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--INSTRUMENTS--
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5 Note Songs for Piano
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89
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44
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8
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2
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2
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1
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1
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1
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1
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1
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1
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1
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1
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1
2 Flûte à bec (duo)
1
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1
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1
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1
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2
Trompette, Piano
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1
Cor anglais, Piano
1
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39
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23
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4
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3
Quintette à cordes: 2 violons, alto, violoncelle, basse
2
Alto, Piano
1
Contre Basse
1
Alto, Violoncelle (duo)
1
Violoncelle
1
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3
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2
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2
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1
Jazz combo
1
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--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
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BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
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CLARINETTE
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5 Note Songs for Piano
Piano, Voix
Partitions à imprimer
44 partitions trouvées
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1
26
In a Foreign Land - low voice-piano
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Piano, Voix
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INTERMÉDIAIRE
#
Carrie Jacobs-Bond
#
Phil Beaman
#
In a Foreign Land - low voice-
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Phil Beaman
#
SheetMusicPlus
Piano,Vocal,Voice - Level 3 - SKU: A0.1218175 Composed by Carrie Jacobs-Bond. Arranged by Phil Beaman. Classical,Folk,Romantic Period,Wedding. Score. 3 ...
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Piano,Vocal,Voice - Level 3 - SKU: A0.1218175 Composed by Carrie Jacobs-Bond. Arranged by Phil Beaman. Classical,Folk,Romantic Period,Wedding. Score. 3 pages. Phil Beaman #814670. Published by Phil Beaman (A0.1218175). In a Foreign Land is an arrangement of the 1905 hit pop song by Carrie Jacobs-Bond. Â The poetic text is about how everything is better in this 'foreign land' of love. Â The melody is simple and scalar with a bit of a folk feel. Â I have simplified the piano part with much of it now 2 part (single notes in each hand) with some occasional 2 note chords. Â For the first verse I reharmonize the melody with simple folk style chords, then for the second verse I return to the original syncopated broken chords. Â Simple and beautiful, it is perfect for any wedding today, whether vintage or modern. Â 3 page score; Â 1:50 minutesI have published it in 3 different vocal ranges on this site: Â High - low D to high F; Medium - low B to high D; Low - low G to high B. Â The MP3 recording is of the Medium Voice version. Â Intermediate level. Â This piece is also found in my book, Vintage Wedding Songs, a collection of 5 songs which is also available on this site.
$4.50
In a Foreign Land - medium voice-piano
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Piano, Voix
#
INTERMÉDIAIRE
#
Carrie Jacobs-Bond
#
Phil Beaman
#
In a Foreign Land - medium voi
#
Phil Beaman
#
SheetMusicPlus
Piano,Vocal,Voice - Level 3 - SKU: A0.1218173 Composed by Carrie Jacobs-Bond. Arranged by Phil Beaman. Classical,Folk,Romantic Period,Wedding. Score. 3 ...
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Piano,Vocal,Voice - Level 3 - SKU: A0.1218173 Composed by Carrie Jacobs-Bond. Arranged by Phil Beaman. Classical,Folk,Romantic Period,Wedding. Score. 3 pages. Phil Beaman #814668. Published by Phil Beaman (A0.1218173). In a Foreign Land is an arrangement of the 1905 hit pop song by Carrie Jacobs-Bond. Â The poetic text is about how everything is better in this 'foreign land' of love. Â The melody is simple and scalar with a bit of a folk feel. Â I have simplified the piano part with much of it now 2 part (single notes in each hand) with some occasional 2 note chords. Â For the first verse I reharmonize the melody with simple folk style chords, then for the second verse I return to the original syncopated broken chords. Â Simple and beautiful, it is perfect for any wedding today, whether vintage or modern. Â 3 page score; Â 1:50 minutesI have published it in 3 different vocal ranges on this site: Â High - low D to high F; Medium - low B to high D; Low - low G to high B. Â The MP3 recording is of the Medium Voice version. Â Intermediate level. Â This piece is also found in my book, Vintage Wedding Songs, a collection of 5 songs which is also available on this site.
$4.50
In a Foreign Land - high voice-piano
#
Piano, Voix
#
INTERMÉDIAIRE
#
Carrie Jacobs-Bond
#
Phil Beaman
#
In a Foreign Land - high voice
#
Phil Beaman
#
SheetMusicPlus
Piano,Vocal,Voice - Level 3 - SKU: A0.1218172 Composed by Carrie Jacobs-Bond. Arranged by Phil Beaman. Classical,Folk,Romantic Period,Wedding. Score. 3 ...
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Piano,Vocal,Voice - Level 3 - SKU: A0.1218172 Composed by Carrie Jacobs-Bond. Arranged by Phil Beaman. Classical,Folk,Romantic Period,Wedding. Score. 3 pages. Phil Beaman #814667. Published by Phil Beaman (A0.1218172). In a Foreign Land is an arrangement of the 1905 hit pop song by Carrie Jacobs-Bond. Â The poetic text is about how everything is better in this 'foreign land' of love. Â The melody is simple and scalar with a bit of a folk feel. Â I have simplified the piano part with much of it now 2 part (single notes in each hand) with some occasional 2 note chords. Â For the first verse I reharmonize the melody with simple folk style chords, then for the second verse I return to the original syncopated broken chords. Â Simple and beautiful, it is perfect for any wedding today, whether vintage or modern. Â 3 page score; Â 1:50 minutesI have published it in 3 different vocal ranges on this site: Â High - low D to high F; Medium - low B to high D; Low - low G to high B. Â The MP3 recording is of the Medium Voice version. Â Intermediate level. Â This piece is also found in my book, Vintage Wedding Songs, a collection of 5 songs which is also available on this site.
$4.50
Op. 1, No. 6: Le Château dans la forêt from Songs of Gouvy, V2 (Downloadable)
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Piano, Voix
#
INTERMÉDIAIRE
#
MeeAe Cecilia Nam and Theodore
#
Op. 1, No. 6: Le Château
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E. C. Schirmer Music Company - Digital
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SheetMusicPlus
Voice and piano - Medium - SKU: MQ.8492-30E Composed by MeeAe Cecilia Nam and Theodore Gouvy. Instrument part. 5 pages. E. C. Schirmer Music Company - D...
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Voice and piano - Medium - SKU: MQ.8492-30E Composed by MeeAe Cecilia Nam and Theodore Gouvy. Instrument part. 5 pages. E. C. Schirmer Music Company - Digital #8492-30E. Published by E. C. Schirmer Music Company - Digital (MQ.8492-30E). French.Gouvy was known for writing some of the most beautiful melodies of the Romantic period. His style is a combination of German forms and an early French romantic harmonic structure. His writing for the piano in the songs is totally unified in mood and description with the voice, just as the piano is in Schubert’s songs. The equal partnership of the vocal line and piano interact closely to bring the poetry vividly into life with unimaginable artistic heights and unbridled passion.This volume includes Gouvy songs set to 18 poems of Philippe Desportes (1546–1606), and 18 poems of Moritz Hartmann (1821–1872). The elements of Romantic love poetry, such as enchanting love and its pain, and the personifying of nature, are fluently described with a great sensitivity in both voice and piano. Gouvy’s melody stir up the imagination because of his special treatment of words through a distinguishable and melodious vocal line, and his story telling and poetic treatment and development of the piano accompaniment. His compositional artistry places him in the upper echelons of art-song composers. One should note that Gouvy had a special fondness for the 16th Century poetry of La Pléiade (a group of Renaissance French poets, led by Pièrre de Ronsard (1524–1585). Desportes was truly the heir to Ronsard; however his work, when compared to that of Ronsard, is filled with greater abstraction and greater fluidity. Desportes seems to avoid any of the passionate anger that is occasionally characteristic of La Pléiade. This may be an indication that Desportes lived in a less distressed time. It also seems necessary to point out that he learned much in his early career by copying and studying the earlier works of La Pléiade. This has led some scholars to label him as a plagiarist, but it is important to realize that all the members of La Pléiade copied from each other when they wished to learn something new, and truly understand the style of the other poets in the group. Gouvy’s only choice of poems from his contemporaries, were the works of Moritz Hartmann (1821–1872), a good friend of Gouvy’s. Much of his poetry was strongly political in support of freedom of the individual. He traveled to Leipzig in 1845, but when the authorities discovered a volume of patriotic poems entitled Kelch und Schwert (Chalice and Sword), he fled to Belgium and France. It is at this time that he possibly met Théodore Gouvy. Eighteen poems of Hartmann were translated from German to French by the French poet, Adolph Larmande, of whom very little is known. Pierre Toussaint Adolphe Larmande seems to have been a rather obscure poet and musician. We know that he taught music theory at the Paris Conservatory at the same time Anton Reicha and Michele Carafa were on the faculty. We also know that in 1847 he married an English woman by the name of Marie Caroline Bradley. There are random documents, such as a Certificate of Arrival in London, England, in 1837, but there are no birth and death dates given, and that includes his obituary notice. Contents:18 Sonnets et Chansons de Desportes pour ténor ou soprano et piano, Op. 45 Six poésies allemandes de Moritz Hartmann pour baryton et piano, Op. 21 Douze poésies allemandes de Moritz Hartmann pour ténor et piano, Op. 26 (Poésies françaises d’Adolphe Larmande).
$3.00
Vintage Wedding Songs - low voice/piano
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Piano, Voix
#
INTERMÉDIAIRE
#
Carrie Jacobs-Bond
#
Phil Beaman
#
In a Foreign Land
#
Vintage Wedding Songs - low vo
#
Phil Beaman
#
SheetMusicPlus
Piano,Vocal,Voice - Level 3 - SKU: A0.1217040 Composed by Carrie Jacobs-Bond. Arranged by Phil Beaman. Classical,Jazz,New Age,Standards,Wedding. Score. ...
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Piano,Vocal,Voice - Level 3 - SKU: A0.1217040 Composed by Carrie Jacobs-Bond. Arranged by Phil Beaman. Classical,Jazz,New Age,Standards,Wedding. Score. 25 pages. Phil Beaman #813570. Published by Phil Beaman (A0.1217040). Vintage Wedding Songs is a collection of 5 songs that were #1 pop hits in their day and wildly popular at weddings from 1905-1920.  They all were originally written by female composer Carrie Jacobs-Bond.  I have taken the original lyrics and melodies and set them to new piano accompaniments which fuse turn of the century ballads with a bit of Classical, a bit of Early Jazz, and a bit of New Age.  Perfect for any wedding, vintage or modern, when you want something timeless instead of trendy.  On this site you will find Vintage Wedding Songs in three different voice ranges:  Medium range is from Low B to High D, High range is from Low D to High G, and Low range is from Low G to High B.  (These are average ranges, individual songs my vary by a note more or less on either end.)  Also on this site, each of the songs are also published separately and in each range.  Songs included are:  I Love You Truly; In a Foreign Land; Walking In Her Garden; Life's Garden; The Hand of You.   25 total pages of book;  total performance time 11:15 minutes  (3:00, 1:46, 2:30, 1:40, 2:15)  Recordings are of Medium Voice version.
$10.45
Vintage Wedding Songs - high voice/piano
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Piano, Voix
#
INTERMÉDIAIRE
#
Carrie Jacobs-Bond
#
Phil Beaman
#
In a Foreign Land
#
Vintage Wedding Songs - high v
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Phil Beaman
#
SheetMusicPlus
Piano,Vocal,Voice - Level 3 - SKU: A0.1217038 Composed by Carrie Jacobs-Bond. Arranged by Phil Beaman. Classical,Jazz,New Age,Standards,Wedding. Score. ...
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Piano,Vocal,Voice - Level 3 - SKU: A0.1217038 Composed by Carrie Jacobs-Bond. Arranged by Phil Beaman. Classical,Jazz,New Age,Standards,Wedding. Score. 25 pages. Phil Beaman #813568. Published by Phil Beaman (A0.1217038). Vintage Wedding Songs is a collection of 5 songs that were #1 pop hits in their day and wildly popular at weddings from 1905-1920.  They all were originally written by female composer Carrie Jacobs-Bond.  I have taken the original lyrics and melodies and set them to new piano accompaniments which fuse turn of the century ballads with a bit of Classical, a bit of Early Jazz, and a bit of New Age.  Perfect for any wedding, vintage or modern, when you want something timeless instead of trendy.  On this site you will find Vintage Wedding Songs in three different voice ranges:  Medium range is from Low B to High D, High range is from Low D to High G, and Low range is from Low G to High B.  (These are average ranges, individual songs my vary by a note more or less on either end.)  Also on this site, each of the songs are also published separately and in each range.  Songs included are:  I Love You Truly; In a Foreign Land; Walking In Her Garden; Life's Garden; The Hand of You.   25 total pages of book;  total performance time 11:15 minutes  (3:00, 1:46, 2:30, 1:40, 2:15)  Recordings are of Medium Voice version.
$10.45
Op. 1, No. 5: La chanson du printemps from Songs of Gouvy, V2 (Downloadable)
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Piano, Voix
#
INTERMÉDIAIRE
#
MeeAe Cecilia Nam and Theodore
#
Op. 1, No. 5: La chanson du pr
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E. C. Schirmer Music Company - Digital
#
SheetMusicPlus
Voice and piano - Medium - SKU: MQ.8492-29E Composed by MeeAe Cecilia Nam and Theodore Gouvy. Instrument part. 5 pages. E. C. Schirmer Music Company - D...
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Voice and piano - Medium - SKU: MQ.8492-29E Composed by MeeAe Cecilia Nam and Theodore Gouvy. Instrument part. 5 pages. E. C. Schirmer Music Company - Digital #8492-29E. Published by E. C. Schirmer Music Company - Digital (MQ.8492-29E). French.Gouvy was known for writing some of the most beautiful melodies of the Romantic period. His style is a combination of German forms and an early French romantic harmonic structure. His writing for the piano in the songs is totally unified in mood and description with the voice, just as the piano is in Schubert’s songs. The equal partnership of the vocal line and piano interact closely to bring the poetry vividly into life with unimaginable artistic heights and unbridled passion.This volume includes Gouvy songs set to 18 poems of Philippe Desportes (1546–1606), and 18 poems of Moritz Hartmann (1821–1872). The elements of Romantic love poetry, such as enchanting love and its pain, and the personifying of nature, are fluently described with a great sensitivity in both voice and piano. Gouvy’s melody stir up the imagination because of his special treatment of words through a distinguishable and melodious vocal line, and his story telling and poetic treatment and development of the piano accompaniment. His compositional artistry places him in the upper echelons of art-song composers. One should note that Gouvy had a special fondness for the 16th Century poetry of La Pléiade (a group of Renaissance French poets, led by Pièrre de Ronsard (1524–1585). Desportes was truly the heir to Ronsard; however his work, when compared to that of Ronsard, is filled with greater abstraction and greater fluidity. Desportes seems to avoid any of the passionate anger that is occasionally characteristic of La Pléiade. This may be an indication that Desportes lived in a less distressed time. It also seems necessary to point out that he learned much in his early career by copying and studying the earlier works of La Pléiade. This has led some scholars to label him as a plagiarist, but it is important to realize that all the members of La Pléiade copied from each other when they wished to learn something new, and truly understand the style of the other poets in the group. Gouvy’s only choice of poems from his contemporaries, were the works of Moritz Hartmann (1821–1872), a good friend of Gouvy’s. Much of his poetry was strongly political in support of freedom of the individual. He traveled to Leipzig in 1845, but when the authorities discovered a volume of patriotic poems entitled Kelch und Schwert (Chalice and Sword), he fled to Belgium and France. It is at this time that he possibly met Théodore Gouvy. Eighteen poems of Hartmann were translated from German to French by the French poet, Adolph Larmande, of whom very little is known. Pierre Toussaint Adolphe Larmande seems to have been a rather obscure poet and musician. We know that he taught music theory at the Paris Conservatory at the same time Anton Reicha and Michele Carafa were on the faculty. We also know that in 1847 he married an English woman by the name of Marie Caroline Bradley. There are random documents, such as a Certificate of Arrival in London, England, in 1837, but there are no birth and death dates given, and that includes his obituary notice. Contents:18 Sonnets et Chansons de Desportes pour ténor ou soprano et piano, Op. 45 Six poésies allemandes de Moritz Hartmann pour baryton et piano, Op. 21 Douze poésies allemandes de Moritz Hartmann pour ténor et piano, Op. 26 (Poésies françaises d’Adolphe Larmande).
$3.00
Op. 45, No. 5: Si vous m’aimez from Songs of Gouvy, V2 (Downloadable)
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Piano, Voix
#
INTERMÉDIAIRE
#
MeeAe Cecilia Nam and Theodore
#
Op. 45, No. 5: Si vous m&rsquo
#
E. C. Schirmer Music Company - Digital
#
SheetMusicPlus
Voice and piano - Medium - SKU: MQ.8492-05E Composed by MeeAe Cecilia Nam and Theodore Gouvy. Instrument part. 6 pages. E. C. Schirmer Music Company - D...
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Voice and piano - Medium - SKU: MQ.8492-05E Composed by MeeAe Cecilia Nam and Theodore Gouvy. Instrument part. 6 pages. E. C. Schirmer Music Company - Digital #8492-05E. Published by E. C. Schirmer Music Company - Digital (MQ.8492-05E). French.Gouvy was known for writing some of the most beautiful melodies of the Romantic period. His style is a combination of German forms and an early French romantic harmonic structure. His writing for the piano in the songs is totally unified in mood and description with the voice, just as the piano is in Schubert’s songs. The equal partnership of the vocal line and piano interact closely to bring the poetry vividly into life with unimaginable artistic heights and unbridled passion.This volume includes Gouvy songs set to 18 poems of Philippe Desportes (1546–1606), and 18 poems of Moritz Hartmann (1821–1872). The elements of Romantic love poetry, such as enchanting love and its pain, and the personifying of nature, are fluently described with a great sensitivity in both voice and piano. Gouvy’s melody stir up the imagination because of his special treatment of words through a distinguishable and melodious vocal line, and his story telling and poetic treatment and development of the piano accompaniment. His compositional artistry places him in the upper echelons of art-song composers. One should note that Gouvy had a special fondness for the 16th Century poetry of La Pléiade (a group of Renaissance French poets, led by Pièrre de Ronsard (1524–1585). Desportes was truly the heir to Ronsard; however his work, when compared to that of Ronsard, is filled with greater abstraction and greater fluidity. Desportes seems to avoid any of the passionate anger that is occasionally characteristic of La Pléiade. This may be an indication that Desportes lived in a less distressed time. It also seems necessary to point out that he learned much in his early career by copying and studying the earlier works of La Pléiade. This has led some scholars to label him as a plagiarist, but it is important to realize that all the members of La Pléiade copied from each other when they wished to learn something new, and truly understand the style of the other poets in the group. Gouvy’s only choice of poems from his contemporaries, were the works of Moritz Hartmann (1821–1872), a good friend of Gouvy’s. Much of his poetry was strongly political in support of freedom of the individual. He traveled to Leipzig in 1845, but when the authorities discovered a volume of patriotic poems entitled Kelch und Schwert (Chalice and Sword), he fled to Belgium and France. It is at this time that he possibly met Théodore Gouvy. Eighteen poems of Hartmann were translated from German to French by the French poet, Adolph Larmande, of whom very little is known. Pierre Toussaint Adolphe Larmande seems to have been a rather obscure poet and musician. We know that he taught music theory at the Paris Conservatory at the same time Anton Reicha and Michele Carafa were on the faculty. We also know that in 1847 he married an English woman by the name of Marie Caroline Bradley. There are random documents, such as a Certificate of Arrival in London, England, in 1837, but there are no birth and death dates given, and that includes his obituary notice. Contents:18 Sonnets et Chansons de Desportes pour ténor ou soprano et piano, Op. 45 Six poésies allemandes de Moritz Hartmann pour baryton et piano, Op. 21 Douze poésies allemandes de Moritz Hartmann pour ténor et piano, Op. 26 (Poésies françaises d’Adolphe Larmande).
$3.00
Op. 21, No. 5: Feuilles qui chuchotez from Songs of Gouvy, V2 (Downloadable)
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Piano, Voix
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INTERMÉDIAIRE
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MeeAe Cecilia Nam and Theodore
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Op. 21, No. 5: Feuilles qui ch
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E. C. Schirmer Music Company - Digital
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SheetMusicPlus
Voice and piano - Medium - SKU: MQ.8492-23E Composed by MeeAe Cecilia Nam and Theodore Gouvy. Instrument part. 9 pages. E. C. Schirmer Music Company - D...
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Voice and piano - Medium - SKU: MQ.8492-23E Composed by MeeAe Cecilia Nam and Theodore Gouvy. Instrument part. 9 pages. E. C. Schirmer Music Company - Digital #8492-23E. Published by E. C. Schirmer Music Company - Digital (MQ.8492-23E). French.Gouvy was known for writing some of the most beautiful melodies of the Romantic period. His style is a combination of German forms and an early French romantic harmonic structure. His writing for the piano in the songs is totally unified in mood and description with the voice, just as the piano is in Schubert’s songs. The equal partnership of the vocal line and piano interact closely to bring the poetry vividly into life with unimaginable artistic heights and unbridled passion.This volume includes Gouvy songs set to 18 poems of Philippe Desportes (1546–1606), and 18 poems of Moritz Hartmann (1821–1872). The elements of Romantic love poetry, such as enchanting love and its pain, and the personifying of nature, are fluently described with a great sensitivity in both voice and piano. Gouvy’s melody stir up the imagination because of his special treatment of words through a distinguishable and melodious vocal line, and his story telling and poetic treatment and development of the piano accompaniment. His compositional artistry places him in the upper echelons of art-song composers. One should note that Gouvy had a special fondness for the 16th Century poetry of La Pléiade (a group of Renaissance French poets, led by Pièrre de Ronsard (1524–1585). Desportes was truly the heir to Ronsard; however his work, when compared to that of Ronsard, is filled with greater abstraction and greater fluidity. Desportes seems to avoid any of the passionate anger that is occasionally characteristic of La Pléiade. This may be an indication that Desportes lived in a less distressed time. It also seems necessary to point out that he learned much in his early career by copying and studying the earlier works of La Pléiade. This has led some scholars to label him as a plagiarist, but it is important to realize that all the members of La Pléiade copied from each other when they wished to learn something new, and truly understand the style of the other poets in the group. Gouvy’s only choice of poems from his contemporaries, were the works of Moritz Hartmann (1821–1872), a good friend of Gouvy’s. Much of his poetry was strongly political in support of freedom of the individual. He traveled to Leipzig in 1845, but when the authorities discovered a volume of patriotic poems entitled Kelch und Schwert (Chalice and Sword), he fled to Belgium and France. It is at this time that he possibly met Théodore Gouvy. Eighteen poems of Hartmann were translated from German to French by the French poet, Adolph Larmande, of whom very little is known. Pierre Toussaint Adolphe Larmande seems to have been a rather obscure poet and musician. We know that he taught music theory at the Paris Conservatory at the same time Anton Reicha and Michele Carafa were on the faculty. We also know that in 1847 he married an English woman by the name of Marie Caroline Bradley. There are random documents, such as a Certificate of Arrival in London, England, in 1837, but there are no birth and death dates given, and that includes his obituary notice. Contents:18 Sonnets et Chansons de Desportes pour ténor ou soprano et piano, Op. 45 Six poésies allemandes de Moritz Hartmann pour baryton et piano, Op. 21 Douze poésies allemandes de Moritz Hartmann pour ténor et piano, Op. 26 (Poésies françaises d’Adolphe Larmande).
$3.00
Op. 21, No. 3: Le Matin au bord de la mer from Songs of Gouvy, V2 (Downloadable)
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Piano, Voix
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INTERMÉDIAIRE
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MeeAe Cecilia Nam and Theodore
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Op. 21, No. 3: Le Matin au bor
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E. C. Schirmer Music Company - Digital
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SheetMusicPlus
Voice and piano - Medium - SKU: MQ.8492-21E Composed by MeeAe Cecilia Nam and Theodore Gouvy. Instrument part. 5 pages. E. C. Schirmer Music Company - D...
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Voice and piano - Medium - SKU: MQ.8492-21E Composed by MeeAe Cecilia Nam and Theodore Gouvy. Instrument part. 5 pages. E. C. Schirmer Music Company - Digital #8492-21E. Published by E. C. Schirmer Music Company - Digital (MQ.8492-21E). French.Gouvy was known for writing some of the most beautiful melodies of the Romantic period. His style is a combination of German forms and an early French romantic harmonic structure. His writing for the piano in the songs is totally unified in mood and description with the voice, just as the piano is in Schubert’s songs. The equal partnership of the vocal line and piano interact closely to bring the poetry vividly into life with unimaginable artistic heights and unbridled passion.This volume includes Gouvy songs set to 18 poems of Philippe Desportes (1546–1606), and 18 poems of Moritz Hartmann (1821–1872). The elements of Romantic love poetry, such as enchanting love and its pain, and the personifying of nature, are fluently described with a great sensitivity in both voice and piano. Gouvy’s melody stir up the imagination because of his special treatment of words through a distinguishable and melodious vocal line, and his story telling and poetic treatment and development of the piano accompaniment. His compositional artistry places him in the upper echelons of art-song composers. One should note that Gouvy had a special fondness for the 16th Century poetry of La Pléiade (a group of Renaissance French poets, led by Pièrre de Ronsard (1524–1585). Desportes was truly the heir to Ronsard; however his work, when compared to that of Ronsard, is filled with greater abstraction and greater fluidity. Desportes seems to avoid any of the passionate anger that is occasionally characteristic of La Pléiade. This may be an indication that Desportes lived in a less distressed time. It also seems necessary to point out that he learned much in his early career by copying and studying the earlier works of La Pléiade. This has led some scholars to label him as a plagiarist, but it is important to realize that all the members of La Pléiade copied from each other when they wished to learn something new, and truly understand the style of the other poets in the group. Gouvy’s only choice of poems from his contemporaries, were the works of Moritz Hartmann (1821–1872), a good friend of Gouvy’s. Much of his poetry was strongly political in support of freedom of the individual. He traveled to Leipzig in 1845, but when the authorities discovered a volume of patriotic poems entitled Kelch und Schwert (Chalice and Sword), he fled to Belgium and France. It is at this time that he possibly met Théodore Gouvy. Eighteen poems of Hartmann were translated from German to French by the French poet, Adolph Larmande, of whom very little is known. Pierre Toussaint Adolphe Larmande seems to have been a rather obscure poet and musician. We know that he taught music theory at the Paris Conservatory at the same time Anton Reicha and Michele Carafa were on the faculty. We also know that in 1847 he married an English woman by the name of Marie Caroline Bradley. There are random documents, such as a Certificate of Arrival in London, England, in 1837, but there are no birth and death dates given, and that includes his obituary notice. Contents:18 Sonnets et Chansons de Desportes pour ténor ou soprano et piano, Op. 45 Six poésies allemandes de Moritz Hartmann pour baryton et piano, Op. 21 Douze poésies allemandes de Moritz Hartmann pour ténor et piano, Op. 26 (Poésies françaises d’Adolphe Larmande).
$3.00
Op. 45, No. 4: Prière au sommeil from Songs of Gouvy, V2 (Downloadable)
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Piano, Voix
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INTERMÉDIAIRE
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MeeAe Cecilia Nam and Theodore
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Op. 45, No. 4: Prière a
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E. C. Schirmer Music Company - Digital
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SheetMusicPlus
Voice and piano - Medium - SKU: MQ.8492-04E Composed by MeeAe Cecilia Nam and Theodore Gouvy. Instrument part. 5 pages. E. C. Schirmer Music Company - D...
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Voice and piano - Medium - SKU: MQ.8492-04E Composed by MeeAe Cecilia Nam and Theodore Gouvy. Instrument part. 5 pages. E. C. Schirmer Music Company - Digital #8492-04E. Published by E. C. Schirmer Music Company - Digital (MQ.8492-04E). French.Gouvy was known for writing some of the most beautiful melodies of the Romantic period. His style is a combination of German forms and an early French romantic harmonic structure. His writing for the piano in the songs is totally unified in mood and description with the voice, just as the piano is in Schubert’s songs. The equal partnership of the vocal line and piano interact closely to bring the poetry vividly into life with unimaginable artistic heights and unbridled passion.This volume includes Gouvy songs set to 18 poems of Philippe Desportes (1546–1606), and 18 poems of Moritz Hartmann (1821–1872). The elements of Romantic love poetry, such as enchanting love and its pain, and the personifying of nature, are fluently described with a great sensitivity in both voice and piano. Gouvy’s melody stir up the imagination because of his special treatment of words through a distinguishable and melodious vocal line, and his story telling and poetic treatment and development of the piano accompaniment. His compositional artistry places him in the upper echelons of art-song composers. One should note that Gouvy had a special fondness for the 16th Century poetry of La Pléiade (a group of Renaissance French poets, led by Pièrre de Ronsard (1524–1585). Desportes was truly the heir to Ronsard; however his work, when compared to that of Ronsard, is filled with greater abstraction and greater fluidity. Desportes seems to avoid any of the passionate anger that is occasionally characteristic of La Pléiade. This may be an indication that Desportes lived in a less distressed time. It also seems necessary to point out that he learned much in his early career by copying and studying the earlier works of La Pléiade. This has led some scholars to label him as a plagiarist, but it is important to realize that all the members of La Pléiade copied from each other when they wished to learn something new, and truly understand the style of the other poets in the group. Gouvy’s only choice of poems from his contemporaries, were the works of Moritz Hartmann (1821–1872), a good friend of Gouvy’s. Much of his poetry was strongly political in support of freedom of the individual. He traveled to Leipzig in 1845, but when the authorities discovered a volume of patriotic poems entitled Kelch und Schwert (Chalice and Sword), he fled to Belgium and France. It is at this time that he possibly met Théodore Gouvy. Eighteen poems of Hartmann were translated from German to French by the French poet, Adolph Larmande, of whom very little is known. Pierre Toussaint Adolphe Larmande seems to have been a rather obscure poet and musician. We know that he taught music theory at the Paris Conservatory at the same time Anton Reicha and Michele Carafa were on the faculty. We also know that in 1847 he married an English woman by the name of Marie Caroline Bradley. There are random documents, such as a Certificate of Arrival in London, England, in 1837, but there are no birth and death dates given, and that includes his obituary notice. Contents:18 Sonnets et Chansons de Desportes pour ténor ou soprano et piano, Op. 45 Six poésies allemandes de Moritz Hartmann pour baryton et piano, Op. 21 Douze poésies allemandes de Moritz Hartmann pour ténor et piano, Op. 26 (Poésies françaises d’Adolphe Larmande).
$3.00
Op. 21, No. 4: Dans les bois from Songs of Gouvy, V2 (Downloadable)
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Piano, Voix
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INTERMÉDIAIRE
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MeeAe Cecilia Nam and Theodore
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Op. 21, No. 4: Dans les bois f
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E. C. Schirmer Music Company - Digital
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SheetMusicPlus
Voice and piano - Medium - SKU: MQ.8492-22E Composed by MeeAe Cecilia Nam and Theodore Gouvy. Instrument part. 5 pages. E. C. Schirmer Music Company - D...
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Voice and piano - Medium - SKU: MQ.8492-22E Composed by MeeAe Cecilia Nam and Theodore Gouvy. Instrument part. 5 pages. E. C. Schirmer Music Company - Digital #8492-22E. Published by E. C. Schirmer Music Company - Digital (MQ.8492-22E). French.Gouvy was known for writing some of the most beautiful melodies of the Romantic period. His style is a combination of German forms and an early French romantic harmonic structure. His writing for the piano in the songs is totally unified in mood and description with the voice, just as the piano is in Schubert’s songs. The equal partnership of the vocal line and piano interact closely to bring the poetry vividly into life with unimaginable artistic heights and unbridled passion.This volume includes Gouvy songs set to 18 poems of Philippe Desportes (1546–1606), and 18 poems of Moritz Hartmann (1821–1872). The elements of Romantic love poetry, such as enchanting love and its pain, and the personifying of nature, are fluently described with a great sensitivity in both voice and piano. Gouvy’s melody stir up the imagination because of his special treatment of words through a distinguishable and melodious vocal line, and his story telling and poetic treatment and development of the piano accompaniment. His compositional artistry places him in the upper echelons of art-song composers. One should note that Gouvy had a special fondness for the 16th Century poetry of La Pléiade (a group of Renaissance French poets, led by Pièrre de Ronsard (1524–1585). Desportes was truly the heir to Ronsard; however his work, when compared to that of Ronsard, is filled with greater abstraction and greater fluidity. Desportes seems to avoid any of the passionate anger that is occasionally characteristic of La Pléiade. This may be an indication that Desportes lived in a less distressed time. It also seems necessary to point out that he learned much in his early career by copying and studying the earlier works of La Pléiade. This has led some scholars to label him as a plagiarist, but it is important to realize that all the members of La Pléiade copied from each other when they wished to learn something new, and truly understand the style of the other poets in the group. Gouvy’s only choice of poems from his contemporaries, were the works of Moritz Hartmann (1821–1872), a good friend of Gouvy’s. Much of his poetry was strongly political in support of freedom of the individual. He traveled to Leipzig in 1845, but when the authorities discovered a volume of patriotic poems entitled Kelch und Schwert (Chalice and Sword), he fled to Belgium and France. It is at this time that he possibly met Théodore Gouvy. Eighteen poems of Hartmann were translated from German to French by the French poet, Adolph Larmande, of whom very little is known. Pierre Toussaint Adolphe Larmande seems to have been a rather obscure poet and musician. We know that he taught music theory at the Paris Conservatory at the same time Anton Reicha and Michele Carafa were on the faculty. We also know that in 1847 he married an English woman by the name of Marie Caroline Bradley. There are random documents, such as a Certificate of Arrival in London, England, in 1837, but there are no birth and death dates given, and that includes his obituary notice. Contents:18 Sonnets et Chansons de Desportes pour ténor ou soprano et piano, Op. 45 Six poésies allemandes de Moritz Hartmann pour baryton et piano, Op. 21 Douze poésies allemandes de Moritz Hartmann pour ténor et piano, Op. 26 (Poésies françaises d’Adolphe Larmande).
$3.00
Op. 21, No. 6: Amour brisé from Songs of Gouvy, V2 (Downloadable)
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Piano, Voix
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INTERMÉDIAIRE
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MeeAe Cecilia Nam and Theodore
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Op. 21, No. 6: Amour bris&eacu
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E. C. Schirmer Music Company - Digital
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SheetMusicPlus
Voice and piano - Medium - SKU: MQ.8492-24E Composed by MeeAe Cecilia Nam and Theodore Gouvy. Instrument part. 5 pages. E. C. Schirmer Music Company - D...
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Voice and piano - Medium - SKU: MQ.8492-24E Composed by MeeAe Cecilia Nam and Theodore Gouvy. Instrument part. 5 pages. E. C. Schirmer Music Company - Digital #8492-24E. Published by E. C. Schirmer Music Company - Digital (MQ.8492-24E). French.Gouvy was known for writing some of the most beautiful melodies of the Romantic period. His style is a combination of German forms and an early French romantic harmonic structure. His writing for the piano in the songs is totally unified in mood and description with the voice, just as the piano is in Schubert’s songs. The equal partnership of the vocal line and piano interact closely to bring the poetry vividly into life with unimaginable artistic heights and unbridled passion.This volume includes Gouvy songs set to 18 poems of Philippe Desportes (1546–1606), and 18 poems of Moritz Hartmann (1821–1872). The elements of Romantic love poetry, such as enchanting love and its pain, and the personifying of nature, are fluently described with a great sensitivity in both voice and piano. Gouvy’s melody stir up the imagination because of his special treatment of words through a distinguishable and melodious vocal line, and his story telling and poetic treatment and development of the piano accompaniment. His compositional artistry places him in the upper echelons of art-song composers. One should note that Gouvy had a special fondness for the 16th Century poetry of La Pléiade (a group of Renaissance French poets, led by Pièrre de Ronsard (1524–1585). Desportes was truly the heir to Ronsard; however his work, when compared to that of Ronsard, is filled with greater abstraction and greater fluidity. Desportes seems to avoid any of the passionate anger that is occasionally characteristic of La Pléiade. This may be an indication that Desportes lived in a less distressed time. It also seems necessary to point out that he learned much in his early career by copying and studying the earlier works of La Pléiade. This has led some scholars to label him as a plagiarist, but it is important to realize that all the members of La Pléiade copied from each other when they wished to learn something new, and truly understand the style of the other poets in the group. Gouvy’s only choice of poems from his contemporaries, were the works of Moritz Hartmann (1821–1872), a good friend of Gouvy’s. Much of his poetry was strongly political in support of freedom of the individual. He traveled to Leipzig in 1845, but when the authorities discovered a volume of patriotic poems entitled Kelch und Schwert (Chalice and Sword), he fled to Belgium and France. It is at this time that he possibly met Théodore Gouvy. Eighteen poems of Hartmann were translated from German to French by the French poet, Adolph Larmande, of whom very little is known. Pierre Toussaint Adolphe Larmande seems to have been a rather obscure poet and musician. We know that he taught music theory at the Paris Conservatory at the same time Anton Reicha and Michele Carafa were on the faculty. We also know that in 1847 he married an English woman by the name of Marie Caroline Bradley. There are random documents, such as a Certificate of Arrival in London, England, in 1837, but there are no birth and death dates given, and that includes his obituary notice. Contents:18 Sonnets et Chansons de Desportes pour ténor ou soprano et piano, Op. 45 Six poésies allemandes de Moritz Hartmann pour baryton et piano, Op. 21 Douze poésies allemandes de Moritz Hartmann pour ténor et piano, Op. 26 (Poésies françaises d’Adolphe Larmande).
$3.00
Op. 1, No. 12: La nuit après l’orage from Songs of Gouvy, V2 (Downloadable)
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Piano, Voix
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INTERMÉDIAIRE
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MeeAe Cecilia Nam and Theodore
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Op. 1, No. 12: La nuit apr&egr
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E. C. Schirmer Music Company - Digital
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SheetMusicPlus
Voice and piano - Medium - SKU: MQ.8492-36E Composed by MeeAe Cecilia Nam and Theodore Gouvy. Instrument part. 5 pages. E. C. Schirmer Music Company - D...
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Voice and piano - Medium - SKU: MQ.8492-36E Composed by MeeAe Cecilia Nam and Theodore Gouvy. Instrument part. 5 pages. E. C. Schirmer Music Company - Digital #8492-36E. Published by E. C. Schirmer Music Company - Digital (MQ.8492-36E). French.Gouvy was known for writing some of the most beautiful melodies of the Romantic period. His style is a combination of German forms and an early French romantic harmonic structure. His writing for the piano in the songs is totally unified in mood and description with the voice, just as the piano is in Schubert’s songs. The equal partnership of the vocal line and piano interact closely to bring the poetry vividly into life with unimaginable artistic heights and unbridled passion.This volume includes Gouvy songs set to 18 poems of Philippe Desportes (1546–1606), and 18 poems of Moritz Hartmann (1821–1872). The elements of Romantic love poetry, such as enchanting love and its pain, and the personifying of nature, are fluently described with a great sensitivity in both voice and piano. Gouvy’s melody stir up the imagination because of his special treatment of words through a distinguishable and melodious vocal line, and his story telling and poetic treatment and development of the piano accompaniment. His compositional artistry places him in the upper echelons of art-song composers. One should note that Gouvy had a special fondness for the 16th Century poetry of La Pléiade (a group of Renaissance French poets, led by Pièrre de Ronsard (1524–1585). Desportes was truly the heir to Ronsard; however his work, when compared to that of Ronsard, is filled with greater abstraction and greater fluidity. Desportes seems to avoid any of the passionate anger that is occasionally characteristic of La Pléiade. This may be an indication that Desportes lived in a less distressed time. It also seems necessary to point out that he learned much in his early career by copying and studying the earlier works of La Pléiade. This has led some scholars to label him as a plagiarist, but it is important to realize that all the members of La Pléiade copied from each other when they wished to learn something new, and truly understand the style of the other poets in the group. Gouvy’s only choice of poems from his contemporaries, were the works of Moritz Hartmann (1821–1872), a good friend of Gouvy’s. Much of his poetry was strongly political in support of freedom of the individual. He traveled to Leipzig in 1845, but when the authorities discovered a volume of patriotic poems entitled Kelch und Schwert (Chalice and Sword), he fled to Belgium and France. It is at this time that he possibly met Théodore Gouvy. Eighteen poems of Hartmann were translated from German to French by the French poet, Adolph Larmande, of whom very little is known. Pierre Toussaint Adolphe Larmande seems to have been a rather obscure poet and musician. We know that he taught music theory at the Paris Conservatory at the same time Anton Reicha and Michele Carafa were on the faculty. We also know that in 1847 he married an English woman by the name of Marie Caroline Bradley. There are random documents, such as a Certificate of Arrival in London, England, in 1837, but there are no birth and death dates given, and that includes his obituary notice. Contents:18 Sonnets et Chansons de Desportes pour ténor ou soprano et piano, Op. 45 Six poésies allemandes de Moritz Hartmann pour baryton et piano, Op. 21 Douze poésies allemandes de Moritz Hartmann pour ténor et piano, Op. 26 (Poésies françaises d’Adolphe Larmande).
$3.00
Op. 45, No. 7: À Diane from Songs of Gouvy, V2 (Downloadable)
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Piano, Voix
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INTERMÉDIAIRE
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MeeAe Cecilia Nam and Theodore
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Op. 45, No. 7: À Diane
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E. C. Schirmer Music Company - Digital
#
SheetMusicPlus
Voice and piano - Medium - SKU: MQ.8492-07E Composed by MeeAe Cecilia Nam and Theodore Gouvy. Instrument part. 5 pages. E. C. Schirmer Music Company - D...
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Voice and piano - Medium - SKU: MQ.8492-07E Composed by MeeAe Cecilia Nam and Theodore Gouvy. Instrument part. 5 pages. E. C. Schirmer Music Company - Digital #8492-07E. Published by E. C. Schirmer Music Company - Digital (MQ.8492-07E). French.Gouvy was known for writing some of the most beautiful melodies of the Romantic period. His style is a combination of German forms and an early French romantic harmonic structure. His writing for the piano in the songs is totally unified in mood and description with the voice, just as the piano is in Schubert’s songs. The equal partnership of the vocal line and piano interact closely to bring the poetry vividly into life with unimaginable artistic heights and unbridled passion.This volume includes Gouvy songs set to 18 poems of Philippe Desportes (1546–1606), and 18 poems of Moritz Hartmann (1821–1872). The elements of Romantic love poetry, such as enchanting love and its pain, and the personifying of nature, are fluently described with a great sensitivity in both voice and piano. Gouvy’s melody stir up the imagination because of his special treatment of words through a distinguishable and melodious vocal line, and his story telling and poetic treatment and development of the piano accompaniment. His compositional artistry places him in the upper echelons of art-song composers. One should note that Gouvy had a special fondness for the 16th Century poetry of La Pléiade (a group of Renaissance French poets, led by Pièrre de Ronsard (1524–1585). Desportes was truly the heir to Ronsard; however his work, when compared to that of Ronsard, is filled with greater abstraction and greater fluidity. Desportes seems to avoid any of the passionate anger that is occasionally characteristic of La Pléiade. This may be an indication that Desportes lived in a less distressed time. It also seems necessary to point out that he learned much in his early career by copying and studying the earlier works of La Pléiade. This has led some scholars to label him as a plagiarist, but it is important to realize that all the members of La Pléiade copied from each other when they wished to learn something new, and truly understand the style of the other poets in the group. Gouvy’s only choice of poems from his contemporaries, were the works of Moritz Hartmann (1821–1872), a good friend of Gouvy’s. Much of his poetry was strongly political in support of freedom of the individual. He traveled to Leipzig in 1845, but when the authorities discovered a volume of patriotic poems entitled Kelch und Schwert (Chalice and Sword), he fled to Belgium and France. It is at this time that he possibly met Théodore Gouvy. Eighteen poems of Hartmann were translated from German to French by the French poet, Adolph Larmande, of whom very little is known. Pierre Toussaint Adolphe Larmande seems to have been a rather obscure poet and musician. We know that he taught music theory at the Paris Conservatory at the same time Anton Reicha and Michele Carafa were on the faculty. We also know that in 1847 he married an English woman by the name of Marie Caroline Bradley. There are random documents, such as a Certificate of Arrival in London, England, in 1837, but there are no birth and death dates given, and that includes his obituary notice. Contents:18 Sonnets et Chansons de Desportes pour ténor ou soprano et piano, Op. 45 Six poésies allemandes de Moritz Hartmann pour baryton et piano, Op. 21 Douze poésies allemandes de Moritz Hartmann pour ténor et piano, Op. 26 (Poésies françaises d’Adolphe Larmande).
$3.00
Op. 45, No. 13: Des beaux yeux de ma Diane from Songs of Gouvy, V2 (Downloadable)
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Piano, Voix
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INTERMÉDIAIRE
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MeeAe Cecilia Nam and Theodore
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Op. 45, No. 13: Des beaux yeux
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E. C. Schirmer Music Company - Digital
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SheetMusicPlus
Voice and piano - Medium - SKU: MQ.8492-13E Composed by MeeAe Cecilia Nam and Theodore Gouvy. Instrument part. 5 pages. E. C. Schirmer Music Company - D...
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Voice and piano - Medium - SKU: MQ.8492-13E Composed by MeeAe Cecilia Nam and Theodore Gouvy. Instrument part. 5 pages. E. C. Schirmer Music Company - Digital #8492-13E. Published by E. C. Schirmer Music Company - Digital (MQ.8492-13E). French.Gouvy was known for writing some of the most beautiful melodies of the Romantic period. His style is a combination of German forms and an early French romantic harmonic structure. His writing for the piano in the songs is totally unified in mood and description with the voice, just as the piano is in Schubert’s songs. The equal partnership of the vocal line and piano interact closely to bring the poetry vividly into life with unimaginable artistic heights and unbridled passion.This volume includes Gouvy songs set to 18 poems of Philippe Desportes (1546–1606), and 18 poems of Moritz Hartmann (1821–1872). The elements of Romantic love poetry, such as enchanting love and its pain, and the personifying of nature, are fluently described with a great sensitivity in both voice and piano. Gouvy’s melody stir up the imagination because of his special treatment of words through a distinguishable and melodious vocal line, and his story telling and poetic treatment and development of the piano accompaniment. His compositional artistry places him in the upper echelons of art-song composers. One should note that Gouvy had a special fondness for the 16th Century poetry of La Pléiade (a group of Renaissance French poets, led by Pièrre de Ronsard (1524–1585). Desportes was truly the heir to Ronsard; however his work, when compared to that of Ronsard, is filled with greater abstraction and greater fluidity. Desportes seems to avoid any of the passionate anger that is occasionally characteristic of La Pléiade. This may be an indication that Desportes lived in a less distressed time. It also seems necessary to point out that he learned much in his early career by copying and studying the earlier works of La Pléiade. This has led some scholars to label him as a plagiarist, but it is important to realize that all the members of La Pléiade copied from each other when they wished to learn something new, and truly understand the style of the other poets in the group. Gouvy’s only choice of poems from his contemporaries, were the works of Moritz Hartmann (1821–1872), a good friend of Gouvy’s. Much of his poetry was strongly political in support of freedom of the individual. He traveled to Leipzig in 1845, but when the authorities discovered a volume of patriotic poems entitled Kelch und Schwert (Chalice and Sword), he fled to Belgium and France. It is at this time that he possibly met Théodore Gouvy. Eighteen poems of Hartmann were translated from German to French by the French poet, Adolph Larmande, of whom very little is known. Pierre Toussaint Adolphe Larmande seems to have been a rather obscure poet and musician. We know that he taught music theory at the Paris Conservatory at the same time Anton Reicha and Michele Carafa were on the faculty. We also know that in 1847 he married an English woman by the name of Marie Caroline Bradley. There are random documents, such as a Certificate of Arrival in London, England, in 1837, but there are no birth and death dates given, and that includes his obituary notice. Contents:18 Sonnets et Chansons de Desportes pour ténor ou soprano et piano, Op. 45 Six poésies allemandes de Moritz Hartmann pour baryton et piano, Op. 21 Douze poésies allemandes de Moritz Hartmann pour ténor et piano, Op. 26 (Poésies françaises d’Adolphe Larmande).
$3.00
Op. 45, No. 8: Mon bel et doux tourment from Songs of Gouvy, V2 (Downloadable)
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Piano, Voix
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INTERMÉDIAIRE
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MeeAe Cecilia Nam and Theodore
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Op. 45, No. 8: Mon bel et doux
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E. C. Schirmer Music Company - Digital
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SheetMusicPlus
Voice and piano - Medium - SKU: MQ.8492-08E Composed by MeeAe Cecilia Nam and Theodore Gouvy. Instrument part. 5 pages. E. C. Schirmer Music Company - D...
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Voice and piano - Medium - SKU: MQ.8492-08E Composed by MeeAe Cecilia Nam and Theodore Gouvy. Instrument part. 5 pages. E. C. Schirmer Music Company - Digital #8492-08E. Published by E. C. Schirmer Music Company - Digital (MQ.8492-08E). French.Gouvy was known for writing some of the most beautiful melodies of the Romantic period. His style is a combination of German forms and an early French romantic harmonic structure. His writing for the piano in the songs is totally unified in mood and description with the voice, just as the piano is in Schubert’s songs. The equal partnership of the vocal line and piano interact closely to bring the poetry vividly into life with unimaginable artistic heights and unbridled passion.This volume includes Gouvy songs set to 18 poems of Philippe Desportes (1546–1606), and 18 poems of Moritz Hartmann (1821–1872). The elements of Romantic love poetry, such as enchanting love and its pain, and the personifying of nature, are fluently described with a great sensitivity in both voice and piano. Gouvy’s melody stir up the imagination because of his special treatment of words through a distinguishable and melodious vocal line, and his story telling and poetic treatment and development of the piano accompaniment. His compositional artistry places him in the upper echelons of art-song composers. One should note that Gouvy had a special fondness for the 16th Century poetry of La Pléiade (a group of Renaissance French poets, led by Pièrre de Ronsard (1524–1585). Desportes was truly the heir to Ronsard; however his work, when compared to that of Ronsard, is filled with greater abstraction and greater fluidity. Desportes seems to avoid any of the passionate anger that is occasionally characteristic of La Pléiade. This may be an indication that Desportes lived in a less distressed time. It also seems necessary to point out that he learned much in his early career by copying and studying the earlier works of La Pléiade. This has led some scholars to label him as a plagiarist, but it is important to realize that all the members of La Pléiade copied from each other when they wished to learn something new, and truly understand the style of the other poets in the group. Gouvy’s only choice of poems from his contemporaries, were the works of Moritz Hartmann (1821–1872), a good friend of Gouvy’s. Much of his poetry was strongly political in support of freedom of the individual. He traveled to Leipzig in 1845, but when the authorities discovered a volume of patriotic poems entitled Kelch und Schwert (Chalice and Sword), he fled to Belgium and France. It is at this time that he possibly met Théodore Gouvy. Eighteen poems of Hartmann were translated from German to French by the French poet, Adolph Larmande, of whom very little is known. Pierre Toussaint Adolphe Larmande seems to have been a rather obscure poet and musician. We know that he taught music theory at the Paris Conservatory at the same time Anton Reicha and Michele Carafa were on the faculty. We also know that in 1847 he married an English woman by the name of Marie Caroline Bradley. There are random documents, such as a Certificate of Arrival in London, England, in 1837, but there are no birth and death dates given, and that includes his obituary notice. Contents:18 Sonnets et Chansons de Desportes pour ténor ou soprano et piano, Op. 45 Six poésies allemandes de Moritz Hartmann pour baryton et piano, Op. 21 Douze poésies allemandes de Moritz Hartmann pour ténor et piano, Op. 26 (Poésies françaises d’Adolphe Larmande).
$3.00
My Favorite Children's Songs - A Pre-staff Notation Collection & Method Book
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Piano, Voix
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DÉBUTANT
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Elizabeth Essex
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Elizabeth Essex
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My Favorite Children's Songs -
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Elizabeth Essex
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SheetMusicPlus
Piano,Vocal,Voice - Level 1 - SKU: A0.920668 Composed by Elizabeth Essex. Arranged by Elizabeth Essex. Children,Instructional,Standards. Score. 32 pages...
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Piano,Vocal,Voice - Level 1 - SKU: A0.920668 Composed by Elizabeth Essex. Arranged by Elizabeth Essex. Children,Instructional,Standards. Score. 32 pages. Elizabeth Essex #6716683. Published by Elizabeth Essex (A0.920668). My Favorite Children's Songs is a method book and collection of songs popular with young children, best used with beginners ages 5-7, although selections can be used with any age. Songs are arranged in middle C position using a combination of pre-staff Finger Number Notation and then Alpha Notation, sequenced in order of difficulty. The book introduces new kinds of notes, rests, and the names of new white keys along the way. The first two songs are on the black keys for a bit of extra practice finding finger numbers; the rest of the songs are arranged entirely on the white keys, in or near middle C position.Students will learn about: names of the white keys eighth note pairs quarter note half note dotted half note whole note quarter rest half rest repeat bar tie Table of Contents: Right Way Up (black keys) Rain, Rain, Go Away (black keys) Hot Cross Buns Mary Had a Little Lamb Twinkle, Twinkle Little Star Ode to Joy Cuckoo When the Saints Go Marching In Ring Around the Rosie This Old Man Rockin’ Clocktower Chimes Hush, Little Baby B-I-N-G-O! Little Bunny Foo Foo Row, row, row your Boat Eensie Weensie Spider Head and Shoulders, Knees & Toes The Farmer and the Dell La Lluvia Brother John La Cucaracha Rock-a-Bye ** NOTE: For best results, print double-sided, landscape, and staple-bind down the left side like a book.**
$7.99
i thank You God, Song Cycle for Mezzo Soprano and piano
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Piano, Voix
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AVANCÉ
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Liz Nedela
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i thank You God, Song Cycle fo
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Liz Nedela
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SheetMusicPlus
Piano,Vocal,Voice - Level 5 - SKU: A0.1419026 Composed by Liz Nedela. 20th Century,Christian,Classical,Contemporary,Religious. Score. 24 pages. Liz Nede...
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Piano,Vocal,Voice - Level 5 - SKU: A0.1419026 Composed by Liz Nedela. 20th Century,Christian,Classical,Contemporary,Religious. Score. 24 pages. Liz Nedela #1000466. Published by Liz Nedela (A0.1419026). This piece is a Song Cycle of three songs. The titles of the songs are lines from the poem. The poem is by e.e. cummings, used with permission. Each song emphasizes portions of the complete poem. The composer's intent is to place the same emphasis as Cummings portrayed in his recitation, a copy of which is online; see the YouTube link.NOTE: The mp3 uses samples of each of the three songs, using this guide:Song #1: Beginning of recording to #1:37; Measures 1-41 of the scoreSong #2: From #1:57-3:28 of recording; Measures 1-46 of the scoreSong #3: From #3:43-end of recording; Measures 1-57 of the score 1. a true blue dream of sky, states the entire poem, with emphasis as portrayed inCummings recitation. The voice is lyrical and theatrical, with spoken words andhumming, as well as singing. The accompaniment implicates solidity, predictability,strength of the nature of God; but also wonderment, freedom and being light-hearted.The composer chose to title this song using a line in the poem, rather than the mostused title — which begins the cycle of key elements of the poem used to title andcomprise songs 2 and 3 — thereby placing importance as Cummings recited.2. of life and of love and wings, is more lyrical and lighter in nature than song #1. This song emphasis God’s creations, and seemingly joy He displayed while creating them, giving them wings of freedom for life and love.3. unimaginable You, is more reflective, using a modal tone — all to emphasize thereactions of Cummings to the wonderment and magnitude of God.  He concludes with:(and now the ears of my ears awake andnow the eyes of my eyes are opened)Also please note: The price includes permission to make two copies of the pdf.
$25.00
DIRECTIONS FOR SINGING, Text John Wesley Bass Baritone & Piano
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Piano, Voix
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AVANCÉ
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Text: John Wesley, - Digital K
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Original composition
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DIRECTIONS FOR SINGING, Text J
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Francis Osentowski
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SheetMusicPlus
Piano,Vocal,Voice - Level 5 - SKU: A0.1082668 By Text: John Wesley, - Digital KB performance plus live by Blake Davidson. By Francis Osentowski, DMA Uni...
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Piano,Vocal,Voice - Level 5 - SKU: A0.1082668 By Text: John Wesley, - Digital KB performance plus live by Blake Davidson. By Francis Osentowski, DMA University of North Texas. Arranged by Original composition. 20th Century,Contemporary,Praise & Worship,Spiritual. Score. 62 pages. Francis Osentowski #686837. Published by Francis Osentowski (A0.1082668). DIRECTIONS FOR SINGING is my setting of the well-known text by John Wesley giving a litany of advice to congregational singers. My colleague at North Lake College was an outstanding bass/baritone and a church choir director. He handed me a copy of Wesley's directions for singers...found in many old hymnals...and we both enjoyed good laughs at how accurate the words are to modern congregations. My song is a type of theater presentation...or a short cantata and portrays the contrasting emotions in the text. For example: Sing lustily and with good courage ...singing the songs of Satan! Will be a dramatic high point! But, Wesley's beautiful ending makes a great conclusion. Above all sing spiritually. Have and eye to God in every word you sing Directions requires a good pianist but the voice part doesn't require a huge range. Note: there is a Mezzo Soprano score enclosed.
$14.99
Life's Garden - medium voice-piano
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Piano, Voix
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INTERMÉDIAIRE
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Carrie Jacobs-Bond
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Phil Beaman
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Life's Garden - medium voice-p
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Phil Beaman
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SheetMusicPlus
Piano,Vocal,Voice - Level 3 - SKU: A0.1218723 Composed by Carrie Jacobs-Bond. Arranged by Phil Beaman. Classical,Romantic Period,Wedding. Score. 4 pages...
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Piano,Vocal,Voice - Level 3 - SKU: A0.1218723 Composed by Carrie Jacobs-Bond. Arranged by Phil Beaman. Classical,Romantic Period,Wedding. Score. 4 pages. Phil Beaman #815161. Published by Phil Beaman (A0.1218723). Life's Garden is an arrangement of the 1914 hit pop song by Carrie Jacobs-Bond. Â I take this original melody and lyrics and put them to an entirely new setting of music. Â The piece grows, starting with a single note unaccompanied melody and each line adds more depth and texture as the piece continues to build to the end with a dramatic key change on the last phrase. Â The poetic Garden of Life is where all of the desirable characteristics of an ideal person (and love) grows; like sympathy, devotion, etc. Â This is a timeless art song that is perfect for any wedding today, whether vintage or modern. Â Â Â 4 page score; 1:40 minutesI have published it in 3 different vocal ranges on this site: Â High - low E to high G#; Medium - low Bb to high D; Low - low G to high B. Â The MP3 recording is of the Medium Voice version. Â Vocal part is Intermediate level, while Piano part is Advanced Intermediate level. Â This piece is also found in my book, Vintage Wedding Songs, a collection of 5 songs which is also available on this site.
$4.50
Life's Garden - high voice-piano
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Piano, Voix
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INTERMÉDIAIRE
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Carrie Jacobs-Bond
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Phil Beaman
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Life's Garden - high voice-pia
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Phil Beaman
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SheetMusicPlus
Piano,Vocal,Voice - Level 3 - SKU: A0.1218720 Composed by Carrie Jacobs-Bond. Arranged by Phil Beaman. Classical,Romantic Period,Wedding. Score. 4 pages...
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Piano,Vocal,Voice - Level 3 - SKU: A0.1218720 Composed by Carrie Jacobs-Bond. Arranged by Phil Beaman. Classical,Romantic Period,Wedding. Score. 4 pages. Phil Beaman #815157. Published by Phil Beaman (A0.1218720). Life's Garden is an arrangement of the 1914 hit pop song by Carrie Jacobs-Bond. Â I take this original melody and lyrics and put them to an entirely new setting of music. Â The piece grows, starting with a single note unaccompanied melody and each line adds more depth and texture as the piece continues to build to the end with a dramatic key change on the last phrase. Â The poetic Garden of Life is where all of the desirable characteristics of an ideal person (and love) grows; like sympathy, devotion, etc. Â This is a timeless art song that is perfect for any wedding today, whether vintage or modern. Â Â Â 4 page score; 1:40 minutesI have published it in 3 different vocal ranges on this site: Â High - low E to high G#; Medium - low Bb to high D; Low - low G to high B. Â The MP3 recording is of the Medium Voice version. Â Vocal part is Intermediate level, while Piano part is Advanced Intermediate level. Â This piece is also found in my book, Vintage Wedding Songs, a collection of 5 songs which is also available on this site.
$4.50
Four Keats Songs
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Piano, Voix
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INTERMÉDIAIRE/AVANCÉ
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Contemporain
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William Hawley
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Four Keats Songs
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William Hawley
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SheetMusicPlus
Piano,Vocal,Voice - Level 4 - SKU: A0.889665 Composed by William Hawley. Contemporary. Score. 11 pages. William Hawley #3388741. Published by William Ha...
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Piano,Vocal,Voice - Level 4 - SKU: A0.889665 Composed by William Hawley. Contemporary. Score. 11 pages. William Hawley #3388741. Published by William Hawley (A0.889665). William Hawley's early Four Keats Songs are settings of lyric poems by John Keats composed for Soprano Joyce Andrews in 1984. The Audio clip is of the full set of songs, edited from the composer's private recording of the first rehearsals by Joyce Andrews, Soprano, and Neal Goren, Piano (New York, 1985). The final notes of the last song in the Soprano (a major ninth) was subsequently corrected by the composer to the tonic in the score. Also available at SMP Press is the live recording of the World Premiere performance of the work, with Joyce Andrews and pianist Beverly Hassel. Total duration of the recording included with this score: 5'50. ASCAP https://williamhawley.net
$3.99
The Hand of You - medium voice-piano
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Piano, Voix
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INTERMÉDIAIRE
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Carrie Jacobs-Bond
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Phil Beaman
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The Hand of You - medium voice
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Phil Beaman
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SheetMusicPlus
Piano,Vocal,Voice - Level 3 - SKU: A0.1218745 Composed by Carrie Jacobs-Bond. Arranged by Phil Beaman. Classical,New Age,Romantic Period,Wedding. Score....
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Piano,Vocal,Voice - Level 3 - SKU: A0.1218745 Composed by Carrie Jacobs-Bond. Arranged by Phil Beaman. Classical,New Age,Romantic Period,Wedding. Score. 4 pages. Phil Beaman #815182. Published by Phil Beaman (A0.1218745). The Hand of You is an arrangement of the 1920 hit pop song by Carrie Jacobs-Bond. Â The lyrics are a tender love story about how throughout our relationship everything is fine as long as I can touch the hand of you. Â In order to emphasize this simple and powerful emotion, for the first verse I simplified the original ballad's thick chords into a more shaped and expressive two part writing, just single notes in each hand; then for the second verse I did a reharmonization of the melody, adding some simple harmony and octaves for the climax; then back to two part for a slower, softer ending. Â I also wrote a new slow introductory section with my own lyrics and melody that is based on what follows. Â An incredibly beautiful piece, this is perfect for any wedding today, whether vintage or modern. Â 4 page score; 2:15 minutesI have published it in 3 different vocal ranges on this site: Â High - low E to high F; Medium - middle C to high D; Low - low A to high B. Â The MP3 recording is of the Medium Voice version. Â This piece is also found in my book, Vintage Wedding Songs, a collection of 5 songs which is also available on this site.
$5.25
In My Craft Or Sullen Art
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Piano, Voix
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AVANCÉ
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Lorna Paterson
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In My Craft Or Sullen Art
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Lorna E. Paterson
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SheetMusicPlus
Piano,Vocal,Voice - Level 5 - SKU: A0.1096677 Composed by Lorna Paterson. 20th Century,Classical,Contemporary,Contest,Festival,Opera. Score. 12 pages. L...
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Piano,Vocal,Voice - Level 5 - SKU: A0.1096677 Composed by Lorna Paterson. 20th Century,Classical,Contemporary,Contest,Festival,Opera. Score. 12 pages. Lorna E. Paterson #700666. Published by Lorna E. Paterson (A0.1096677). The Dylan Thomas Songs by Lorna Paterson are a song cycle of three songs: Elegy, In My Craft Or Sullen Art and Do Not Go Gentle Into That Good Night. These advanced level art songs for high voice and piano may be performed individually or as a group. Dramatic, emotional and powerful describe the expressive qualities of both the voice and piano parts. Program notes and parts for both voice and piano are included in digital download. www.lornapaterson.com.
$3.50
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5 Note Songs for Piano