English version
Parcourir Free-scores.com
Partitions Gratuites
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
Page d'accueil
Instrumentations
Top Téléchargements
Compositeurs
Nouveautés
Partitions de Noël
Genres Musicaux
Genres Musicaux
Autres Services
Autres Services
Top 100
Portées musicales
Metronome
Achats pour Musiciens
Partitions Numériques
Librairie Musicale
Matériel de musique
Idées cadeaux
A propos de free-scores.com
Partitions
Gratuites
36
Partitions
Numériques
1 069
Librairie
Musicale
244
Matériel
de Musique
2 492
Partitions numériques
Accès après achat
Expédition postale
Téléchargement
TRI ET FILTRES
TRI ET FILTRES
Tri et filtres :
--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
Tomplay
Virtualsheetmusic
Pertinence
Ventes
Prix - au +
Prix + au -
Nouveautes
A-Z
difficulté (tous)
débutant
facile
intermédiaire
avancé
expert
avec audio
avec vidéo
avec play-along
Non classifié
3890
PIANO & CLAVIERS
Piano seul
2250
Piano, Voix
1069
Piano Facile
728
Instruments en Do
341
Piano, Voix et Guitare
291
Accompagnement Piano
155
Orgue
123
Piano Trio: piano, violon, violoncelle
51
1 Piano, 4 mains
45
Accordéon
31
2 Pianos, 4 mains
23
Piano Quatuor: piano, violon, alto, violoncelle
15
Piano Quatuor: piano, 2 violons, violoncelle
10
Piano (partie séparée)
7
Piano Quintette: piano, 2 violons, alto, violoncelle
5
Orgue, Piano (duo)
3
Piano grosses notes
2
Clavecin
2
Orgue, Trompette (duo)
1
Instrumentations suivantes
Retracter
GUITARES
Guitare
177
Guitare notes et tablatures
161
Basse electrique
40
2 Guitares (duo)
31
Ukulele
31
Ligne De Mélodie, (Paroles) et Accords
19
4 Guitares (Quatuor)
17
Guitare (partie séparée)
16
Mandoline
16
Dulcimer
13
Piano, Guitare (duo)
10
Banjo
9
Paroles et Accords
8
3 Guitares (trio)
4
Ensemble de guitares
3
Guitare, Violon, Violoncelle (trio)
2
Mandoline, Guitare (duo)
2
Mandoline, Piano (duo)
2
2 Mandolines (duo)
1
Instrumentations suivantes
Retracter
VOIX
Chorale SATB
1036
Chorale 2 parties
716
Chorale 3 parties
373
Voix duo, Piano
359
Chorale Unison
244
Chorale TTBB
109
Voix duo
92
Chorale SSAA
76
Voix Tenor, Piano
56
Voix seule
52
Voix Soprano, Piano
50
Voix Alto, Piano
37
Voix Baryton, Piano
35
Voix haute
12
Voix Tenor
7
Voix moyenne, Piano
5
Chorale
3
Chorale SSAATTBB
2
Voix basse, Piano
2
Voix Soprano
2
Soli, choeur mixte et accompagnement
1
Chorale SATTBB A Cappella
1
Chorale SATBB
1
Chorale SSAB a cappella
1
Voix Mezzo-Soprano, Piano
1
Instrumentations suivantes
Retracter
VENTS
Quatuor de Saxophones: 4 saxophones
326
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
322
Flûte, Hautbois, Clarinette, Basson
275
2 Saxophones (duo)
273
Flûte traversière et Piano
261
Quintette de Saxophone: 5 saxophones
247
Clarinette et Piano
219
Hautbois, Piano (duo)
200
Clarinette
195
Saxophone Alto et Piano
166
Flûte traversière
165
2 Flûtes traversières (duo)
160
Saxophone
151
Saxophone Tenor et Piano
139
Saxophone Soprano et Piano
118
2 Clarinettes (duo)
117
Saxophone Alto
111
Quatuor de Clarinettes: 4 clarinettes
104
Saxophone (partie séparée)
96
Flûte, Clarinette (duo)
80
Hautbois (partie séparée)
79
3 Saxophones (trio)
74
Saxophone Tenor
74
Saxophone Baryton, Piano
72
2 Hautbois (duo)
64
Clarinette, Violon (duo)
54
Quatuor de Flûtes : 4 flûtes
54
Hautbois
51
Saxophone, Clarinette (duo)
51
Ensemble de Clarinettes
50
Hautbois, Basson (duo)
50
Hautbois, Clarinette (duo)
47
3 Clarinettes (trio)
46
2 Flûte à bec (duo)
44
Quintette de Clarinettes: 5 clarinettes
39
Cor anglais, Piano
39
Hautbois, Violoncelle
36
Flûte, Clarinette et Basson
36
Ensemble de saxophones
34
Clarinette, Basson (duo)
33
Ensemble de Flûtes
33
Clarinette, Trompette (duo)
32
Clarinette Basse, Piano
31
Trio de Flûtes: 3 flûtes
30
Flûte, Violon
29
Flûte à bec Soprano
29
Flûte, Alto (duo)
26
Clarinette, Violoncelle (duo)
25
Quintette de Flûte : 5 flûtes
25
Hautbois, Flûte
24
Clarinette et Alto
24
Flûte, Violoncelle
24
Flûte et Guitare
20
Flûte à bec Alto
20
Flûte, Hautbois (duo)
20
Flûte, Hautbois, Basson
19
Flûte, Saxophone (duo)
19
Flûte, Hautbois, Piano (trio)
16
Saxophone Soprano
15
Flûte à Bec
15
Flûte, Violoncelle, Piano (trio)
15
Flûte, Hautbois, Clarinette (trio)
15
Cor Anglais
14
Flûte, Trompette (duo)
14
Flûte, Violon, Piano
14
Saxophone Baryton
13
Flûte, Clarinette, Cor, Basson (Quartet)
13
Quatuor de Flûtes à bec
13
Hautbois, Clarinette, Basson (trio d'anches)
13
2 Flûtes traversières, Piano
13
Clarinette, Violoncelle, Piano (trio)
12
Flûte, Clarinette, Piano (trio)
12
Clarinette, Guitare (duo)
11
Flute (partie séparée)
11
Clarinette (partie séparée)
11
Harmonica
10
2 Clarinettes, Piano
10
Flûte, Alto et Piano
8
3 Flûtes à bec (trio)
8
Hautbois, violon (duo)
8
Ocarina
8
Hautbois et alto (duo)
7
Flûte, Basson et Piano
7
Flûte à bec Alto, Piano
7
5 Flûtes à bec
7
Flûte à bec Tenor
6
Clarinette, Basson, Piano (trio)
5
Hautbois, Clarinette et Piano (Trio)
5
Flûte, Violon et Violoncelle
5
Clarinette Basse
5
Flûte, trombone et piano
5
Hautbois, Violoncelle et Piano
4
Clarinette, Trombone (duo)
4
Flûte, Violon, Violoncelle et Piano
3
Flûte, Trombone (duo)
3
Clarinette, Harpe (duo)
3
Flûte irlandaise
3
Flûte à bec Soprano, Piano
3
Clarinette, Tuba
3
Clarinette, Alto et Piano (trio)
3
Hautbois, Violon, Piano
3
Hautbois, trombone (duo)
2
Flûte, Tuba (duo)
2
4 Hautbois
2
Ensemble à vent
2
Hautbois, Guitare (duo)
2
2 Cors Anglais Et Pianoforte
2
Ensemble de Hautbois
2
3 Hautbois
2
Hautbois, Basson et Piano
2
Piccolo, Piano
2
Flûte, Violoncelle, Guitare
1
Flûte et Trio à cordes
1
Hautbois, Harpe
1
Flûte à Bec, Piano
1
Clarinette, trompette et piano
1
Saxophone et Orgue
1
Clarinette, Contrebasse (duo)
1
Cor anglais, Guitare (duo)
1
Flûte, Hautbois, Violon
1
Flûte, Violon, Guitare
1
Flute, harpe et violon
1
2 Hautbois, Piano
1
Flûte, Clarinette, Violon (trio)
1
Quintette de Clarinette: Clarinette, Quatuor à Cordes
1
Piccolo
1
Cornemuse
1
Instrumentations suivantes
Retracter
CUIVRES
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
394
Trompette
213
Trombone et Piano
202
Trompette, Piano
170
Quatuor de Cuivres : 2 trompettes, trombone, tuba
154
Trombone
151
Cor et Piano
136
Quatuor de Cuivres
96
Cor
94
Tuba et Piano
81
Quatuor de Cuivres: 2 trompettes, Cor, trombone
81
2 Trompettes (duo)
76
Tuba
75
2 Trombones (duo)
70
Trompette, Trombone (duo)
54
Ensemble de Trompettes
51
Euphonium, Piano (duo)
49
Trombone (partie séparée)
47
2 Cors (duo)
43
Trompette, Saxophone (duo)
41
Cor anglais, Piano
39
Trompette (partie séparée)
36
2 Tubas (duo)
24
Trompette, Cor (duo)
24
Ensemble de Trombones
22
Quatuor de cuivres: 4 trombones
19
Quatuor de cuivres: 4 trompettes
18
Quatuor de cuivres: 4 cors
17
Trio de Cuivres
16
Cor Anglais
14
Cor, Violoncelle (duo)
13
3 Trompettes (trio)
12
Cor (partie séparée)
11
Tuba (partie séparée)
11
Trompette, Violoncelle (duo)
10
3 Trombones (trio)
10
Ensemble de Cors
9
Euphonium
8
4 Tubas
7
Trompette, Violoncelle et Piano
6
Trombone, Cor (duo)
6
Trombone basse et Piano
5
Trompette, Basson (duo)
5
Trompette, Tuba (duo)
5
Quatuor de cuivres: 2 trompettes, 2 trombones
5
Cor et Basson (duo)
5
2 Euphoniums et 2 Tubas
4
Tuba et Orgue
4
Trompette, Trombone, Piano
4
Trombone, Tuba (duo)
3
3 Cors (trio)
3
Cor, Tuba (duo)
2
Trombone basse
2
2 Cors Anglais Et Pianoforte
2
3 Tubas (trio)
2
2 Trompettes, Clavier (piano ou orgue)
1
2 Cors, Piano
1
2 Euphoniums (duo)
1
Cor anglais, Guitare (duo)
1
Trompette, violon (duo)
1
Trombone, Violon (duo)
1
Cor et Harpe
1
Trompette, Harpe
1
Ensemble de Tubas
1
Instrumentations suivantes
Retracter
CORDES
Quatuor à cordes: 2 violons, alto, violoncelle
659
Violon et Piano
317
Alto, Piano
217
Violoncelle, Piano
207
Violon
191
Violon, Violoncelle (duo)
173
Violoncelle
172
Quintette à cordes: 2 violons, alto, violoncelle, basse
164
Alto seul
117
Trio à Cordes: violon, alto, violoncelle
114
2 Violons (duo)
114
2 Violoncelles (duo)
97
Violon, Alto (duo)
83
Harpe
79
Trio à Cordes: 2 violons, violoncelle
72
2 Altos (duo)
71
Contrebasse, Piano (duo)
66
Contre Basse
64
Alto, Violoncelle (duo)
36
Violon (partie séparée)
30
Alto (partie séparée)
28
4 Violoncelles
23
Piano Trio: Violon, Alto, Piano
22
Trio à cordes: 3 violins
21
Contrebasse (partie séparée)
19
Trio à Cordes: 3 violoncelles
19
Violon, Basson (duo)
19
Quatuor à cordes : 4 altos
17
2 Contrebasses (duo)
16
Quatuor à cordes: 4 violons
13
Trio à cordes: 3 altos
11
Alto et Basson
11
Quintette à cordes : 2 violons, alto et 2 violoncelles
11
Trio à Cordes: 2 violons, alto
10
Ensemble de Violons
9
Ensemble d'Altos
9
Violon, Clarinette, Piano (trio)
9
Violon, Guitare (duo)
8
2 Harpes (duo)
6
Violoncelle (partie séparée)
6
Violoncelle, Contrebasse (duo)
5
Harpe, Flûte (duo)
4
Alto, Guitare (duo)
3
Harpe, Voix
3
2 Altos, Piano
2
4 Harpes
2
Harpe, Trombone (duo)
2
Flûte, Contrebasse (duo)
2
Harpe, Violon (duo)
2
Violon, Tuba (duo)
2
Alto et Harpe
2
Harpe et mandoline
1
Violon, Violoncelle, Clarinette
1
3 Harpes
1
Harpe, Violoncelle (duo)
1
2 Violons, Piano
1
Violoncelle, Orchestre
1
2 Violoncelles, Piano
1
Ensemble de Violoncelles
1
4 Contrebasses
1
Instrumentations suivantes
Retracter
PERCUSSIONS & ORCHESTRES
Orchestre d'harmonie
615
Orchestre à Cordes
242
Orchestre
219
Ensemble Jazz
147
Ensemble de cuivres
140
Fanfare
81
Cloches
80
Orchestre de chambre
78
Jazz combo
47
Batterie
37
Ensemble de Percussions
28
Marimba
22
Xylophone
18
Percussion (partie séparée)
13
Xylophone, Piano
11
Batterie (partie séparée)
8
Quintette à cordes : 2 Violons, Alto, Violoncelle, Contrebasse, Clavier
6
Vibraphone
4
Ensemble d'École
2
2 Xylophones
2
Quintette de Cuivres: autres combinaisons
2
Percussion
1
Piano et Orchestre
1
Orchestre, Violon
1
2 Marimbas
1
Instrumentations suivantes
Retracter
AUTRES
Vous avez sélectionné:
End Of Time
Piano, Voix
Partitions à imprimer
1 069 partitions trouvées
<
1
26
51
....
1051
SARTORIO Antonio: Dolce Amor, bendato Dio, aria from the opera "Il Massenzio", - Voice an
Piano, Voix
Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.868660 Composed by Antonio S…
(+)
Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.868660 Composed by Antonio SARTORIO (1630 – 1680). Arranged by Sergei PICHUGIN. Baroque,Concert,Instructional,Opera,Standards. Score. 5 pages. Really Good Music, LLC. #4366444. Published by Really Good Music, LLC. (A0.868660). Dolce Amor, bendato Dio is an aria from the opera Il Massenzio (1673), composed by Antonio SARTORIO (1630 – 1680). Despite the fact that Sartorio’s authorship has been reliably established, various publications of the arrangements of the aria for a long time named Francesco CAVALLI as a composer. The realization of the aria for voice and piano, made by Sergei Pichugin, is based on the first publications of the libretto of the opera (Venice, 1673; Rome, 1674) and on comparison of four manuscripts, mostly from the end of seventeenth century. It is available in the key of G minor (D4 – F5) for high voice. .
$5.95
5.45 €
#
Piano, Voix
#
Antonio SARTORIO
#
Sergei PICHUGIN
#
SARTORIO Antonio: Dolce Amor, bendato Dio, aria from the opera "Il Massenzio", - Voice an
#
Really Good Music, LLC.
#
SheetMusicPlus
Time Of Season/what's Your Name
Piano, Voix
Piano,Vocal,Voice - Digital Download SKU: A0.1354801 Composed by Julio R. Gonzales,…
(+)
Piano,Vocal,Voice - Digital Download SKU: A0.1354801 Composed by Julio R. Gonzales, O.g. Enius, Rodney Terence Argent, and Tony Gonzalez. Arranged by Biegler. Rock. Score. 5 pages. Biegler #939503. Published by Biegler (A0.1354801). Scored for piano with the vocal line played in the right hand/treble clef.The arrangement is based only on The Zombies recording of Time of the Season. The middle keyboard solo is notated. The outtro solo is open ended with just the chord changes provided. An optional ending is provided in lieu of the fade out.
$4.99
4.57 €
#
Piano, Voix
#
Julio R
#
Biegler
#
Time Of Season/what's Your Name
#
Biegler
#
SheetMusicPlus
Presentiment: A Song for Soprano voice and Piano
Piano, Voix
Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.841214 Composed by Chris Gor…
(+)
Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.841214 Composed by Chris Gordon. 20th Century,Romantic Period. Score. 3 pages. Cool Wind Music Digital #2917235. Published by Cool Wind Music Digital (A0.841214). Presentiment is the fifth song in a cycle called Nature Lyrics setting poems about nature.I have 5 high-quality printed copies of Presentiment for soprano and piano which I will send to the next 5 customers of the digital version. Please email your details including your name and postal address plus the date on which you purchased Presentiment at SMP Press. Send the information to the email address on the title page of the score.Baffled by music bindings? Read this:https://coolwindmusic.blogspot.co.uk/2009/08/making-printed-copies-from-pdfs.html
$4.00
3.66 €
#
Piano, Voix
#
Chris Gordon
#
Presentiment: A Song for Soprano voice and Piano
#
Cool Wind Music Digital
#
SheetMusicPlus
Before the Ending of the Day (JAM LUCIS)
Piano, Voix
Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.922834 Composed by 6th centu…
(+)
Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.922834 Composed by 6th century Latin hymn and Plainsong Melody. Arranged by Jayne Nitz. Christian,Contemporary,Praise & Worship,Sacred. Score. 5 pages. Jayne Nitz #6340011. Published by Jayne Nitz (A0.922834). Before the Ending of the Day, a 6th century Latin chant, is often sung during Compline, a prayer service for evening. This arrangement is inspired by the hymn tune JAM LUCIS, and I’ve rewritten the text in modern-day English as well as added another verse of my own. It makes a beautiful bedtime prayer. Includes reproducible lead sheet.
$2.50
2.29 €
#
Piano, Voix
#
6th century Latin hymn and Plainsong Melody
#
Jayne Nitz
#
Before the Ending of the Day
#
Jayne Nitz
#
SheetMusicPlus
Music Of The Spheres (C Major)
Piano, Voix
Piano,Vocal,Voice - Digital Download SKU: A0.556055 Composed by Robert J. Sherman. …
(+)
Piano,Vocal,Voice - Digital Download SKU: A0.556055 Composed by Robert J. Sherman. Arranged by Piano & Vocal Arrangement by Robert J. Sherman. Broadway,Instructional,Musical/Show. Score. 4 pages. Sherman Theatrical Entertainment Ltd. #165527. Published by Sherman Theatrical Entertainment Ltd. (A0.556055). Music Of The Spheres is from the musical Bumblescratch and is sung by “Melbourne†toward the end of Act I, following a moment of great peril. To Melbourne’s surprise (and tremendous relief) he is miraculously granted salvation. The experience deeply humbles and transforms the plague rat. For the first time Melbourne’s eyes are opened to the wonders and miracles that have always surrounded him but which had, until this moment gone unnoticed. Melbourne resolves to change his wicked ways and to use his talent for storytelling to persuade other plague rats to change their ways as well. When printing, please scale to fit for standard US Letter and A4 size.
$3.99
3.66 €
#
Piano, Voix
#
Robert J
#
Music Of The Spheres
#
Sherman Theatrical Entertainment Ltd.
#
SheetMusicPlus
Music Of The Spheres (A Major)
Piano, Voix
Piano,Vocal,Voice - Digital Download SKU: A0.529568 Composed by Robert J. Sherman. …
(+)
Piano,Vocal,Voice - Digital Download SKU: A0.529568 Composed by Robert J. Sherman. Arranged by Original Piano/Vocal Arrangement by Robert J. Sherman. Broadway,Contest,Festival,Instructional,Musical/Show. Score. 4 pages. Sherman Theatrical Entertainment Ltd. #117892. Published by Sherman Theatrical Entertainment Ltd. (A0.529568). Music Of The Spheres is from the musical Bumblescratch and is sung by “Melbourne†toward the end of Act I, following a moment of great peril. To Melbourne’s surprise (and tremendous relief) he is miraculously granted salvation. The experience deeply humbles and transforms the plague rat. For the first time Melbourne’s eyes are opened to the wonders and miracles that have always surrounded him but which had, until this moment gone unnoticed. Melbourne resolves to change his wicked ways and to use his talent for storytelling to persuade other plague rats to change their ways as well. When printing, please scale to fit for standard US Letter and A4 size.
$3.99
3.66 €
#
Piano, Voix
#
Robert J
#
Music Of The Spheres
#
Sherman Theatrical Entertainment Ltd.
#
SheetMusicPlus
Rock of My Salvation & Soul
Piano, Voix
Piano,Vocal,Voice - Level 2 - Digital Download SKU: A0.993323 Composed by Matthew Y…
(+)
Piano,Vocal,Voice - Level 2 - Digital Download SKU: A0.993323 Composed by Matthew Yarnell. Christian,Gospel,Praise & Worship,Sacred,Spiritual. Score. 3 pages. Flome the Gnome #3684867. Published by Flome the Gnome (A0.993323). I was originally inspired to write Rock of My Salvation & Soul near the end of 2012 and remastered it in 2018. The additions to the song were the intro and the final few versus which restate the Christian’s desire to give their heart completely to Jesus. Moreover, it also reaffirms that the believer is choosing to build their life and future upon the Chief Cornerstone, whom is Jesus. It was first played publicly at the Country Church near my home on October 7, 2018. I pray that it nourishes your soul, your family, and/or your congregation. Please let others know about my songs; say a pray for me, my family, and ministry; and consider supporting my ministry financially so that I might have time to write additional songs and/or serve the Lord.This song would be good for all churches but is probably best suited for those that enjoy more traditional hymns.I can be found online at my website: www.flomethegnome.com and on facebook. You can email me at flomethegnome@gmail.com You can snail mail me at Matthew Yarnell, 2098 Marble Valley Basin Road, Addy, WA. 99101. Or, you can call me at 509-675-3420.
$3.99
3.66 €
#
Piano, Voix
#
Matthew Yarnell
#
Rock of My Salvation & Soul
#
Flome the Gnome
#
SheetMusicPlus
Oh the moment was sad. In The Surrender of Calais
Piano, Voix
Piano and voice - Digital Download SKU: LV.15936 Courtship & love, War, Campaigns &…
(+)
Piano and voice - Digital Download SKU: LV.15936 Courtship & love, War, Campaigns & battles, Death. Lester S. Levy Collection. 2 pages. Published by Johns Hopkins University Sheridan Libraries (LV.15936). Oh the moment was sad. In The Surrender of Calais. n. Published [1798] by J. Hewitt's Musical Repository, No.131 William Str. in New York. Composition of strophic with chorus with piano and voice instrumentation. Subject headings for this piece include Courtship & love, War, Campaigns & battles, Death. First line reads Oh the moment was sad when my Love and I parted.. 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
5.49 €
#
Piano, Voix
#
Oh the moment was sad. In The Surrender of Calais
#
Johns Hopkins University Sheridan Libraries
#
SheetMusicPlus
All the Ends of the Earth (Ps. 98) [Soloist/Small Group]
Piano, Voix
Guitar,Piano,Vocal,Voice - Level 2 - Digital Download SKU: A0.869934 By Cher & Gene…
(+)
Guitar,Piano,Vocal,Voice - Level 2 - Digital Download SKU: A0.869934 By Cher & Gene Klosner. By Cherolyn Klosner-Lane. Arranged by Cherolyn Klosner-Lane, Gene Klosner. Christmas,Sacred. Score. 9 pages. Cher & Gene Klosner #6205879. Published by Cher & Gene Klosner (A0.869934). Featured on Cher & Gene Klosner's NPM (National Association of Pastoral Ministers) Lunchtime Concert:https://youtu.be/QjX1ljNIKDI?si=AO545zAKfUK9Sn-9Responsorial Psalm. USCCB-approved for Catholic and liturgical use. Verbatim Text on refrain and verses.Contemporary setting of Psalm 98 with Psalm Tone verses.Use for:Christmas Mass During the Day ABC (xmdayABC)Common Psalm for Christmas season (xmcom)Saturday of the 4th Week of Easter (east4Sa)Jan 2Jan 3Jan 4: incl'g Memorial of St. Elizabeth Ann Seton, religious (mem0104)Various Needs: For the Evangelization of PeoplesOfficial Liturgical text: All the ends of the earth have seen the saving power of God.Available in Octavo complete package and in Soloist/Small Group format and MP3.Includes different sets of verses for each different day/occasion.www.facebook.com/ltfmusicwww.LTFMusic.comwww.youtube.com/LighttheFireMusicKlosnerIntroductory video: https://youtu.be/ohQUCOh28xE
$4.99
4.57 €
#
Piano, Voix
#
Cher & Gene Klosner
#
All the Ends of the Earth
#
Cher & Gene Klosner
#
SheetMusicPlus
Belle luci, che accendete from La disfatta di Dario - Modern Clef Performing Edition (Soprano/Piano)
Piano, Voix
Piano,Vocal,Voice - Level 4 - Digital Download SKU: A0.1173633 Composed by Pasquale…
(+)
Piano,Vocal,Voice - Level 4 - Digital Download SKU: A0.1173633 Composed by Pasquale Cafaro. Arranged by Nicole Elyse DiPaolo. Classical,Early Music,Opera. Score. 7 pages. Nicole Elyse DiPaolo #773780. Published by Nicole Elyse DiPaolo (A0.1173633). Accessible Accompaniments is proud to present the first-ever modern-clef performing edition of Pasquale Cafaro’s once enormously popular aria, “Belle luci, che accendete,†from La disfatta di Dario (1756). As noted in Giorgio Sanguinetti’s The Art of Partimento and other sources, this aria was considered the ideal Galant-era (early Classical) example of aria writing in its day, and its theme was even painted onto pottery to be sold to tourists in Naples.While the aria was written for a castrato role, Alessandro, it is ideal for today’s young lyric coloratura sopranos who want to prepare for Mozart roles but wish to wait until they’ve found their mature vocal technique before tackling those roles. Additionally, because this La disfatta di Dario setting is a rarity and singers are unlikely to be hired for this role, it could be sung in transposition by young mezzos and other fachs without causing logistical issues like the need to produce orchestral parts in new keys.Other aspects of this aria that make it a welcome addition to the voice teacher’s library are its widespread orchestral doubling of the vocal line (something that will help students who are still working on intonation and support), its relatively short, Italian-language text for easy memorization and diction acquisition, and its straightforward textual content—it’s a love song. In audition situations, this aria will be enjoyable for panels to hear, and because they will be very unlikely to know the aria, they won’t be able to critique it as closely as they would critique an aria they know well. It should also be sight-readable by an audition pianist of middling skill, another important consideration in choosing audition repertoire.This new edition was engraved using Bernardo Mengozzi’s piano-vocal reduction from 1804, which preserves the soprano clef voice part and is not widely usable today, and I made some corrections to missing accidentals and articulations by cross-checking with the manuscript full score. Both are available at imslp.org. I also write out the appoggiatura executions and one potentially confusing polyrhythm on ossia staves to assist young singers/collaborative pianists who haven’t done much of this repertoire.Range: Eb4-Bb5 without ornamentationTessitura: around Bb4-F5/G5  Text:Belle luci, che accendeteIn quest' alma un dolce foco,Siete voi, e voi sareteLa mia calma, e il mio piacer.Sì, la calma, e il piacer mioTutto, e sempre in voi s'aggira,Per voi solo il cor respira,Nè più brama il mio pensier.About the Arranger behind Accessible Accompaniments Editions:Praised as a sensitive pianist and outstanding accompanist who delivers powerful interpretations, Nicole Elyse DiPaolo enjoys a multifaceted career as a sought-after collaborative pianist, educational composer, arranger, coach, private teacher, and adjunct music professor. Currently based in the Cleveland area, Ms. DiPaolo has appeared as a concerto soloist with the Ambassador Chamber Players on multiple occasions and as a recitalist, collaborator, and presenter worldwide. Currently, Ms. DiPaolo is an online Adjunct Lecturer in Music at Indiana University; the Principal Theory Teacher at Liberty Park Music, an online-only video subscription-based music school; an invited blog contributor and guest instructor at Tonebase; and a sought-after online instructor of piano, music theory, and composition who includes partimento and historical improvisation in her curricula. For more information, please visit http://ndipaolo.musicaneo.com .
$8.95
8.2 €
#
Piano, Voix
#
Pasquale Cafaro
#
Nicole Elyse DiPaolo
#
Belle luci, che accendete from La disfatta di Dario - Modern Clef Performing Edition
#
Nicole Elyse DiPaolo
#
SheetMusicPlus
Times Like These
Piano, Voix
Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.836419 By Foo Fighters. By C…
(+)
Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.836419 By Foo Fighters. By Christopher Shiflett, David Grohl, Foo Fighters, Nate Mendel, Oliver Taylor Hawkins, and Taylor Hawkins. Arranged by Karen O'Brien. Rock. Score. 13 pages. Karen O'Brien #5739483. Published by Karen O'Brien (A0.836419). Arrangement of 'Times Like These' by the Foo Fighters for voice and piano with chords by Karen O'BrienOriginal KeyFor custom arrangements and transcriptions, visit www.musictranscribed.comEmail info@musictranscribed.com
$4.99
4.57 €
#
Piano, Voix
#
Foo Fighters
#
Karen O'Brien
#
Times Like These
#
Karen O'Brien
#
SheetMusicPlus
Op. 45, No. 12: Cherchez, mes tristes yeux from Songs of Gouvy, V2 (Downloadable)
Piano, Voix
Voice and piano - Medium - Digital Download SKU: MQ.8492-12E Composed by MeeAe Ceci…
(+)
Voice and piano - Medium - Digital Download 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
2.75 €
#
Piano, Voix
#
MeeAe Cecilia Nam and Theodore Gouvy
#
Op. 45, No. 12: Cherchez, mes tristes yeux from Songs of Gouvy, V2
#
E. C. Schirmer Music Company - Digital
#
SheetMusicPlus
Op. 45, No. 1: Ô songe heureux et doux from Songs of Gouvy, V2 (Downloadable)
Piano, Voix
Voice and piano - Medium - Digital Download SKU: MQ.8492-01E Composed by MeeAe Ceci…
(+)
Voice and piano - Medium - Digital Download 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
2.75 €
#
Piano, Voix
#
MeeAe Cecilia Nam and Theodore Gouvy
#
Op. 45, No. 1: Ô songe heureux et doux from Songs of Gouvy, V2
#
E. C. Schirmer Music Company - Digital
#
SheetMusicPlus
Op. 45, No. 5: Si vous m’aimez from Songs of Gouvy, V2 (Downloadable)
Piano, Voix
Voice and piano - Medium - Digital Download SKU: MQ.8492-05E Composed by MeeAe Ceci…
(+)
Voice and piano - Medium - Digital Download 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
2.75 €
#
Piano, Voix
#
MeeAe Cecilia Nam and Theodore Gouvy
#
Op. 45, No. 5: Si vous m’aimez from Songs of Gouvy, V2
#
E. C. Schirmer Music Company - Digital
#
SheetMusicPlus
Op. 21, No. 3: Le Matin au bord de la mer from Songs of Gouvy, V2 (Downloadable)
Piano, Voix
Voice and piano - Medium - Digital Download SKU: MQ.8492-21E Composed by MeeAe Ceci…
(+)
Voice and piano - Medium - Digital Download 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
2.75 €
#
Piano, Voix
#
MeeAe Cecilia Nam and Theodore Gouvy
#
Op. 21, No. 3: Le Matin au bord de la mer from Songs of Gouvy, V2
#
E. C. Schirmer Music Company - Digital
#
SheetMusicPlus
Op. 45, No. 4: Prière au sommeil from Songs of Gouvy, V2 (Downloadable)
Piano, Voix
Voice and piano - Medium - Digital Download SKU: MQ.8492-04E Composed by MeeAe Ceci…
(+)
Voice and piano - Medium - Digital Download 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
2.75 €
#
Piano, Voix
#
MeeAe Cecilia Nam and Theodore Gouvy
#
Op. 45, No. 4: Prière au sommeil from Songs of Gouvy, V2
#
E. C. Schirmer Music Company - Digital
#
SheetMusicPlus
Op. 45, No. 3: Vous ne voulez pas from Songs of Gouvy, V2 (Downloadable)
Piano, Voix
Voice and piano - Medium - Digital Download SKU: MQ.8492-03E Composed by MeeAe Ceci…
(+)
Voice and piano - Medium - Digital Download 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).
$3.00
2.75 €
#
Piano, Voix
#
MeeAe Cecilia Nam and Theodore Gouvy
#
Op. 45, No. 3: Vous ne voulez pas from Songs of Gouvy, V2
#
E. C. Schirmer Music Company - Digital
#
SheetMusicPlus
Op. 1, No. 2: Barque légère, mon coeur from Songs of Gouvy, V2 (Downloadable)
Piano, Voix
Voice and piano - Medium - Digital Download SKU: MQ.8492-26E Composed by MeeAe Ceci…
(+)
Voice and piano - Medium - Digital Download SKU: MQ.8492-26E Composed by MeeAe Cecilia Nam and Theodore Gouvy. Instrument part. 7 pages. E. C. Schirmer Music Company - Digital #8492-26E. Published by E. C. Schirmer Music Company - Digital (MQ.8492-26E). 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
2.75 €
#
Piano, Voix
#
MeeAe Cecilia Nam and Theodore Gouvy
#
Op. 1, No. 2: Barque légère, mon coeur from Songs of Gouvy, V2
#
E. C. Schirmer Music Company - Digital
#
SheetMusicPlus
Op. 1, No. 7: Dans un songe enchanté from Songs of Gouvy, V2 (Downloadable)
Piano, Voix
Voice and piano - Medium - Digital Download SKU: MQ.8492-31E Composed by MeeAe Ceci…
(+)
Voice and piano - Medium - Digital Download 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
2.75 €
#
Piano, Voix
#
MeeAe Cecilia Nam and Theodore Gouvy
#
Op. 1, No. 7: Dans un songe enchanté from Songs of Gouvy, V2
#
E. C. Schirmer Music Company - Digital
#
SheetMusicPlus
Op. 45, No. 14: Lettres, le seul repos from Songs of Gouvy, V2 (Downloadable)
Piano, Voix
Voice and piano - Medium - Digital Download SKU: MQ.8492-14E Composed by MeeAe Ceci…
(+)
Voice and piano - Medium - Digital Download SKU: MQ.8492-14E Composed by MeeAe Cecilia Nam and Theodore Gouvy. Instrument part. 7 pages. E. C. Schirmer Music Company - Digital #8492-14E. Published by E. C. Schirmer Music Company - Digital (MQ.8492-14E). 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
2.75 €
#
Piano, Voix
#
MeeAe Cecilia Nam and Theodore Gouvy
#
Op. 45, No. 14: Lettres, le seul repos from Songs of Gouvy, V2
#
E. C. Schirmer Music Company - Digital
#
SheetMusicPlus
Op. 45, No. 10: Le calme de mes jours from Songs of Gouvy, V2 (Downloadable)
Piano, Voix
Voice and piano - Medium - Digital Download SKU: MQ.8492-10E Composed by MeeAe Ceci…
(+)
Voice and piano - Medium - Digital Download SKU: MQ.8492-10E Composed by MeeAe Cecilia Nam and Theodore Gouvy. Instrument part. 7 pages. E. C. Schirmer Music Company - Digital #8492-10E. Published by E. C. Schirmer Music Company - Digital (MQ.8492-10E). 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
2.75 €
#
Piano, Voix
#
MeeAe Cecilia Nam and Theodore Gouvy
#
Op. 45, No. 10: Le calme de mes jours from Songs of Gouvy, V2
#
E. C. Schirmer Music Company - Digital
#
SheetMusicPlus
Op. 1, No. 5: La chanson du printemps from Songs of Gouvy, V2 (Downloadable)
Piano, Voix
Voice and piano - Medium - Digital Download SKU: MQ.8492-29E Composed by MeeAe Ceci…
(+)
Voice and piano - Medium - Digital Download 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
2.75 €
#
Piano, Voix
#
MeeAe Cecilia Nam and Theodore Gouvy
#
Op. 1, No. 5: La chanson du printemps from Songs of Gouvy, V2
#
E. C. Schirmer Music Company - Digital
#
SheetMusicPlus
Op. 21, No. 5: Feuilles qui chuchotez from Songs of Gouvy, V2 (Downloadable)
Piano, Voix
Voice and piano - Medium - Digital Download SKU: MQ.8492-23E Composed by MeeAe Ceci…
(+)
Voice and piano - Medium - Digital Download 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
2.75 €
#
Piano, Voix
#
MeeAe Cecilia Nam and Theodore Gouvy
#
Op. 21, No. 5: Feuilles qui chuchotez from Songs of Gouvy, V2
#
E. C. Schirmer Music Company - Digital
#
SheetMusicPlus
<
1
26
51
....
1051
© 2000 - 2024
Accueil
-
Nouveautés
-
Compositeurs
Mentions légales
-
Version intégrale