a Native American freedman from Oklahoma. A local minister transcribed the song and within a few years it became a firm gospel favourite. The words have a meaning beyond the spiritual, with hidden references to the Underground Railway of the time that helped escaped slaves cross to Canada. In more recent times Steal Away to Jesus was arranged by Michael Tippett in 1944 and recorded famously by Mahalia Jackson and Nat King Cole.
$2.49
Jingle Bells for Baritone Sax & Piano
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Saxophone Baryton, Piano
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DÉBUTANT
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Noël
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James Pierpont
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James M
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piano
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Jingle Bells for Baritone Sax
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jmsgu3
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SheetMusicPlus
Baritone Saxophone,Piano - Level 1 - SKU: A0.548665 Composed by James Pierpont. Arranged by James M. Guthrie, ASCAP. Christmas. Score and part. 8 pages....
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Baritone Saxophone,Piano - Level 1 - SKU: A0.548665 Composed by James Pierpont. Arranged by James M. Guthrie, ASCAP. Christmas. Score and part. 8 pages. Jmsgu3 #3408945. Published by jmsgu3 (A0.548665). Jingle Bells arranged for baritone sax & piano. Score: 3pg. part: 1pg. piano 3 pg. Jingle Bells is perhaps the most famous songs in American music history. James L. Pierpont published the song as One Horse Open Sleigh in the late 1850’s. Since its introduction, people began to insist that Pierpont wrote it for a Sunday school choir. However, it seems unlikely that such a secular song would be considered appropriate during that historical period for Sunday school.Christmas Repertoire Pierpont wrote the song for the Thanksgiving holidays, but over time people began to think of it more as a Christmas song. Some choirs adopted it as part of their Christmas repertoire in the 1860s and 1870s. Jingle Bells was first recorded in 1889 on a wax cylinder. Origins No one knows where Pierpont composed the song. One theory suggests he wrote it in Medford Massachusetts in 1850. Sleigh races were certainly popular in 19th Century Massachusetts. To this day, a commemorative placard appears in Medford square claiming that it is the birthplace of Jingle Bells. Others suggest that he wrote it in Savannah, Georgia where he was an organist and music director at the Unitarian Church. This theory gains support from the copyright date of 1857. We know he was living in Savannah by then. Traffic Signals Horse-drawn sleighs are relatively quiet in the snow. Consequently, horses were usually equipped with bell-laden straps so as to avoid accidents at blind intersections. Sleigh drivers in 19th Century New England were constantly vigilant, listening for the sounds of approaching horse-drawn sleighs. The tune imitates the rhythm that the trotting horse bells produce. Social Context Jingle Bells was sung as a drinking song at local revelries: during the song folks would rhythmically jangle the ice in their glasses. A sleigh ride gave couples an opportunity to be alone together. The term Jingle bells is a poetic descriptive adjective referring specifically to the more accurate term sleigh bells. In many arrangements, sleigh bells are used to accentuate the rhythm during the song chorus. Register for free lifetime updates and revisions at www.jamesguthrie.com
$24.95
Grieg: Ase's Death from Peer Gynt Suite for Baritone Sax & Piano
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Saxophone Baryton, Piano
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INTERMÉDIAIRE
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Classique
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Edvard Grieg
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James M
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#
Grieg: Ase's Death from Peer G
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jmsgu3
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SheetMusicPlus
Baritone Saxophone,Piano - Level 3 - SKU: A0.549534 Composed by Edvard Grieg. Arranged by James M. Guthrie, ASCAP. Concert,Contemporary,Romantic Period,...
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Baritone Saxophone,Piano - Level 3 - SKU: A0.549534 Composed by Edvard Grieg. Arranged by James M. Guthrie, ASCAP. Concert,Contemporary,Romantic Period,Sacred,Standards. Score and part. 11 pages. Jmsgu3 #3505851. Published by jmsgu3 (A0.549534). Duration: ca. 3:40, Score: 5 pages, solo part: 2 pages, piano part: 3 pages. Super-famous instantly recognizable tune, not very difficult - suitable for a recital, funeral or church meditation.Grieg Background In the first place, Edvard Grieg (1843 –1907) was a Norwegian composer as well as a concert pianist. As a matter of fact, most music historians consider him one of the foremost Romantic era composers. Consequently, his music is part of the international standard classical repertoire. Grieg moreover used Norwegian folk music in his own compositions. Consequently, he ushered Norwegian music to transnational consciousness. Furthermore, he forged a national musical identity for Norway. It is important to realize that he did this in a manner similar to Jean Sibelius in Finland, and Bedřich Smetana in Bohemia. Legacy Grieg is especially celebrated in the city of Bergen. For example, the city has erected numerous statues depicting Grieg. Specifically, the city has named a concert hall (Grieg Hall), a music school (Grieg Academy) and a professional choir (Edvard Grieg Kor) after him. As a matter of fact, there is also a museum located at his former home in Troldhaugen. Peer Gynt Suite No. 1 (Op. 46) Grieg wrote incidental music for the purpose of illustrating a play by Ibsen known as Peer Gynt. The play includes, in particular, the famous selection entitled, In the Hall of the Mountain King. In this composition, Grieg indeed depicts the exploits of the scoundrel, Peer Gynt. In one famous episode, for example, Peer steals a bride at her wedding. For this reason, the people chase him, but soon Peer falls, thereupon striking his skull on a boulder. He wakens forthwith in a highland bounded by angry gnomes. Consequently, the music of In the Hall of the Mountain King represents the mad gnomes taunting Peer. Therefore, each time the theme repeats it gets louder and faster. In the end, Peer surprisingly escapes from the mountain. Holberg Suite and Misc. Summary It must be remembered that Grieg originally wrote his Holberg Suite for the piano. In other words, he only later arranged it for strings. Further, Grieg composed by and large many songs with lyrics by famous writers such as Heine, Goethe, Ibsen, Hans Christian Andersen, Rudyard Kipling, and others. On balance, Norwegian pianist Eva Knardahl recorded altogether Grieg’s whole piano catalog on LP in 1980. These recordings were released again on CD in 2006. In any event, Grieg himself performed and recorded the bulk of these pieces toward the end of his life. Register for free lifetime revisions and updates at www.jamesguthrie.com.
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Grieg: Anitra's Dance from Peer Gynt Suite for Baritone Sax & Piano
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Saxophone Baryton, Piano
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INTERMÉDIAIRE
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Classique
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Edvard Grieg
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James M
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Grieg: Anitra's Dance from Pee
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jmsgu3
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SheetMusicPlus
Baritone Saxophone,Piano - Level 3 - SKU: A0.549558 Composed by Edvard Grieg. Arranged by James M. Guthrie, ASCAP. Concert,Instructional,Romantic Period...
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Baritone Saxophone,Piano - Level 3 - SKU: A0.549558 Composed by Edvard Grieg. Arranged by James M. Guthrie, ASCAP. Concert,Instructional,Romantic Period,Standards,World. Score and part. 16 pages. Jmsgu3 #3507681. Published by jmsgu3 (A0.549558). Duration: ca. 3:20, Score: 10 pages, solo part: 2 pages, piano part: 3 pages. A delicate masterpiece, not very difficult - suitable for a recital encore. Grieg Background In the first place, Edvard Grieg (1843 –1907) was a Norwegian composer as well as a concert pianist. As a matter of fact, most music historians consider him one of the foremost Romantic era composers. Consequently, his music is part of the international standard classical repertoire. Grieg moreover used Norwegian folk music in his own compositions. Consequently, he ushered Norwegian music to transnational consciousness. Furthermore, he forged a national musical identity for Norway. It is important to realize that he did this in a manner similar to Jean Sibelius in Finland, and Bedřich Smetana in Bohemia. Legacy Grieg is especially celebrated in the city of Bergen. For example, the city has erected numerous statues depicting Grieg. Specifically, the city has named a concert hall (Grieg Hall), a music school (Grieg Academy) and a professional choir (Edvard Grieg Kor) after him. As a matter of fact, there is also a museum located at his former home in Troldhaugen. Peer Gynt Suite No. 1 (Op. 46) Grieg wrote incidental music for the purpose of illustrating a play by Ibsen known as Peer Gynt. The play includes, in particular, the famous selection entitled, In the Hall of the Mountain King. In this composition, Grieg indeed depicts the exploits of the scoundrel, Peer Gynt. In one famous episode, for example, Peer steals a bride at her wedding. For this reason, the people chase him, but soon Peer falls, thereupon striking his skull on a boulder. He wakens forthwith in a highland bounded by angry gnomes. Consequently, the music of In the Hall of the Mountain King represents the mad gnomes taunting Peer. Therefore, each time the theme repeats it gets louder and faster. In the end, Peer surprisingly escapes from the mountain. Holberg Suite and Misc. Summary It must be remembered that Grieg originally wrote his Holberg Suite for the piano. In other words, he only later arranged it for strings. Further, Grieg composed by and large many songs with lyrics by famous writers such as Heine, Goethe, Ibsen, Hans Christian Andersen, Rudyard Kipling, and others. On balance, Norwegian pianist Eva Knardahl recorded altogether Grieg’s whole piano catalog on LP in 1980. These recordings were released again on CD in 2006. In any event, Grieg himself performed and recorded the bulk of these pieces toward the end of his life. Register for free lifetime revisions and updates at www.jamesguthrie.com
$24.95
Mendelssohn: Wedding March for Baritone Sax & Piano
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Saxophone Baryton, Piano
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INTERMÉDIAIRE
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Classique
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Felix Bartholdy Mendelssohn
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James M
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Mendelssohn: Wedding March for
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jmsgu3
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SheetMusicPlus
Baritone Saxophone,Piano - Level 3 - SKU: A0.549893 Composed by Felix Bartholdy Mendelssohn. Arranged by James M. Guthrie, ASCAP. Romantic Period,Standa...
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Baritone Saxophone,Piano - Level 3 - SKU: A0.549893 Composed by Felix Bartholdy Mendelssohn. Arranged by James M. Guthrie, ASCAP. Romantic Period,Standards,Wedding. Score and part. 23 pages. Jmsgu3 #3603411. Published by jmsgu3 (A0.549893). Score: 12 pages, piano part: 6 pages, baritone sax part: 4 pages. duration: ca. 5'. Mendelssohn: Wedding March Mendelssohn’s Wedding March is so popular that it’s difficult to imagine a wedding without it. It seems like it’s been around for eternity. In any case, it was only 150 years or so ago that the Wedding March came about. It was performed in Potsdam for the first time in 1842, as a piece of Mendelssohn’s music for the Shakespeare play A Midsummer Night’s Dream. It was first used for a wedding in 1858 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 all of a sudden 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 major 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 methodical 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.Register for free lifetime revisions and updates at www.jamesguthrie.com &n.
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