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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
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VIOLON
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XYLOPHONE
Liszt
Non classifié
70
Piano & claviers
Piano, Voix
462
Piano seul
152
Orgue
5
Orgue, Piano (duo)
2
Piano Facile
2
Accompagnement Piano
2
1 Piano, 4 mains
2
Piano Trio: piano, violon, violoncelle
2
2 Pianos, 4 mains
1
Piano Quintette: piano, 2 violons, alto, violoncelle
1
Piano, Voix et Guitare
1
+ 6 instrumentations
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Guitares
Guitare
11
Guitare notes et tablatures
3
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2
Ukulele
1
4 Guitares (Quatuor)
1
2 Guitares (duo)
1
Paroles et Accords
1
+ 2 instrumentations
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Voix
Chorale SATB
5
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2
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1
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1
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1
Vents
Flûte traversière et Piano
13
Saxophone Alto et Piano
12
2 Saxophones (duo)
12
Hautbois, Piano (duo)
11
2 Clarinettes (duo)
10
Saxophone Soprano et Piano
8
Clarinette et Piano
8
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6
Saxophone Tenor et Piano
6
Saxophone Baryton, Piano
6
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5
Clarinette Basse, Piano
4
2 Flûtes traversières (duo)
4
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3
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3
Cor anglais, Piano
3
Flûte, Clarinette (duo)
3
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2
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2
Trio de Flûtes: 3 flûtes
2
Clarinette
2
Clarinette, Basson (duo)
2
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1
Piccolo
1
3 Clarinettes (trio)
1
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1
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1
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1
2 Hautbois (duo)
1
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1
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1
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1
Clarinette Basse
1
Clarinette, Trombone (duo)
1
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7
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6
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4
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3
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3
Cor anglais, Piano
3
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3
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2
Trombone (partie séparée)
2
2 Trompettes (duo)
2
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2
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1
2 Cors (duo)
1
Trompette, Trombone (duo)
1
+ 9 instrumentations
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Violon et Piano
15
Violoncelle, Piano
13
Quatuor à cordes: 2 violons, alto, violoncelle
11
Alto, Piano
9
2 Violons (duo)
5
Trio à Cordes: 2 violons, violoncelle
4
Violon, Violoncelle (duo)
4
2 Violoncelles (duo)
2
Violon
2
2 Altos (duo)
2
Contrebasse, Piano (duo)
1
Trio à Cordes: violon, alto, violoncelle
1
Harpe, Violon, Violoncelle
1
Harpe
1
Violoncelle, Contrebasse (duo)
1
Violon, Basson (duo)
1
Trio à cordes
1
Piano Trio: Violon, Alto, Piano
1
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8
Orchestre d'harmonie
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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
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ORGUE
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SAXOPHONE
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Vous avez sélectionné:
Liszt
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Cor anglais, Piano
Partitions à imprimer
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Liszt: Liebestraume for English Horn & Piano
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Cor anglais, Piano
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INTERMÉDIAIRE
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Franz Liszt
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James M
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Liszt: Liebestraume for Englis
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jmsgu3
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SheetMusicPlus
English Horn,Piano - Level 3 - SKU: A0.550067 Composed by Franz Liszt. Arranged by James M. Guthrie. Concert,Holiday,Love,Romantic Period,Standards,Wedd...
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English Horn,Piano - Level 3 - SKU: A0.550067 Composed by Franz Liszt. Arranged by James M. Guthrie. Concert,Holiday,Love,Romantic Period,Standards,Wedding. Score and part. 20 pages. Jmsgu3 #4592583. Published by jmsgu3 (A0.550067). Duration: 4:25 Score: 11 pages. Solo part: 3 pages. Piano Part: 6 pages. Widely recognized recital piece. Dreams of Love - perfect for Valentine's Day.
$24.95
Mendelssohn: Song Without Words Op. 109 for English Horn & Piano
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Cor anglais, Piano
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INTERMÉDIAIRE
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Felix Mendelssohn
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James M
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Mendelssohn: Song Without Word
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jmsgu3
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SheetMusicPlus
English Horn,Piano - Level 3 - SKU: A0.549496 Composed by Felix Mendelssohn (1809 –1847). Arranged by James M. Guthrie, ASCAP. Instructional,Roma...
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English Horn,Piano - Level 3 - SKU: A0.549496 Composed by Felix Mendelssohn (1809 –1847). Arranged by James M. Guthrie, ASCAP. Instructional,Romantic Period,Sacred,Standards. Score and part. 20 pages. Jmsgu3 #3501027. Published by jmsgu3 (A0.549496). ENGLISH HORN & PIANO - Score: 11 pages, solo part: 3 pages, piano part: 5 pages. Duration: 4:20. This is a popular recital piece that would work well also in church or school programs. 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 suddenly 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 significant 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 systematic 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.
$32.95
Scriabin: Prelude Op. 11 No. 2 for English Horn & Piano
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Cor anglais, Piano
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INTERMÉDIAIRE
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Alexander Scriabin
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James M
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Scriabin: Prelude Op. 11 No. 2
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jmsgu3
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SheetMusicPlus
English Horn,Piano - Level 3 - SKU: A0.549472 Composed by Alexander Scriabin. Arranged by James M. Guthrie, ASCAP. Concert,Instructional,Romantic Period...
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English Horn,Piano - Level 3 - SKU: A0.549472 Composed by Alexander Scriabin. Arranged by James M. Guthrie, ASCAP. Concert,Instructional,Romantic Period,Sacred,Standards. Score and part. 12 pages. Jmsgu3 #3499777. Published by jmsgu3 (A0.549472). Alexander Scriabin Op. 11 No. 2. Score: 8 pages, solo part: 2 pages, piano part: 2 pages. Duration: 3:10. An introspective and meditative work with a lot of dynamic and phrasing nuance. Works well for church meditations or recital encores. Background Op.11/2 Alto Clarinet version. First of all, Scriabin composed mostly for the solo piano and also the orchestra. This is probably because he was a gifted pianist and therefore certainly appreciated the piano. Scriabin grew up in the late Romantic period, consequently, he was fond of the great piano masters of the time. As a result, he wrote his first noteworthy compositions in the manner of Chopin and Liszt. Forms Likewise, Scriabin used many of the same forms as Chopin. These certainly include the étude, prelude, nocturne, and even the mazurka. In contrast, as he developed his own sense of style his music became more and more unusual. So, the last five of his Piano Sonatas do not have a key signature and therefore lean towards atonality. Philosophy Scriabin also developed a keen interest in philosophy and likewise poetry. He was above all particularly fascinated by Nietzsche, Delville, and Blavatsky. Consequently, he finally established his own ideas about metaphysics and certainly mysticism. Scriabin consequently advanced theories about the relationship between color and musical keys. Synesthesia He also may have experienced a condition called synesthesia where he could probably sense a response created from a different stimulus. Therefore, it was almost as if he could see music and hear colors. Scriabin, therefore, arranged the colors in a circle similar to the circle-of-fifths and assigned each key area a color. Finally, he assigned the key of C to the color red, while the key of G was orange. Similarly, he assigned D to yellow, A to green, and so forth. Strangely, he did not differentiate between major and minor key colors. Multimedia Hence, his ability to translate colors into music certainly gave Scriabin a most noteworthy interest in creating multimedia events. Furthermore, He designed his biggest work, the Mysterium, to last an entire week. Even more, Scriabin made plans not only for music, but also colored lights, incense, and dancing. He designed the performance to occur in the foothills of the Himalaya mountains. The Mysterium was never performed, and only sketches of the work remain. Modern Performances In modern times, we often experience performances of Scriabin’s most famous completed works accompanied by colored laser lights and incense. These are the Poem of Ecstasy (completed in 1908) and the Poem of Fire (completed in 1910). The lighting effects for these early performances were accomplished by the clavier à lumiéres. It was a keyboard instrument that projected colored light onto a screen.
$19.95
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