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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
A Song for All Time
Non classifié
2 327
Piano & claviers
Piano seul
1 126
Piano, Voix
769
Piano Facile
608
Piano, Voix et Guitare
311
Instruments en Do
182
Accompagnement Piano
162
Piano grosses notes
58
Orgue
46
Piano Trio: piano, violon, violoncelle
41
1 Piano, 4 mains
19
2 Pianos, 4 mains
16
Piano Quatuor: piano, violon, alto, violoncelle
11
Accordéon
4
Piano Quatuor: piano, 2 violons, violoncelle
3
Piano Quintette: piano, 2 violons, alto, violoncelle
3
2 Pianos, 8 mains
2
Ensemble d'Accordéons
1
1 Piano, 6 mains
1
Piano (partie séparée)
1
+ 14 instrumentations
Retracter
Guitares
Guitare notes et tablatures
107
Guitare
75
Ukulele
37
Ligne De Mélodie, (Paroles) et Accords
31
Basse electrique
27
Mandoline
22
2 Guitares (duo)
13
4 Guitares (Quatuor)
8
Banjo
6
Dulcimer
5
Paroles et Accords
3
Ensemble de guitares
3
Piano, Guitare (duo)
3
3 Guitares (trio)
2
Guitare, Violon, Violoncelle (trio)
1
+ 10 instrumentations
Retracter
Voix
Chorale SATB
594
Chorale 3 parties
212
Chorale 2 parties
180
Chorale TTBB
119
Chorale SSAA
94
Chorale Unison
89
Voix Tenor, Piano
53
Voix Alto, Piano
32
Voix duo, Piano
32
Voix Soprano, Piano
32
Voix seule
23
Voix duo
19
Voix Baryton, Piano
16
Voix haute
15
Voix Tenor
7
Voix moyenne, Piano
5
Voix Soprano
2
Chorale SSAATTBB
2
Soli, choeur mixte et accompagnement
1
Chorale
1
+ 15 instrumentations
Retracter
Vents
2 Saxophones (duo)
289
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
224
Quintette de Saxophone: 5 saxophones
187
Clarinette et Piano
181
Quatuor de Saxophones: 4 saxophones
170
Hautbois, Piano (duo)
170
Flûte traversière et Piano
159
Saxophone Alto et Piano
143
Flûte, Hautbois, Clarinette, Basson
142
Clarinette
136
2 Flûtes traversières (duo)
129
Flûte traversière
119
Saxophone Alto
112
Saxophone, Clarinette (duo)
109
2 Clarinettes (duo)
109
Saxophone Tenor et Piano
92
Saxophone Soprano et Piano
85
Saxophone (partie séparée)
78
Quatuor de Clarinettes: 4 clarinettes
74
Saxophone Tenor
71
Clarinette, Violon (duo)
70
2 Hautbois (duo)
66
Flûte, Clarinette (duo)
64
Saxophone Baryton, Piano
61
Hautbois (partie séparée)
61
Clarinette, Trompette (duo)
58
Hautbois, Basson (duo)
54
Hautbois, Clarinette (duo)
49
Hautbois
45
Clarinette et Alto
40
Flûte, Saxophone (duo)
37
Flûte, Violon
37
Hautbois, Flûte
35
Cor anglais, Piano
33
Flûte, Trompette (duo)
28
Ensemble de Clarinettes
26
Cor Anglais
25
Clarinette Basse, Piano
25
Quatuor de Flûtes : 4 flûtes
25
Quintette de Clarinettes: 5 clarinettes
23
3 Saxophones (trio)
22
Flûte, Alto (duo)
18
Ensemble de saxophones
17
Quintette de Flûte : 5 flûtes
17
Hautbois, Violoncelle
15
3 Clarinettes (trio)
14
Flûte à bec Soprano
14
Saxophone Soprano
13
Flûte à Bec
12
Flûte et Guitare
11
Ensemble de Flûtes
11
Saxophone Baryton
10
Trio de Flûtes: 3 flûtes
9
Flûte, Clarinette, Cor, Basson (Quartet)
9
2 Flûte à bec (duo)
8
Clarinette, Guitare (duo)
8
Flûte, Violon, Piano
8
Flûte à bec Alto
7
Quatuor de Flûtes à bec
7
Flûte, Hautbois (duo)
7
Flûte, Hautbois, Clarinette (trio)
6
Flûte, Clarinette et Basson
5
Hautbois, Clarinette, Basson (trio d'anches)
5
Flûte, Hautbois, Piano (trio)
5
Clarinette, Basson (duo)
4
Clarinette, Violoncelle (duo)
4
Ocarina
4
Piccolo
4
2 Flûtes traversières, Piano
4
Flûte, Hautbois, Basson
4
Ensemble De Flûte à bec
3
Clarinette, Harpe (duo)
3
Flute (partie séparée)
3
Clarinette (partie séparée)
3
Flûte, Violoncelle, Piano (trio)
3
Flûte irlandaise
3
5 Flûtes à bec
2
Flûte à bec Soprano, Piano
2
Flûte, Basson et Piano
2
Clarinette Basse
2
2 Clarinettes, Piano
2
Hautbois et alto (duo)
2
Hautbois, violon (duo)
2
Flûte, Violon et Violoncelle
2
Ensemble de Hautbois
1
Flûte, Alto et Piano
1
Clarinette, Contrebasse (duo)
1
Flûte à bec Alto, Piano
1
Flûte, Violoncelle
1
Harmonica
1
2 Cors Anglais Et Pianoforte
1
Cor anglais, Guitare (duo)
1
Flûte et Trio à cordes
1
2 Hautbois, Piano
1
Flûte, Violon, Violoncelle et Piano
1
Saxophone et Guitare
1
Hautbois, Guitare (duo)
1
Piccolo, Piano
1
Saxophone et Piano
1
Cor anglais et Harpe (duo)
1
Clarinette, Violoncelle, Piano (trio)
1
+ 96 instrumentations
Retracter
Cuivres
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
300
Trompette, Piano
156
Trombone et Piano
149
Cor et Piano
139
Trompette
135
Quatuor de Cuivres : 2 trompettes, trombone, tuba
100
Trombone
88
Quatuor de Cuivres
83
Tuba et Piano
77
Trompette, Saxophone (duo)
75
2 Trombones (duo)
69
2 Trompettes (duo)
69
Cor
67
Tuba
61
Trompette, Trombone (duo)
49
Quatuor de Cuivres: 2 trompettes, Cor, trombone
36
Cor anglais, Piano
33
Euphonium, Piano (duo)
26
Cor Anglais
25
2 Cors (duo)
21
Trompette (partie séparée)
16
Ensemble de Trombones
12
Quatuor de cuivres: 4 cors
12
Trompette, Cor (duo)
9
Ensemble de Trompettes
9
2 Tubas (duo)
8
Quatuor de cuivres: 4 trombones
6
Euphonium
6
Trio de Cuivres
5
Quatuor de cuivres: 4 trompettes
5
Tuba et Orgue
4
Cor (partie séparée)
3
Ensemble de Cors
3
3 Trombones (trio)
3
Trombone basse
3
4 Tubas
2
Trombone basse et Piano
2
3 Trompettes (trio)
2
Trombone (partie séparée)
2
2 Euphoniums et 2 Tubas
1
Trompette, Euphonium (duo)
1
2 Cors Anglais Et Pianoforte
1
Cor anglais, Guitare (duo)
1
Euphonium, Tuba (duo)
1
Ensemble de Tubas
1
Trompette et Guitare
1
2 Cors, Piano
1
Tuba (partie séparée)
1
Quatuor de cuivres: 2 trompettes, 2 trombones
1
Cor anglais et Harpe (duo)
1
+ 45 instrumentations
Retracter
Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
426
Violon et Piano
253
Alto, Piano
189
Violon
176
Violoncelle, Piano
173
Violon, Violoncelle (duo)
152
Violoncelle
151
Quintette à cordes: 2 violons, alto, violoncelle, basse
121
2 Violons (duo)
94
Alto seul
85
Trio à Cordes: violon, alto, violoncelle
74
Trio à Cordes: 2 violons, violoncelle
72
2 Violoncelles (duo)
71
2 Altos (duo)
67
Contrebasse, Piano (duo)
62
Violon, Alto (duo)
61
Contre Basse
53
Harpe
43
Alto (partie séparée)
16
Violon, Basson (duo)
14
Alto, Violoncelle (duo)
13
Violon (partie séparée)
11
4 Violoncelles
10
Ensemble de Violons
9
Trio à Cordes: 3 violoncelles
8
2 Harpes (duo)
8
Ensemble d'Altos
7
Harpe, Flûte (duo)
6
2 Contrebasses (duo)
6
Piano Trio: Violon, Alto, Piano
6
Quintette à cordes : 2 violons, alto et 2 violoncelles
5
Contrebasse (partie séparée)
5
Quatuor à cordes : 4 altos
4
Trio à Cordes: 2 violons, alto
3
Trio à cordes: 3 violins
3
Trio à cordes: 3 altos
3
Quatuor à cordes: 4 violons
3
Harpe, Voix
3
Violon, Guitare (duo)
3
Violoncelle , Guitare (duo)
3
2 Altos, Piano
2
Quintette à cordes: 2 violons, 2 altos, violoncelle
2
Violon, Clarinette, Piano (trio)
2
Violoncelle, Contrebasse (duo)
1
Alto et Basson
1
Flûte, Contrebasse (duo)
1
4 Contrebasses
1
4 Harpes
1
Harpe, Violon, Violoncelle
1
Violoncelle (partie séparée)
1
Violoncelle, Orgue
1
+ 46 instrumentations
Retracter
Orchestre & Percussions
Orchestre d'harmonie
285
Ensemble de cuivres
111
Orchestre à Cordes
98
Orchestre
93
Ensemble Jazz
56
Orchestre de chambre
46
Cloches
38
Fanfare
27
Jazz combo
25
Marimba
15
Batterie
12
Ensemble de Percussions
9
Xylophone
7
Quintette à cordes : 2 Violons, Alto, Violoncelle, Contrebasse, Clavier
2
Xylophone, Piano
2
Percussion (partie séparée)
2
Vibraphone
1
Percussion
1
Quintette de Cuivres: autres combinaisons
1
+ 14 instrumentations
Retracter
Autres
Instruments
ACCORDEON
ALTO
AUTRES INST…
BALALAIKA
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
BUGLE
CHANT - CHO…
CHARANGO
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
CONTREBASSE
COR
COR ANGLAIS
CORNEMUSE
CORNET
DOBRO - GUI…
DULCIMER
EUPHONIUM
FANFARE - B…
FLUTE
FLUTE A BEC
FLUTE A DIX…
FLUTE DE PA…
FORMATION M…
GUITARE
GUITARE PED…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH, THEOR…
MANDOLINE
MARIMBA
ORCHESTRE
ORGUE
OUD
PARTITIONS …
PAS DE PART…
PERCU. ORCH…
PERCUSSION
PIANO
SAXOPHONE
SYNTHE
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIELLE A RO…
VIOLE DE GA…
VIOLON
VIOLONCELLE
XYLOPHONE
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TRI ET FILTRES
TRI ET FILTRES
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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
style (tous)
AFRICAIN
AMERICANA
ASIE
BLUEGRASS
BLUES
CELTIQUE - IRISH - S…
CHANSON FRANÇAISE
CHRISTIAN (contempor…
CLASSIQUE - BAROQUE …
COMEDIES MUSICALES -…
CONTEMPORAIN - 20-21…
CONTEMPORAIN - NEW A…
COUNTRY
EGLISE - SACRE
ENFANTS : EVEIL - IN…
FILM - TV
FILM WALT DISNEY
FINGERSTYLE - FINGER…
FLAMENCO
FOLK ROCK
FOLKLORE - TRADITION…
FUNK
GOSPEL - SPIRITUEL -…
HALLOWEEN
JAZZ
JAZZ MANOUCHE - SWIN…
JEUX VIDEOS
KLEZMER - JUIVE
LATIN - BOSSA - WORL…
LATIN POP ROCK
MARIAGE - AMOUR - BA…
MEDIEVAL - RENAISSAN…
METAL - HARD
METHODE : ACCORDS ET…
METHODE : ETUDES
METHODE : TECHNIQUES
NOËL
OLD TIME - EARLY ROC…
OPERA
PATRIOTIQUE
POLKA
POP ROCK - POP MUSIC
POP ROCK - ROCK CLAS…
POP ROCK - ROCK MODE…
PUNK
RAGTIME
REGGAE
SOUL - R&B - HIP HOP…
TANGO
THANKSGIVING
Vendeurs (tous)
Musicnotes
Note4Piano
Noviscore
Profs-edition
Quickpartitions
SheetMusicPlus
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Pertinence
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Vous avez sélectionné:
A Song for All Time
Piano, Voix
Partitions à imprimer
769 partitions trouvées
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751
Light of the World: A Song for Advent
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Piano, Voix
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INTERMÉDIAIRE
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Noël
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Stacey Plays Hymns
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Anastace
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Light of the World: A Song for
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Anastace
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SheetMusicPlus
Piano,Vocal,Voice - Level 3 - SKU: A0.1504104 By Stacey Plays Hymns. By Stacey Plays Hymns. Arranged by Anastace. Advent,Christian,Christmas,Religious,S...
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Piano,Vocal,Voice - Level 3 - SKU: A0.1504104 By Stacey Plays Hymns. By Stacey Plays Hymns. Arranged by Anastace. Advent,Christian,Christmas,Religious,Sacred. Score. 4 pages. Anastace #1079559. Published by Anastace (A0.1504104). Here is a beautiful, simple advent song I wrote to serve churches through the season of Advent, particularly during the candle lighting portion of each Sunday the weeks leading up to Christmas. I recommend singing verse 1 on week 1, verse 1 and 2 on week 2, and so on, but you can also just use a different verse each week depending on your service needs and time constraints. There are recordings available of each of the weeks on all streaming platforms as of November 1, 2024, in case that is helpful to your service preparation or to choirs who are learning the song. This version is in C Major, with a vocal range of C4-A4, with an optional descant that reaches E5. Also available, by searching Stacey Plays Hymns and the song title on this site, is a guitar lead sheet version and a piano solo that is perfect for a prelude or postlude any time this song is used congregationally, to tie the whole service together muscially.Purchase includes a free license for four church services with under 300 people, with proper attribution and credit to Stacey Plays Hymns in any printed or online materials. For a license to use this work on a larger scale, please contact me for permission and other usage details including lyrics formatted for printing in church bulletins or for powerpoint. Please let me know if there is any other way I can serve you as a congregation or fellow music/choir director as I endeavour to write several new choral anthems per year, along with my other recording work.Thank you for supporting modern hymnwriters and musicians!
$5.99
Greenbacks! New Song For The Times
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Piano, Voix
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Dan D
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Greenbacks! New Song For The T
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Johns Hopkins University Sheridan Libraries
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SheetMusicPlus
Piano and voice - SKU: LV.11061 Composed by Dan D. Emmett. Money, National Emblems, Wealth, Political platforms, Wall Street. Lester S. Levy Collection....
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Piano and voice - SKU: LV.11061 Composed by Dan D. Emmett. Money, National Emblems, Wealth, Political platforms, Wall Street. Lester S. Levy Collection. 5 pages. Published by Johns Hopkins University Sheridan Libraries (LV.11061). Greenbacks! New Song For The Times. Words and Music by Dan. D. Emmett. Published 1863 by Wm. A. Pond & Co., 547 Broadway in New York. Composition of strophic with chorus with piano and voice instrumentation. Subject headings for this piece include Money, National Emblems, Wealth, Political platforms, Wall Street. First line reads How are you Greenbacks ten or twenty!.. About The Lester S. Levy CollectionThe Lester S. Levy Collection of Sheet Music consists of over 29,000 pieces of American popular music. Donated to Johns Hopkins University Sheridan Libraries, the collection's strength is its thorough documentation of nineteenth-century American through popular music. This sheet music has been provided by Project Gado, a San Francisco Bay Area startup whose mission is to digitize and share the world's visual history.WARNING: These titles are provided as historical documents. Language and concepts within reflect the opinions and values of the time and may be offensive to some.
$5.99
Glove, Helmet, Cap, and Bat (baseball, softball, or t-ball song!) - for easy piano (optional voice)
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Piano, Voix
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DÉBUTANT
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Traditional
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Samuel Stokes
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Glove, Helmet, Cap, and Bat
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SamuelStokesMusic.com
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SheetMusicPlus
Piano,Vocal,Voice - Level 1 - SKU: A0.561916 Composed by Traditional. Arranged by Samuel Stokes. Children,Concert,Folk,Instructional. Score. 1 pages. Sa...
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Piano,Vocal,Voice - Level 1 - SKU: A0.561916 Composed by Traditional. Arranged by Samuel Stokes. Children,Concert,Folk,Instructional. Score. 1 pages. SamuelStokesMusic.com #4598179. Published by SamuelStokesMusic.com (A0.561916). If you have trouble remembering to bring all of the right equipment with you to baseball, softball, or t-ball games (or perhaps cricket), this song will help! It is a new version of the traditional song Head, Shoulders, Knees, and Toes, reimagined as Glove, Helmet, Cap, and Bat! The next time you are packing your equipment bag before a game or practice, play and sing this tune to help you remember what to bring. Arranged for easy piano with optional voice. Learn more about Samuel Stokes at https://www.SamuelStokesMusic.com.
$2.50
LETTERS FROM A POET IN ITALY (Complete Song Cycle) Mvts 1-4 Soprano and Piano
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Piano, Voix
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AVANCÉ
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Performance of Eighteen in Ita
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Original composition
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LETTERS FROM A POET IN ITALY
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Francis Osentowski
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SheetMusicPlus
Piano,Vocal,Voice - Level 5 - SKU: A0.1081918 By Performance of Eighteen in Italy by Marsha Anderson , Francis Osentowski, Piano. By Francis Osentowski,...
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Piano,Vocal,Voice - Level 5 - SKU: A0.1081918 By Performance of Eighteen in Italy by Marsha Anderson , Francis Osentowski, Piano. By Francis Osentowski, DMA University of North Texas, Jerry McElveen, Texts. Arranged by Original composition. Contemporary,Contest,Festival,Instructional,Opera. Score. 29 pages. Francis Osentowski #686049. Published by Francis Osentowski (A0.1081918). LETTERS FROM A POET IN ITALY is a song cycle for soprano and soprano. This site includes of all four songs: 1. Eighteen in Italy 2. Caregiver 3. Colosseum 4. DAVID The cycle is my setting of poems by Jerry McElveen, my friend and an awesome poet and professor at Richland College. Jerry wrote several poems during a tour of Italy made up of a group of faculty and spouses. On our last day in Rome...he surprised everyone by performing his new works. The minute he started reading I knew this would be a great text to set to music. This cycle has been performed often in the DFW Tx. area...first by Marsha Anderson, my colleague at North Lake College and later by the young soprano Erin Acorn. Marsha earned a living in Italy for over 20 years as an opera singer and taught me lots of valuable details about the substiles of composing for this vocal style. You can hear her beautiful voice on recordings we made at a performance in the concert hall at UTA Arlington. In retrospect, I like the tempos to relax more than these recordings, so the vocal lines have more time to breath. The cycle also received a positive review by the famous music critic for the Dallas Morning News, Scott Cantrell. Thank you to Scott! I kept the vocal lines away from extreme high and low pitches...and several singers have told me the voice lines are very comfortable for them. Singable by professionals AND young sopranos.
$15.99
Op. 45, No. 1: Ô songe heureux et doux 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. 1: Ô songe h
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E. C. Schirmer Music Company - Digital
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SheetMusicPlus
Voice and piano - Medium - SKU: MQ.8492-01E 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.8492-01E Composed by MeeAe Cecilia Nam and Theodore Gouvy. Instrument part. 6 pages. E. C. Schirmer Music Company - Digital #8492-01E. Published by E. C. Schirmer Music Company - Digital (MQ.8492-01E). 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. 7: Dans un songe enchanté 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. 7: Dans un songe en
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E. C. Schirmer Music Company - Digital
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SheetMusicPlus
Voice and piano - Medium - SKU: MQ.8492-31E Composed by MeeAe Cecilia Nam and Theodore Gouvy. Instrument part. 7 pages. E. C. Schirmer Music Company - D...
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Voice and piano - Medium - SKU: MQ.8492-31E Composed by MeeAe Cecilia Nam and Theodore Gouvy. Instrument part. 7 pages. E. C. Schirmer Music Company - Digital #8492-31E. Published by E. C. Schirmer Music Company - Digital (MQ.8492-31E). 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
Most Importantly, Loves, a song cycle for soprano and piano
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Piano, Voix
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INTERMÉDIAIRE/AVANCÉ
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Adrienne Inglis
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Most Importantly, Loves, a son
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Adrienne Inglis
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SheetMusicPlus
Piano,Vocal,Voice - Level 4 - SKU: A0.1233352 Composed by Adrienne Inglis (ASCAP). 21st Century,Classical,Country,Pop. Score. 45 pages. Adrienne Inglis ...
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Piano,Vocal,Voice - Level 4 - SKU: A0.1233352 Composed by Adrienne Inglis (ASCAP). 21st Century,Classical,Country,Pop. Score. 45 pages. Adrienne Inglis (ASCAP) #828940. Published by Adrienne Inglis (ASCAP) (A0.1233352). Sing one, two, or all six of these expressive and charming songs for soprano and piano!Most Importantly, Loves (2021) by Adrienne Inglis (ASCAP), as a six-song cycle for soprano and pianoText — six letters by Maureen Broy PapovichDuration 25:00Difficulty 4 intermediate/advancedProgram note — Most Importantly, Loves (2021), a song cycle for soprano and piano composed by Adrienne Inglis (ASCAP), was commissioned by Maureen Broy Papovich whose six letters furnish the text. She wrote letters to various close family members with tender messages overflowing with admiration, affection, and hope. The songs look at each beloved relative as seen through the prism of the author’s caring eyes and heart. Rooted in moody Dorian mode, the lyrical melodies of R. J. overlay a more brooding, restless piano part. Lucy sports a bit of a jazzy lilt and sassy attitude. The infectious laugh of Camryn and the remarkable resemblance to her late father underpin this quick syncopated C major number. Brendan reflects his exuberant love of life and devastating self-destructive addiction with radical tonality and tempo changes. Mira has an encouraging message for a young person in D mixolydian with soothing piano texture. Jonah’s long lines soar over lush expansive harmonies grounded in B flat major to form a soft fleece blanket of comforting sound and boundless unconditional parental love. — Adrienne InglisThe impetus for the poems that became the song cycle “Most Importantly Loves†started a decade ago. My brother died suddenly in 2011 at the age of 42. He left all of us behind including his daughters, my nieces, when they were ages six years and six months. My father and mother died a short time later, within months of each other in 2013 and 2014. Finally, in 2017 my 27-year-old nephew died of a drug overdose. This intense period of loss brought and continues to bring about many feelings of regret in addition to so much more. When my nephew died, my son Jonah, developed an intense anxiety about losing us, his parents. I felt compelled to express my feelings, the fear of my own mortality, the anxiety of leaving behind loved ones, combined with words said and unsaid to those lost. “Love letters†is my gift to the six young people I care most about. These songs, exquisitely set to music by my friend and composer Adrienne Inglis, express my deep love for each of my loved ones and also, hopefully, provide them with a piece of writing that they can use as a source of strength when life becomes particularly challenging. —  Maureen Broy PapovichPlaylist of Oct. 22, 2022 performance:https://youtube.com/playlist?list=PLY9Jh0jT7VQsLBdIik5wJRjE6Qhu_5IZD.
$9.99
Gao's Waltz Mini Ballet
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Piano, Voix
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INTERMÉDIAIRE
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Contemporain
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Johnson Gao
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Johnson Gao
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Gao's Waltz Mini Ballet
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Johnson Gao
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SheetMusicPlus
Piano,Vocal,Voice - Level 3 - SKU: A0.1458135 By Johnson Gao. By Johnson Gao. Arranged by Johnson Gao. 20th Century. Score. 213 pages. Johnson Gao #1037...
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Piano,Vocal,Voice - Level 3 - SKU: A0.1458135 By Johnson Gao. By Johnson Gao. Arranged by Johnson Gao. 20th Century. Score. 213 pages. Johnson Gao #1037106. Published by Johnson Gao (A0.1458135). This song has 14 chapters representing 12 waltzes mixed. The music sheet has 213 pages and can be electronically converted to a soundtrack playing for about 21 minutes. Some songs (chapters) were composed of ancient Chinese poems by famous poets like Liu Bang, Bai Juyi, Tao Yuan-ming, Su Dong-po, et al. A video with the same title has been posted on YouTube.com, which contains more than 130 images of photos and a few short videos with the background melody of this song. Although most of the songs were published before as early as 2008 and later, the author re-composed carefully based on his memory with certain modifications and key signature changes to adjust an even playing of the song in one whole piece. The highlights of the stories' songs are as follows: The beginning part of the song is originally called the prelude of Tao Yuan-ming's The Eutopia of the Peach Land Spring; which is followed by the historical long poem of 616 Chinese characters called Pi Pa Xing by Bai Ji-yi around 1:30. Around 8:06 is a small bird feeding her young chicken and its tail-dancing matches with the melody of the song which was modified from Beijing Opera by the composer. Around 11:30 is the song called Wedding Waltz for Su Dong-po's poem Written on the West Wood Wall; around 13:40 is the Chi Le Song; around 14:00 to 15:00 is the song - Love Forever, which was jointly created with his son Raymond and his wife Catherine 25 years ago. The playing time at 15:30 is the song the author wrote for his poem called Life and Sea in 100 Chinese Characters; around 18:00 to 19:00 is King's Wedding by the author. Two songs around 11:00 are Raise the Championship Cup and 19:30 Bon Voyage which the composer wrote for the 2008 Bejing Olympic Games. 這首歌有14個章節,代表12首華爾滋混合曲。樂譜有 213 頁,可以透過電子方式轉換為播放約 21 分鐘的配樂。部分歌曲(篇章)取自劉邦、白居易、陶淵明、蘇東坡等著名詩人的中國古詩詞。 YouTube.com上已發布同名視頻,其中包含130多張照片和一些短視頻,有這首歌的背景旋律。雖然大部分歌曲早在2008年及以後就已發表,但作者根據記憶重新精心創作,進行了一定的修改和調號變化,以調整整首歌曲的均勻演奏。故事歌曲的亮點如下: 歌曲的開頭部分原為陶淵明《桃花源記》的前奏;接下來是1點30分左右,白居易創作的616字的歷史長詩《琵琶行》。 8點06分左右,一隻小鳥正在餵小雛,它的尾巴舞動與作曲家根據京劇改編的歌曲旋律相匹配。 11點30分左右,蘇東坡詩《題西林壁》的《婚禮華爾兹》; 13點40分左右是《敕勒歌》; 14:00至15:00左右是歌曲《Love Forever》,這是25年前他與兒子雷蒙和妻子凱瑟琳共同創作的歌曲。 15點30分播放的是作者為詩作的歌曲《大海人生百字歌》; 18:00到19:00左右是作者的《國王的婚禮》。 11:00左右的兩首歌曲是作曲家為2008年北京奧運創作的《舉金盃》和19:30的《一路順風》。.
$4.99
Can't Help Falling In Love
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Piano, Voix
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INTERMÉDIAIRE
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Mariage/Ballade
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Rock
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Elvis Presley
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Phil Beaman
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Can't Help Falling In Love
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Phil Beaman
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SheetMusicPlus
Piano,Vocal,Voice - Level 3 - SKU: A0.845282 By Elvis Presley. By George David Weiss, Hugo Peretti, and Luigi Creatore. Arranged by Phil Beaman. Film/TV...
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Piano,Vocal,Voice - Level 3 - SKU: A0.845282 By Elvis Presley. By George David Weiss, Hugo Peretti, and Luigi Creatore. Arranged by Phil Beaman. Film/TV,Pop,Rock,Wedding. Score. 3 pages. Phil Beaman #6679159. Published by Phil Beaman (A0.845282). Can't Help Falling In Love was made famous by Elvis Presley on his album and film Blue Hawaii. My arrangement takes it from a 60's pop song to a gentle jazz ballad. It is totally reharmonized and has a fresh new feel. The lyrics and melody are the same, except it has a new Time Signature. The song was originally in 6/8 but I have set it in 1/2 in order to get the pulse and phrasing I want. (Yes, 1 minim/half note per bar.) The original accompaniment was broken arpeggios, but now it is all about the rich new blocked chords. With repeats and a D.S. I have covered all 4 verses and bridges. Enjoy a fresh take on this forever classic. Great for weddings. temporary recording of piano part3 pages2:00 minutes
$5.99
Op. 1, No. 6: Le Château dans la forêt 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. 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
LETTERS FROM A POET IN ITALY "Eighteen in Italy" Mvt. I
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Piano, Voix
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INTERMÉDIAIRE/AVANCÉ
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Francis Osentowski piano, Mars
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LETTERS FROM A POET IN ITALY &
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Francis Osentowski
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SheetMusicPlus
Choral Piano,Vocal,Voice - Level 4 - SKU: A0.953857 By Francis Osentowski piano, Marsha Anderson, Soprano. By Francis Osentowski, Music Francis Osentows...
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Choral Piano,Vocal,Voice - Level 4 - SKU: A0.953857 By Francis Osentowski piano, Marsha Anderson, Soprano. By Francis Osentowski, Music Francis Osentowski, DMA University of North Texas, and Text, Jerry McElveen. Contemporary,Multicultural,Standards,World. Score. 7 pages. Francis Osentowski #6095999. Published by Francis Osentowski (A0.953857). LETTERS FROM A POET IN ITALY - A song cycle in four movements. I. Eighteen in Italy II. Caregiver           III. Colosseum IV. David 2007The songs in my cycle are for voice and piano. They are setting of four poems by Jerry McElveen, Professor Emeritus at Richland College of the Dallas College system. The title refers to texts written during a tour of Italy by a group of college faculty and spouses. On the tour we visited several historic sites around Italy. At the end of the tour, professor McElveen surprised us by reciting a series of poems written during that trip. On hearing his performance, I felt his words were musical and perfect texts to be set to music. The Letters from a Poet in Italy song cycle is the result of our collaboration and has been performed numerous times in the DFW area. A recent performance was sponsored by the art song organization Voces Intimae: the Art of Song. The concert was reviewed by Scott Cantrell Music/Art Critic for the Dallas Morning News and awarded a positive review.  The audio recordings feature soprano Marsha Anderson with my piano accompaniment. Marsha had a distinguished career as an opera singer in Italy for 20 years before returning to Texas as director of the North Lake College Study in Italy program. (She is featured on all recordings except Mvt. III COLOSSEUM. That audio is a synthesizer version).Â
$5.99
Veni, veni Emmanuel (for Voice and Piano Accompaniment)
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Piano, Voix
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INTERMÉDIAIRE
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Flavio Regis Cunha - Tradition
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Flavio Regis Cunha
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Veni, veni Emmanuel
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Flavio Regis Cunha
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SheetMusicPlus
Piano,Vocal,Voice - Level 3 - SKU: A0.597585 By Flavio Regis Cunha - Traditional. By Gregorian Chant, XV Century. Arranged by Flavio Regis Cunha. Christ...
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Piano,Vocal,Voice - Level 3 - SKU: A0.597585 By Flavio Regis Cunha - Traditional. By Gregorian Chant, XV Century. Arranged by Flavio Regis Cunha. Christmas,Classical,Film/TV,Instructional,Sacred. Score. 16 pages. Flavio Regis Cunha #6656831. Published by Flavio Regis Cunha (A0.597585). Beautiful, exotic and inspiring arrangement for the well-known Gregorian chant. The arrangement proposes a cathedral atmosphere, with the piano pedal often mixing sounds and chords to provide the reverberation of a cathedral. The text of the first stanza was placed in Latin to evoke the Gregorian ambience of the first centuries of sacred vocal music. You will love playing and singing this arrangement. It will really feel like a cathedral. Your audience will love to hear it. O Come, O Come, Emmanuel, is a song for the Advent period, that is, the four sunday period before the day of Christmas. It's a period of expectation, of wait for the coming of the Messiah. the anthem has a centuries-old and curious history: text and music came from countries different and from different periods of the story! The text already existed in the eighth century! and it was very sung! But the first publication that his if you know it is from the year 1710, coming from the city of Cologne, Germany. The melody we know today, was associated for the first time to the text in 1851, in a English hymnal of that year. But the origin of melody remained obscure. the mystery was solved in 1966, only when Marry Berry, English musicologist, discovered in the National Library of France, a manuscript from the 15th century that brought the melody score, but associated with another text, Bone Jesu dulcis. So, both melody and texts are, in fact, centenarians, but they were not born together: they were joined very late! But this union has become eternal: impossible imagine O Come, O come Emmanuel sung with another melody, just like the melody, our acquaintance, associated with another text! Album link: https://open.spotify.com/album/0PTAmxvGwRXw5788nIDaSU?si=RLRuFSKzQHSqzMx4OYaEZw Intermediate level Format: Concert, 9 x 12 inches 16 pages.
$4.99
Still, sacred song for children
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Piano, Voix
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INTERMÉDIAIRE
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Musique Sacrée
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Kevin G
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Jesus is His Name
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Still, sacred song for childre
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Kevin G. Pace
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SheetMusicPlus
Piano,Vocal,Voice - Level 3 - SKU: A0.1099753 Composed by Kevin G. Pace (ASCAP), Mary Ann W. Snowball. Children,Christian,Christmas,Praise & Worship,Sac...
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Piano,Vocal,Voice - Level 3 - SKU: A0.1099753 Composed by Kevin G. Pace (ASCAP), Mary Ann W. Snowball. Children,Christian,Christmas,Praise & Worship,Sacred. Score. 3 pages. Kevin G. Pace #703630. Published by Kevin G. Pace (A0.1099753). A beautiful Christmas hymn with music by Kevin G. Pace and text by Mary Ann W. Snowball. Text: When I think of Bethlehem and its silent slopes, Lighted by a glowing star bringing all new hope, I remember Mary's Child from so long ago How He grew to save the world: Love for all to know. Chorus: Still He lights the weary world; Jesus is His Name. Still He gives the greatest gift; still He loves the same. Stillness covered Bethlehem; Stillness calls today. Bringing quiet reverence, He's the only Way. Open hearts receive his words. Listen, if you will. Holy voices clearly call to the world: Be still! Chorus: Still I ponder Bethlehem at that sacred place. Mary's Child so willingly brought the world His grace. Just a tiny Baby's love, born for all mankind. Changed the world that starlit night past the reach of time. Chorus:.
$1.99
When You Call
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Piano, Voix
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INTERMÉDIAIRE/AVANCÉ
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Andrew Mc Donald
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When You Call
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Andrew Mc Donald
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SheetMusicPlus
Piano,Vocal,Voice - Level 4 - SKU: A0.841955 Composed by Andrew Mc Donald. Christian,Gospel,Pop. Score. 6 pages. Andrew Mc Donald (Macka Records) #34799...
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Piano,Vocal,Voice - Level 4 - SKU: A0.841955 Composed by Andrew Mc Donald. Christian,Gospel,Pop. Score. 6 pages. Andrew Mc Donald (Macka Records) #3479939. Published by Andrew Mc Donald (Macka Records) (A0.841955). When you call is a song about calling out to Jesus for help in prayer. When we call to Him He will answer us and come running to us just at the right time. He hears us when we pray and He will respond to our call.
$4.99
Forgive Me, Lord
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Piano, Voix
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INTERMÉDIAIRE
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Musique Sacrée
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Everall A
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Forgive Me, Lord
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Everall Aiken Peele
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SheetMusicPlus
Piano,Vocal,Voice - Level 3 - SKU: A0.821557 Composed by Everall A. Peele. Christian,Praise & Worship,Sacred. Score. 3 pages. Everall Aiken Peele #28282...
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Piano,Vocal,Voice - Level 3 - SKU: A0.821557 Composed by Everall A. Peele. Christian,Praise & Worship,Sacred. Score. 3 pages. Everall Aiken Peele #2828243. Published by Everall Aiken Peele (A0.821557). Contemporary Christian Praise / Worship; moderate pace, gentle tone, meditative; good for a transition to prayer time, Holy Communion/Lord's Supper, or general worship song for solo vocal, group vocal, or even congregational singing. Worshipers are reminded of their need to ask for forgiveness, and God's loving response to repentant sinners: When I think of all the ways I hurt Your loving heart, how I still turn away, blind and straying... But you say 'Come to Me and lay your burdens down...'
$3.99
Op. 1, No. 10: À la gloire, au bonheur! 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. 10: À la glo
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E. C. Schirmer Music Company - Digital
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SheetMusicPlus
Voice and piano - Medium - SKU: MQ.8492-34E Composed by MeeAe Cecilia Nam and Theodore Gouvy. Instrument part. 8 pages. E. C. Schirmer Music Company - D...
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Voice and piano - Medium - SKU: MQ.8492-34E Composed by MeeAe Cecilia Nam and Theodore Gouvy. Instrument part. 8 pages. E. C. Schirmer Music Company - Digital #8492-34E. Published by E. C. Schirmer Music Company - Digital (MQ.8492-34E). 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
#
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. 21, No. 1: À L’Absente from Songs of Gouvy, V2 (Downloadable)
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Piano, Voix
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INTERMÉDIAIRE
#
MeeAe Cecilia Nam and Theodore
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Op. 21, No. 1: À L&rsqu
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E. C. Schirmer Music Company - Digital
#
SheetMusicPlus
Voice and piano - Medium - SKU: MQ.8492-19E 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.8492-19E Composed by MeeAe Cecilia Nam and Theodore Gouvy. Instrument part. 6 pages. E. C. Schirmer Music Company - Digital #8492-19E. Published by E. C. Schirmer Music Company - Digital (MQ.8492-19E). 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. 15: À qui m’avez vous donné? from Songs of Gouvy, V2 (Downloadable)
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Piano, Voix
#
INTERMÉDIAIRE
#
MeeAe Cecilia Nam and Theodore
#
Op. 45, No. 15: À qui m
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E. C. Schirmer Music Company - Digital
#
SheetMusicPlus
Voice and piano - Medium - SKU: MQ.8492-15E Composed by MeeAe Cecilia Nam and Theodore Gouvy. Instrument part. 3 pages. E. C. Schirmer Music Company - D...
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Voice and piano - Medium - SKU: MQ.8492-15E Composed by MeeAe Cecilia Nam and Theodore Gouvy. Instrument part. 3 pages. E. C. Schirmer Music Company - Digital #8492-15E. Published by E. C. Schirmer Music Company - Digital (MQ.8492-15E). 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. 12: Cherchez, mes tristes yeux 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. 12: Cherchez, mes
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E. C. Schirmer Music Company - Digital
#
SheetMusicPlus
Voice and piano - Medium - SKU: MQ.8492-12E Composed by MeeAe Cecilia Nam and Theodore Gouvy. Instrument part. 7 pages. E. C. Schirmer Music Company - D...
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Voice and piano - Medium - SKU: MQ.8492-12E Composed by MeeAe Cecilia Nam and Theodore Gouvy. Instrument part. 7 pages. E. C. Schirmer Music Company - Digital #8492-12E. Published by E. C. Schirmer Music Company - Digital (MQ.8492-12E). 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. 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
#
INTERMÉDIAIRE
#
MeeAe Cecilia Nam and Theodore
#
Op. 45, No. 4: Prière a
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E. C. Schirmer Music Company - Digital
#
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. 45, No. 3: Vous ne voulez pas 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. 3: Vous ne voulez
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E. C. Schirmer Music Company - Digital
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SheetMusicPlus
Voice and piano - Medium - SKU: MQ.8492-03E 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.8492-03E Composed by MeeAe Cecilia Nam and Theodore Gouvy. Instrument part. 6 pages. E. C. Schirmer Music Company - Digital #8492-03E. Published by E. C. Schirmer Music Company - Digital (MQ.8492-03E). 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).
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