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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
Song Romantic
Non classifié
1 477
Piano & claviers
Piano, Voix
5 015
Piano seul
1 161
Piano Facile
437
Orgue
113
Piano, Voix et Guitare
96
Instruments en Do
92
Accompagnement Piano
59
Piano Trio: piano, violon, violoncelle
23
1 Piano, 4 mains
18
Piano Quatuor: piano, violon, alto, violoncelle
11
Piano Quintette: piano, 2 violons, alto, violoncelle
8
Piano Quatuor: piano, 2 violons, violoncelle
7
2 Pianos, 4 mains
7
Accordéon
4
Orgue, Piano (duo)
3
Instrument seul et Orgue
3
Piano grosses notes
3
Orgue, Trompette (duo)
2
Clavecin
1
Piano (partie séparée)
1
+ 15 instrumentations
Retracter
Guitares
Guitare notes et tablatures
90
Guitare
84
Ukulele
26
2 Guitares (duo)
25
Ligne De Mélodie, (Paroles) et Accords
17
Piano, Guitare (duo)
9
Mandoline
5
4 Guitares (Quatuor)
4
3 Guitares (trio)
3
Basse electrique
2
Guitare (partie séparée)
2
Guitare, Violon, Violoncelle (trio)
1
Dulcimer
1
Paroles et Accords
1
Banjo
1
+ 10 instrumentations
Retracter
Voix
Chorale SATB
197
Chorale 3 parties
122
Chorale 2 parties
72
Chorale TTBB
59
Chorale SSAA
56
Voix duo, Piano
36
Voix Soprano, Piano
26
Voix Tenor, Piano
26
Chorale Unison
18
Voix haute
18
Voix seule
14
Voix Baryton, Piano
12
Voix duo
11
Voix basse, Piano
10
Voix moyenne, Piano
8
Voix Alto, Piano
7
Voix basse
3
Voix Soprano
3
Voix Tenor
2
Chorale
2
Chorale SSAB a cappella
2
Chorale SAATB A Cappella
1
Voix, Guitare
1
Soli, choeur mixte et accompagnement
1
+ 19 instrumentations
Retracter
Vents
Flûte traversière et Piano
220
Clarinette et Piano
182
Hautbois, Piano (duo)
143
Saxophone Alto et Piano
136
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
122
Clarinette
109
Quatuor de Saxophones: 4 saxophones
109
Flûte traversière
95
Flûte, Hautbois, Clarinette, Basson
85
Saxophone Alto
80
2 Saxophones (duo)
79
Quatuor de Clarinettes: 4 clarinettes
78
Saxophone Soprano et Piano
77
Saxophone Tenor et Piano
75
Flûte et Guitare
57
Saxophone Tenor
46
2 Flûtes traversières (duo)
42
2 Clarinettes (duo)
40
Hautbois (partie séparée)
39
Saxophone (partie séparée)
38
Quintette de Saxophone: 5 saxophones
34
Saxophone Baryton, Piano
34
Quatuor de Flûtes : 4 flûtes
34
Cor anglais, Piano
32
Clarinette, Guitare (duo)
30
Ensemble de Clarinettes
26
Hautbois
24
3 Saxophones (trio)
20
Clarinette Basse, Piano
17
2 Hautbois (duo)
17
Saxophone Soprano
16
Flûte à bec Soprano
14
Flûte, Clarinette (duo)
13
Quatuor de Flûtes à bec
13
Flûte à bec Alto
13
3 Clarinettes (trio)
12
Flûte à Bec
12
Trio de Flûtes: 3 flûtes
12
Cor anglais, Guitare (duo)
11
Ensemble de Flûtes
10
Cor Anglais
10
Flûte, Clarinette et Basson
9
Flûte, Hautbois, Clarinette (trio)
9
Hautbois, Basson (duo)
9
Saxophone Baryton
8
2 Flûte à bec (duo)
8
Saxophone et Guitare
8
Ensemble de saxophones
8
Flûte, Hautbois (duo)
8
Quintette de Clarinettes: 5 clarinettes
8
Flûte, Violon, Piano
7
Clarinette, Violon (duo)
6
Piccolo
4
Flûte, Violon
4
Flûte, Hautbois, Basson
4
Hautbois, Flûte
4
3 Hautbois
4
Clarinette, Basson (duo)
4
Hautbois, Clarinette (duo)
4
Ocarina
3
Saxophone, Clarinette (duo)
3
Saxophone et Piano
3
3 Flûtes à bec (trio)
3
Flûte, Violoncelle
3
Flûte, Hautbois, Piano (trio)
3
Clarinette Basse
3
Flûte, Alto (duo)
3
Clarinette et Alto
3
Piccolo, Piano
2
Flûte traversière, Orgue (duo)
2
Flûte à bec Soprano, Piano
2
Clarinette, Trompette (duo)
2
Quintette de Flûte : 5 flûtes
2
Flûte et Trio à cordes
2
Saxophone et Orgue
2
Hautbois, Clarinette, Basson (trio d'anches)
2
Clarinette, Harpe (duo)
2
Instruments en Mib
2
Flûte, Violon, Violoncelle et Piano
2
Flûte, Trompette (duo)
1
2 Clarinettes, Basson
1
Flûte à bec, Guitare (duo)
1
2 Saxophones, Piano
1
Flûte, Violon et Violoncelle
1
Flûte, Violoncelle, Piano (trio)
1
Clarinette, Violoncelle (duo)
1
Flûte, Basson et Piano
1
Flûte à Bec, Piano
1
5 Flûtes à bec
1
Flûte, Saxophone (duo)
1
Ensemble De Flûte à bec
1
Hautbois, violon (duo)
1
Clarinette, Trombone (duo)
1
Hautbois, Violoncelle
1
Flûte, Trombone (duo)
1
Hautbois et alto (duo)
1
Clarinette, Orgue
1
Saxophone
1
Flûte, Clarinette, Piano (trio)
1
Quatuor de Clarinettes: Clarinette, Violon, Alto, Violoncelle
1
Hautbois, Guitare (duo)
1
+ 96 instrumentations
Retracter
Cuivres
Trombone et Piano
116
Trompette, Piano
115
Trompette
109
Cor et Piano
101
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
97
Cor
62
Quatuor de Cuivres : 2 trompettes, trombone, tuba
61
Trombone
58
Tuba et Piano
50
Tuba
43
Euphonium, Piano (duo)
42
Cor anglais, Piano
32
Quatuor de cuivres: 4 trombones
31
Quatuor de Cuivres: 2 trompettes, Cor, trombone
31
2 Trompettes (duo)
21
Quatuor de cuivres: 4 cors
18
Quatuor de Cuivres
17
2 Trombones (duo)
17
2 Cors (duo)
13
Cor anglais, Guitare (duo)
11
Cor Anglais
10
Ensemble de Trombones
10
Trompette, Trombone (duo)
9
Trompette, Cor (duo)
9
Trompette (partie séparée)
8
Trombone (partie séparée)
5
Euphonium
5
3 Trombones (trio)
5
Trombone basse et Piano
4
Quatuor de cuivres: 4 trompettes
4
Tuba et Orgue
2
Trompette et Guitare
2
Trompette, Saxophone (duo)
2
Ensemble de Trompettes
2
Trio de Cuivres
2
Instruments en Sib
2
Trombone basse
2
2 Tubas (duo)
2
4 Tubas
2
Bass Clef Instruments
2
Ensemble de Cors
1
Trompette, Trombone, Piano
1
Trombone, Orgue
1
Ensemble de Tubas
1
2 Euphoniums (duo)
1
Trompette, Violoncelle (duo)
1
Trompette, Orchestre
1
+ 42 instrumentations
Retracter
Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
383
Violon et Piano
298
Violoncelle, Piano
226
Alto, Piano
157
Violon
126
Violoncelle
108
Alto seul
75
Trio à Cordes: violon, alto, violoncelle
49
Violon, Violoncelle (duo)
48
2 Violons (duo)
46
Contre Basse
39
2 Violoncelles (duo)
38
Harpe
35
Contrebasse, Piano (duo)
33
Trio à Cordes: 2 violons, violoncelle
31
Violon, Guitare (duo)
27
Quintette à cordes: 2 violons, alto, violoncelle, basse
27
2 Altos (duo)
23
Violon, Alto (duo)
20
Alto (partie séparée)
19
Violoncelle , Guitare (duo)
17
4 Violoncelles
17
Trio à cordes: 3 violins
10
Alto, Guitare (duo)
10
Alto, Violoncelle (duo)
9
Quatuor à cordes: 4 violons
9
Piano Trio: Violon, Alto, Piano
6
Harpe, Flûte (duo)
5
Trio à cordes: 3 altos
4
2 Violons, Piano
4
2 Harpes (duo)
4
Trio à Cordes: 3 violoncelles
4
Quatuor à cordes : 4 altos
3
Trio à Cordes: 2 violons, alto
3
2 Contrebasses (duo)
2
Ensemble de Violons
2
Violon, Clarinette, Piano (trio)
2
Violon, Basson (duo)
2
Quintette à cordes : 2 violons, alto et 2 violoncelles
2
Harpe, Violon (duo)
1
4 Contrebasses
1
Harpe, Voix
1
Violon, Violoncelle, Clarinette
1
Violon (partie séparée)
1
Ensemble de Violoncelles
1
Trio à cordes
1
Contrebasse (partie séparée)
1
Violoncelle, Orgue
1
Alto, Orgue
1
Quintette à cordes: 2 violons, 2 altos, violoncelle
1
+ 45 instrumentations
Retracter
Orchestre & Percussions
Orchestre à Cordes
133
Orchestre de chambre
132
Orchestre
79
Orchestre d'harmonie
69
Ensemble de cuivres
45
Ensemble Jazz
41
Xylophone
9
Marimba
8
Fanfare
6
Cloches
6
Ensemble de Percussions
5
Xylophone, Piano
5
Quintette à cordes : 2 Violons, Alto, Violoncelle, Contrebasse, Clavier
4
Orchestre, Violon
2
Marimba, Piano (duo)
1
Vibraphone (partie séparée)
1
Vibraphone
1
Quintette de Cuivres: autres combinaisons
1
2 Xylophones
1
Batterie (partie séparée)
1
+ 15 instrumentations
Retracter
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ACCORDEON
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COR ANGLAIS
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CORNET
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DULCIMER
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FANFARE - B…
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FLUTE A BEC
FLUTE A DIX…
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GUITARE
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--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
COR
COR ANGLAIS
CORNEMUSE
CORNET
DEEJAY
DIDGERIDOO
DULCIMER
EUPHONIUM
FANFARE - BAND…
FLUTE A BEC
FLUTE DE PAN
FLUTE TRAVERSI…
FORMATION MUSI…
GUITARE
GUITARE LAP ST…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH
MANDOLINE
MARIMBA
OCARINA
ORCHESTRE
ORGUE
PERCUSSION
PIANO
SAXOPHONE
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LATIN - BOSSA - WORL…
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MARIAGE - AMOUR - BA…
MEDIEVAL - RENAISSAN…
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OPERA
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Vous avez sélectionné:
Song Romantic
Piano, Voix
Partitions à imprimer
5 015 partitions trouvées
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5001
The "I LOVE YOU" Song - (Romantic for Solo Voice with Piano - Lead Sheet with words and chords incl
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Piano, Voix
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FACILE
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Gary Lanier
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Gary Lanier
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The "I LOVE YOU" Son
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The Lanier Company
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SheetMusicPlus
Piano,Vocal,Voice - Level 2 - SKU: A0.617487 Composed by Gary Lanier. Arranged by Gary Lanier. Christian,Concert,Holiday,Love,Wedding. Score. 9 pages. T...
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Piano,Vocal,Voice - Level 2 - SKU: A0.617487 Composed by Gary Lanier. Arranged by Gary Lanier. Christian,Concert,Holiday,Love,Wedding. Score. 9 pages. The Lanier Company #5319949. Published by The Lanier Company (A0.617487). The I LOVE YOU Song is for Voice with Piano Accompaniment. This is actually a true story that can be sung by a male or female soloist. It is perfect for weddings, anniversary celebrations, concerts, church settings or any place where God's kind of love for man and woman is the desire (8 pages).
$6.99
Hebridean fairy's love song (Tha Mi sgith) - voice and piano in D Minor
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Piano, Voix
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Folklorique/Traditionel
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Traditional
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Hebridean fairy's love song
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David Warin Solomons
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SheetMusicPlus
Composed by Traditional. Arranged by Marjory Kennedy- Fraser, David Warin Solomons. 20th Century, Celtic, Folk, Romantic Period, World. Score. 9 pages....
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Composed by Traditional. Arranged by Marjory Kennedy- Fraser, David Warin Solomons. 20th Century, Celtic, Folk, Romantic Period, World. Score. 9 pages. David Warin Solomons #4325695. Published by David Warin Solomons
Old and still popular Hebridean folk song. The music is available in the keys of C minor, D minor (the original key) and E minor.
The piano accompaniment is by Marjory Kennedy-Fraser, which I have transcribed here..
The original Gaelic words are anonymous (traditional)
The Lowlands Scots version is by James Hogg (from his Ettrick Shepherd).
The sound sample is an electronic preview using clarinet to represent the voice.
The original publication (in D Minor) by Boosey & Co, on which these transcriptions are based, is copyrighted by Marjory Kennedy-Fraser in 1909, so it is now in the public domain.
The pdf file also contains a version with reduced size stave for the voice, which the pianist can use for fewer page turns.
$9.00
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
#
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
Isn't It Romantic?
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Piano, Voix
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INTERMÉDIAIRE
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Shirley Horn
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Dave Gingras, John E
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Isn't It Romantic?
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DAVID LEE GINGRAS
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SheetMusicPlus
Piano,Vocal,Voice - Level 3 - SKU: A0.794139 By Shirley Horn. By Richard Rodgers. Arranged by Dave Gingras, John E. Dosher. Jazz,Pop. Score. 2 pages. DA...
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Piano,Vocal,Voice - Level 3 - SKU: A0.794139 By Shirley Horn. By Richard Rodgers. Arranged by Dave Gingras, John E. Dosher. Jazz,Pop. Score. 2 pages. DAVID LEE GINGRAS #6635937. Published by DAVID LEE GINGRAS (A0.794139). Isn't It Romantic? is a popular song and part of the Great American Songbook. The music was composed by Richard Rodgers, with lyrics by Lorenz Hart. It has a 32-bar chorus in A–B–A–C form. Alec Wilder, in his book American Popular Song: The Great Innovators 1900–1950, calls it a perfect song. This version features a root-based chord-blocking that John and I have used in a number of our arrangements, but aside from a couple of left-hand fills we've stayed very true to the original melody.
$4.99
Bantock-Folksong,Rustic song(Durwan's Song),in a minor,for Voice and Piano
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Piano, Voix
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INTERMÉDIAIRE
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Classique
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Bantock
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MSM
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Bantock-Folksong,Rustic song(D
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Open Cloud
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SheetMusicPlus
Piano,Vocal,Voice - Level 3 - SKU: A0.670422 Composed by Bantock. Arranged by MSM. Classical,Romantic Period. Score. 5 pages. Open Cloud #4576395. Publi...
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Piano,Vocal,Voice - Level 3 - SKU: A0.670422 Composed by Bantock. Arranged by MSM. Classical,Romantic Period. Score. 5 pages. Open Cloud #4576395. Published by Open Cloud (A0.670422). This product(include full and parts score) is a digital sheet music in PDF format. The music was composed by Bantock (Bantock Granville), 1868-1946, for Voice and Piano.
$1.99
Bantock-Folksong,New year song(Haru-no-uta),in f sharp minor,for Voice and Piano
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Piano, Voix
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INTERMÉDIAIRE
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Classique
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Bantock
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MSM
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Bantock-Folksong,New year song
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Open Cloud
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SheetMusicPlus
Piano,Vocal,Voice - Level 3 - SKU: A0.670413 Composed by Bantock. Arranged by MSM. Classical,Romantic Period. Score. 5 pages. Open Cloud #4576379. Publi...
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Piano,Vocal,Voice - Level 3 - SKU: A0.670413 Composed by Bantock. Arranged by MSM. Classical,Romantic Period. Score. 5 pages. Open Cloud #4576379. Published by Open Cloud (A0.670413). This product(include full and parts score) is a digital sheet music in PDF format. The music was composed by Bantock (Bantock Granville), 1868-1946, for Voice and Piano.
$1.99
Bantock-Folksong,May song(Cancion de Maja),in C Major,for Voice and Piano
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Piano, Voix
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INTERMÉDIAIRE
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Classique
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Bantock
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MSM
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Bantock-Folksong,May song(Canc
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Open Cloud
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SheetMusicPlus
Piano,Vocal,Voice - Level 3 - SKU: A0.670373 Composed by Bantock. Arranged by MSM. Classical,Romantic Period. Score. 9 pages. Open Cloud #4576273. Publi...
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Piano,Vocal,Voice - Level 3 - SKU: A0.670373 Composed by Bantock. Arranged by MSM. Classical,Romantic Period. Score. 9 pages. Open Cloud #4576273. Published by Open Cloud (A0.670373). This product(include full and parts score) is a digital sheet music in PDF format. The music was composed by Bantock (Bantock Granville), 1868-1946, for Voice and Piano.
$3.99
Bantock-Folksong,Love-song(Doos ya lellee),in A Major,for Voice and Piano
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Piano, Voix
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INTERMÉDIAIRE
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Classique
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Bantock
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MSM
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Bantock-Folksong,Love-song(Doo
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Open Cloud
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SheetMusicPlus
Piano,Vocal,Voice - Level 3 - SKU: A0.670406 Composed by Bantock. Arranged by MSM. Classical,Romantic Period. Score. 6 pages. Open Cloud #4576363. Publi...
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Piano,Vocal,Voice - Level 3 - SKU: A0.670406 Composed by Bantock. Arranged by MSM. Classical,Romantic Period. Score. 6 pages. Open Cloud #4576363. Published by Open Cloud (A0.670406). This product(include full and parts score) is a digital sheet music in PDF format. The music was composed by Bantock (Bantock Granville), 1868-1946, for Voice and Piano.
$2.99
Bantock-Folksong,Song of the fig-tree orchard(Canção de Figueiral),in C Major,for Voice and Piano
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Piano, Voix
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INTERMÉDIAIRE
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Classique
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Bantock
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MSM
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Bantock-Folksong,Song of the f
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Open Cloud
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SheetMusicPlus
Piano,Vocal,Voice - Level 3 - SKU: A0.670374 Composed by Bantock. Arranged by MSM. Classical,Romantic Period. Score. 9 pages. Open Cloud #4576275. Publi...
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Piano,Vocal,Voice - Level 3 - SKU: A0.670374 Composed by Bantock. Arranged by MSM. Classical,Romantic Period. Score. 9 pages. Open Cloud #4576275. Published by Open Cloud (A0.670374). This product(include full and parts score) is a digital sheet music in PDF format. The music was composed by Bantock (Bantock Granville), 1868-1946, for Voice and Piano.
$3.99
Bantock-Folksong,Snake-charmer's song(O re bho lá ma-n re),in C Major,for Voice and Piano
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Piano, Voix
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INTERMÉDIAIRE
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Classique
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Bantock
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MSM
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Bantock-Folksong,Snake-charmer
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Open Cloud
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SheetMusicPlus
Piano,Vocal,Voice - Level 3 - SKU: A0.670418 Composed by Bantock. Arranged by MSM. Classical,Romantic Period. Score. 6 pages. Open Cloud #4576385. Publi...
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Piano,Vocal,Voice - Level 3 - SKU: A0.670418 Composed by Bantock. Arranged by MSM. Classical,Romantic Period. Score. 6 pages. Open Cloud #4576385. Published by Open Cloud (A0.670418). This product(include full and parts score) is a digital sheet music in PDF format. The music was composed by Bantock (Bantock Granville), 1868-1946, for Voice and Piano.
$2.99
Bantock-Folksong,Pawnee war-song(Ka de la wats),in a minor,for Voice and Piano
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Piano, Voix
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INTERMÉDIAIRE
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Classique
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Bantock
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MSM
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Bantock-Folksong,Pawnee war-so
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Open Cloud
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SheetMusicPlus
Piano,Vocal,Voice - Level 3 - SKU: A0.670419 Composed by Bantock. Arranged by MSM. Classical,Romantic Period. Score. 5 pages. Open Cloud #4576389. Publi...
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Piano,Vocal,Voice - Level 3 - SKU: A0.670419 Composed by Bantock. Arranged by MSM. Classical,Romantic Period. Score. 5 pages. Open Cloud #4576389. Published by Open Cloud (A0.670419). This product(include full and parts score) is a digital sheet music in PDF format. The music was composed by Bantock (Bantock Granville), 1868-1946, for Voice and Piano.
$1.99
Bantock-Folksong,Minstrel song(Minnelied),in F Major,for Voice and Piano
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Piano, Voix
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INTERMÉDIAIRE
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Classique
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Bantock
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MSM
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Bantock-Folksong,Minstrel song
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Open Cloud
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SheetMusicPlus
Piano,Vocal,Voice - Level 3 - SKU: A0.670343 Composed by Bantock. Arranged by MSM. Classical,Romantic Period. Score. 9 pages. Open Cloud #4576209. Publi...
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Piano,Vocal,Voice - Level 3 - SKU: A0.670343 Composed by Bantock. Arranged by MSM. Classical,Romantic Period. Score. 9 pages. Open Cloud #4576209. Published by Open Cloud (A0.670343). This product(include full and parts score) is a digital sheet music in PDF format. The music was composed by Bantock (Bantock Granville), 1868-1946, for Voice and Piano.
$3.99
Die Bayernhymne/ The Anthem of Bavaria (Romantic Ver.)
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Piano, Voix
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INTERMÉDIAIRE
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Konrad Max Kunz Michael Öc
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Diana Bar
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Die Bayernhymne/ The Anthem of
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Diana Bar
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SheetMusicPlus
Piano,Vocal,Voice - Level 3 - SKU: A0.1103293 Composed by Konrad Max Kunz Michael Öchsner. Arranged by Diana Bar. 19th Century,Folk. Score. 3 pages....
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Piano,Vocal,Voice - Level 3 - SKU: A0.1103293 Composed by Konrad Max Kunz Michael Öchsner. Arranged by Diana Bar. 19th Century,Folk. Score. 3 pages. Diana Bar #706560. Published by Diana Bar (A0.1103293). The Bayernhymne (The Anthem of Bavaria) is the official anthem of the Free State of Bavaria. The melody of the song was written by Max Kunz in 1835. The text for the original first three stanzas war written by Michael Öchsner. The first Songperformance was on Dezember 15, 1860. It was officially recognised as the national anthem of Bavaria in 1946. I hope, you like my arrangement of it.
$6.49
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
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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
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INTERMÉDIAIRE
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MeeAe Cecilia Nam and Theodore
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Op. 45, No. 5: Si vous m&rsquo
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E. C. Schirmer Music Company - Digital
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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
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INTERMÉDIAIRE
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MeeAe Cecilia Nam and Theodore
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Op. 45, No. 4: Prière a
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E. C. Schirmer Music Company - Digital
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SheetMusicPlus
Voice and piano - Medium - SKU: MQ.8492-04E Composed by MeeAe Cecilia Nam and Theodore Gouvy. Instrument part. 5 pages. E. C. Schirmer Music Company - D...
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Voice and piano - Medium - SKU: MQ.8492-04E Composed by MeeAe Cecilia Nam and Theodore Gouvy. Instrument part. 5 pages. E. C. Schirmer Music Company - Digital #8492-04E. Published by E. C. Schirmer Music Company - Digital (MQ.8492-04E). French.Gouvy was known for writing some of the most beautiful melodies of the Romantic period. His style is a combination of German forms and an early French romantic harmonic structure. His writing for the piano in the songs is totally unified in mood and description with the voice, just as the piano is in Schubert’s songs. The equal partnership of the vocal line and piano interact closely to bring the poetry vividly into life with unimaginable artistic heights and unbridled passion.This volume includes Gouvy songs set to 18 poems of Philippe Desportes (1546–1606), and 18 poems of Moritz Hartmann (1821–1872). The elements of Romantic love poetry, such as enchanting love and its pain, and the personifying of nature, are fluently described with a great sensitivity in both voice and piano. Gouvy’s melody stir up the imagination because of his special treatment of words through a distinguishable and melodious vocal line, and his story telling and poetic treatment and development of the piano accompaniment. His compositional artistry places him in the upper echelons of art-song composers. One should note that Gouvy had a special fondness for the 16th Century poetry of La Pléiade (a group of Renaissance French poets, led by Pièrre de Ronsard (1524–1585). Desportes was truly the heir to Ronsard; however his work, when compared to that of Ronsard, is filled with greater abstraction and greater fluidity. Desportes seems to avoid any of the passionate anger that is occasionally characteristic of La Pléiade. This may be an indication that Desportes lived in a less distressed time. It also seems necessary to point out that he learned much in his early career by copying and studying the earlier works of La Pléiade. This has led some scholars to label him as a plagiarist, but it is important to realize that all the members of La Pléiade copied from each other when they wished to learn something new, and truly understand the style of the other poets in the group. Gouvy’s only choice of poems from his contemporaries, were the works of Moritz Hartmann (1821–1872), a good friend of Gouvy’s. Much of his poetry was strongly political in support of freedom of the individual. He traveled to Leipzig in 1845, but when the authorities discovered a volume of patriotic poems entitled Kelch und Schwert (Chalice and Sword), he fled to Belgium and France. It is at this time that he possibly met Théodore Gouvy. Eighteen poems of Hartmann were translated from German to French by the French poet, Adolph Larmande, of whom very little is known. Pierre Toussaint Adolphe Larmande seems to have been a rather obscure poet and musician. We know that he taught music theory at the Paris Conservatory at the same time Anton Reicha and Michele Carafa were on the faculty. We also know that in 1847 he married an English woman by the name of Marie Caroline Bradley. There are random documents, such as a Certificate of Arrival in London, England, in 1837, but there are no birth and death dates given, and that includes his obituary notice. Contents:18 Sonnets et Chansons de Desportes pour ténor ou soprano et piano, Op. 45 Six poésies allemandes de Moritz Hartmann pour baryton et piano, Op. 21 Douze poésies allemandes de Moritz Hartmann pour ténor et piano, Op. 26 (Poésies françaises d’Adolphe Larmande).
$3.00
Op. 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).
$3.00
Op. 1, No. 2: Barque légère, mon coeur 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. 2: Barque lé
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E. C. Schirmer Music Company - Digital
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SheetMusicPlus
Voice and piano - Medium - SKU: MQ.8492-26E 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.8492-26E 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
Op. 45, No. 14: Lettres, le seul repos 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. 14: Lettres, le se
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E. C. Schirmer Music Company - Digital
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SheetMusicPlus
Voice and piano - Medium - SKU: MQ.8492-14E 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.8492-14E 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
Op. 45, No. 10: Le calme de mes jours 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. 10: Le calme de me
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E. C. Schirmer Music Company - Digital
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SheetMusicPlus
Voice and piano - Medium - SKU: MQ.8492-10E 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.8492-10E 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
Op. 1, No. 5: La chanson du printemps 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. 5: La chanson du pr
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E. C. Schirmer Music Company - Digital
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SheetMusicPlus
Voice and piano - Medium - SKU: MQ.8492-29E Composed by MeeAe Cecilia Nam and Theodore Gouvy. Instrument part. 5 pages. E. C. Schirmer Music Company - D...
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Voice and piano - Medium - SKU: MQ.8492-29E Composed by MeeAe Cecilia Nam and Theodore Gouvy. Instrument part. 5 pages. E. C. Schirmer Music Company - Digital #8492-29E. Published by E. C. Schirmer Music Company - Digital (MQ.8492-29E). French.Gouvy was known for writing some of the most beautiful melodies of the Romantic period. His style is a combination of German forms and an early French romantic harmonic structure. His writing for the piano in the songs is totally unified in mood and description with the voice, just as the piano is in Schubert’s songs. The equal partnership of the vocal line and piano interact closely to bring the poetry vividly into life with unimaginable artistic heights and unbridled passion.This volume includes Gouvy songs set to 18 poems of Philippe Desportes (1546–1606), and 18 poems of Moritz Hartmann (1821–1872). The elements of Romantic love poetry, such as enchanting love and its pain, and the personifying of nature, are fluently described with a great sensitivity in both voice and piano. Gouvy’s melody stir up the imagination because of his special treatment of words through a distinguishable and melodious vocal line, and his story telling and poetic treatment and development of the piano accompaniment. His compositional artistry places him in the upper echelons of art-song composers. One should note that Gouvy had a special fondness for the 16th Century poetry of La Pléiade (a group of Renaissance French poets, led by Pièrre de Ronsard (1524–1585). Desportes was truly the heir to Ronsard; however his work, when compared to that of Ronsard, is filled with greater abstraction and greater fluidity. Desportes seems to avoid any of the passionate anger that is occasionally characteristic of La Pléiade. This may be an indication that Desportes lived in a less distressed time. It also seems necessary to point out that he learned much in his early career by copying and studying the earlier works of La Pléiade. This has led some scholars to label him as a plagiarist, but it is important to realize that all the members of La Pléiade copied from each other when they wished to learn something new, and truly understand the style of the other poets in the group. Gouvy’s only choice of poems from his contemporaries, were the works of Moritz Hartmann (1821–1872), a good friend of Gouvy’s. Much of his poetry was strongly political in support of freedom of the individual. He traveled to Leipzig in 1845, but when the authorities discovered a volume of patriotic poems entitled Kelch und Schwert (Chalice and Sword), he fled to Belgium and France. It is at this time that he possibly met Théodore Gouvy. Eighteen poems of Hartmann were translated from German to French by the French poet, Adolph Larmande, of whom very little is known. Pierre Toussaint Adolphe Larmande seems to have been a rather obscure poet and musician. We know that he taught music theory at the Paris Conservatory at the same time Anton Reicha and Michele Carafa were on the faculty. We also know that in 1847 he married an English woman by the name of Marie Caroline Bradley. There are random documents, such as a Certificate of Arrival in London, England, in 1837, but there are no birth and death dates given, and that includes his obituary notice. Contents:18 Sonnets et Chansons de Desportes pour ténor ou soprano et piano, Op. 45 Six poésies allemandes de Moritz Hartmann pour baryton et piano, Op. 21 Douze poésies allemandes de Moritz Hartmann pour ténor et piano, Op. 26 (Poésies françaises d’Adolphe Larmande).
$3.00
Op. 21, No. 5: Feuilles qui chuchotez from Songs of Gouvy, V2 (Downloadable)
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Piano, Voix
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INTERMÉDIAIRE
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MeeAe Cecilia Nam and Theodore
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Op. 21, No. 5: Feuilles qui ch
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E. C. Schirmer Music Company - Digital
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SheetMusicPlus
Voice and piano - Medium - SKU: MQ.8492-23E Composed by MeeAe Cecilia Nam and Theodore Gouvy. Instrument part. 9 pages. E. C. Schirmer Music Company - D...
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Voice and piano - Medium - SKU: MQ.8492-23E Composed by MeeAe Cecilia Nam and Theodore Gouvy. Instrument part. 9 pages. E. C. Schirmer Music Company - Digital #8492-23E. Published by E. C. Schirmer Music Company - Digital (MQ.8492-23E). French.Gouvy was known for writing some of the most beautiful melodies of the Romantic period. His style is a combination of German forms and an early French romantic harmonic structure. His writing for the piano in the songs is totally unified in mood and description with the voice, just as the piano is in Schubert’s songs. The equal partnership of the vocal line and piano interact closely to bring the poetry vividly into life with unimaginable artistic heights and unbridled passion.This volume includes Gouvy songs set to 18 poems of Philippe Desportes (1546–1606), and 18 poems of Moritz Hartmann (1821–1872). The elements of Romantic love poetry, such as enchanting love and its pain, and the personifying of nature, are fluently described with a great sensitivity in both voice and piano. Gouvy’s melody stir up the imagination because of his special treatment of words through a distinguishable and melodious vocal line, and his story telling and poetic treatment and development of the piano accompaniment. His compositional artistry places him in the upper echelons of art-song composers. One should note that Gouvy had a special fondness for the 16th Century poetry of La Pléiade (a group of Renaissance French poets, led by Pièrre de Ronsard (1524–1585). Desportes was truly the heir to Ronsard; however his work, when compared to that of Ronsard, is filled with greater abstraction and greater fluidity. Desportes seems to avoid any of the passionate anger that is occasionally characteristic of La Pléiade. This may be an indication that Desportes lived in a less distressed time. It also seems necessary to point out that he learned much in his early career by copying and studying the earlier works of La Pléiade. This has led some scholars to label him as a plagiarist, but it is important to realize that all the members of La Pléiade copied from each other when they wished to learn something new, and truly understand the style of the other poets in the group. Gouvy’s only choice of poems from his contemporaries, were the works of Moritz Hartmann (1821–1872), a good friend of Gouvy’s. Much of his poetry was strongly political in support of freedom of the individual. He traveled to Leipzig in 1845, but when the authorities discovered a volume of patriotic poems entitled Kelch und Schwert (Chalice and Sword), he fled to Belgium and France. It is at this time that he possibly met Théodore Gouvy. Eighteen poems of Hartmann were translated from German to French by the French poet, Adolph Larmande, of whom very little is known. Pierre Toussaint Adolphe Larmande seems to have been a rather obscure poet and musician. We know that he taught music theory at the Paris Conservatory at the same time Anton Reicha and Michele Carafa were on the faculty. We also know that in 1847 he married an English woman by the name of Marie Caroline Bradley. There are random documents, such as a Certificate of Arrival in London, England, in 1837, but there are no birth and death dates given, and that includes his obituary notice. Contents:18 Sonnets et Chansons de Desportes pour ténor ou soprano et piano, Op. 45 Six poésies allemandes de Moritz Hartmann pour baryton et piano, Op. 21 Douze poésies allemandes de Moritz Hartmann pour ténor et piano, Op. 26 (Poésies françaises d’Adolphe Larmande).
$3.00
Op. 45, No. 16: Je sens fleurir les plaisirs… 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. 16: Je sens fleuri
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E. C. Schirmer Music Company - Digital
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SheetMusicPlus
Voice and piano - Medium - SKU: MQ.8492-16E 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.8492-16E Composed by MeeAe Cecilia Nam and Theodore Gouvy. Instrument part. 8 pages. E. C. Schirmer Music Company - Digital #8492-16E. Published by E. C. Schirmer Music Company - Digital (MQ.8492-16E). 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
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