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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
author
Non classifié
484
Piano & claviers
Piano seul
494
Piano, Voix
213
Piano Facile
105
Piano, Voix et Guitare
79
Orgue
21
Instruments en Do
20
Accordéon
10
1 Piano, 4 mains
8
Piano grosses notes
5
Accompagnement Piano
3
Piano Trio: piano, violon, violoncelle
3
2 Pianos, 4 mains
2
Orgue, Piano (duo)
1
Ensemble d'Accordéons
1
Clavier
1
Piano (partie séparée)
1
Ensemble de Pianos
1
1 Piano, 6 mains
1
Orgue, Trompette (duo)
1
Piano Quatuor: piano, violon, alto, violoncelle
1
+ 15 instrumentations
Retracter
Guitares
Guitare
97
Guitare notes et tablatures
83
Basse electrique
45
Ukulele
29
Mandoline
12
Banjo
11
Ligne De Mélodie, (Paroles) et Accords
10
Dulcimer
10
2 Guitares (duo)
8
4 Guitares (Quatuor)
6
Paroles et Accords
5
3 Guitares (trio)
3
Piano, Guitare (duo)
3
Ensemble de guitares
3
Dobro
1
Guitare Pedal Steel
1
Orchestre à Plectres
1
Ukulele Baryton
1
Mandoline, Piano (duo)
1
+ 14 instrumentations
Retracter
Voix
Chorale SATB
221
Chorale Unison
58
Chorale 3 parties
53
Chorale 2 parties
35
Chorale TTBB
29
Voix duo, Piano
13
Chorale SSAA
13
Voix Baryton, Piano
4
Voix Soprano, Piano
4
Voix Soprano
3
Voix Tenor, Piano
3
Voix duo
3
Voix haute
3
Voix Alto, Piano
2
Voix seule
1
Chorale SSAATB
1
Chorale SATBB
1
Chorale
1
Voix moyenne, Piano
1
+ 14 instrumentations
Retracter
Vents
Quatuor de Saxophones: 4 saxophones
26
2 Flûtes traversières, Piano
25
Flûte traversière
21
Flûte traversière et Piano
19
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
17
Flûte, Hautbois, Clarinette, Basson
14
2 Saxophones (duo)
14
Clarinette
14
Clarinette et Piano
12
Quintette de Saxophone: 5 saxophones
12
3 Saxophones (trio)
11
Hautbois, Piano (duo)
10
Saxophone Tenor et Piano
9
Quatuor de Clarinettes: 4 clarinettes
9
Saxophone Alto et Piano
9
Flûte à bec Soprano
8
Saxophone Alto
8
3 Clarinettes (trio)
7
2 Flûte à bec (duo)
7
Cor anglais, Piano
7
2 Hautbois (duo)
7
Flûte et Guitare
7
2 Flûtes traversières (duo)
6
Saxophone Tenor
6
Flûte, Violon
6
Quatuor de Flûtes : 4 flûtes
6
Saxophone Baryton, Piano
5
Saxophone (partie séparée)
5
Flûte irlandaise
4
Flûte à Bec
4
2 Clarinettes (duo)
4
Quintette de Flûte : 5 flûtes
4
Hautbois (partie séparée)
4
Quatuor de Flûtes à bec
4
Ensemble de Flûtes
4
Saxophone Soprano
3
Saxophone Soprano et Piano
3
Clarinette (partie séparée)
3
Trio de Flûtes: 3 flûtes
3
Harmonica
3
Ensemble de Hautbois
2
Flûte à bec Alto
2
Flûte, Clarinette (duo)
2
Clarinette, Guitare (duo)
2
Quintette de Clarinettes: 5 clarinettes
2
Hautbois, Clarinette, Basson (trio d'anches)
2
Instruments en Mib
2
2 Flûtes à bec, Piano
2
Ensemble de Clarinettes
2
3 Flûtes à bec (trio)
2
Clarinette, Basson (duo)
2
Flûte, Clarinette, Piano (trio)
2
Clarinette Basse, Piano
2
Flûte à bec Alto, Piano
2
Flûte à bec Soprano, Piano
2
Hautbois
1
Ensemble de saxophones
1
Saxophone
1
Flute (partie séparée)
1
Flûte, Violoncelle
1
Flûte, Violoncelle, Piano (trio)
1
4 Hautbois
1
Cor Anglais
1
Flûte, Hautbois, Clarinette (trio)
1
Hautbois, Clarinette (duo)
1
Flûte, Clarinette et Basson
1
5 Flûtes à bec
1
+ 62 instrumentations
Retracter
Cuivres
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
27
Trompette
20
Quatuor de Cuivres : 2 trompettes, trombone, tuba
18
Cor et Piano
11
Trombone
10
Trombone et Piano
8
Quatuor de cuivres: 4 trombones
8
Cor anglais, Piano
7
Trompette, Piano
6
Cor
5
Tuba et Piano
4
Quatuor de cuivres: 4 cors
4
Trompette (partie séparée)
4
Quatuor de cuivres: 4 trompettes
3
4 Tubas
3
2 Trompettes (duo)
3
Ensemble de Cors
3
Ensemble de Trombones
2
Quatuor de Cuivres
2
Trompette et Guitare
2
Instruments en Sib
2
Bass Clef Instruments
2
2 Trombones (duo)
2
Euphonium, Piano (duo)
2
Tuba
2
3 Cors (trio)
1
Cor Anglais
1
Euphonium, Tuba (duo)
1
3 Tubas (trio)
1
Trompette, Cor (duo)
1
Ensemble de Trompettes
1
Trombone, Cor (duo)
1
Quatuor de Cuivres: 2 trompettes, Cor, trombone
1
2 Tubas (duo)
1
2 Cors (duo)
1
+ 30 instrumentations
Retracter
Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
87
Violon
38
Violon et Piano
32
Violoncelle
20
Trio à Cordes: violon, alto, violoncelle
18
Violoncelle, Piano
17
Alto, Piano
15
Violon, Violoncelle (duo)
14
2 Violons (duo)
12
Harpe
10
2 Violoncelles (duo)
8
Alto seul
7
4 Violoncelles
5
Alto (partie séparée)
5
Violon, Alto (duo)
5
Contre Basse
4
Alto, Violoncelle (duo)
4
Trio à Cordes: 3 violoncelles
4
2 Altos (duo)
4
Quatuor à cordes : 4 altos
4
Quatuor à cordes: 4 violons
4
Trio à cordes: 3 altos
3
Trio à cordes: 3 violins
3
Contrebasse, Piano (duo)
3
Quintette à cordes: 2 violons, alto, violoncelle, basse
2
Harpe, Voix
2
2 Harpes (duo)
2
Trio à cordes
2
Trio à Cordes: 2 violons, alto
1
4 Contrebasses
1
Violon, Clarinette, Piano (trio)
1
Violoncelle, Contrebasse (duo)
1
Violoncelle , Guitare (duo)
1
Harpe, Flûte (duo)
1
2 Contrebasses (duo)
1
Trio à Cordes: 2 violons, violoncelle
1
+ 31 instrumentations
Retracter
Orchestre & Percussions
Orchestre d'harmonie
114
Orchestre
39
Orchestre de chambre
21
Orchestre à Cordes
19
Fanfare
17
Batterie
16
Ensemble Jazz
11
Ensemble de cuivres
11
Jazz combo
7
Percussion (partie séparée)
4
Cloches
3
Marimba
3
Bongos
2
Conga
1
Quintette de Cuivres: autres combinaisons
1
Vibraphone
1
Ensemble de Percussions
1
+ 12 instrumentations
Retracter
Autres
Formation musicale - Solfège
1
Théorie de la musique
1
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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
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PAS DE PART…
PERCU. ORCH…
PERCUSSION
PIANO
SAXOPHONE
SYNTHE
TROMBONE
TROMPETTE
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VIELLE A RO…
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VIOLON
VIOLONCELLE
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--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
COR
COR ANGLAIS
CORNEMUSE
CORNET
DEEJAY
DIDGERIDOO
DULCIMER
EUPHONIUM
FANFARE - BAND…
FLUTE A BEC
FLUTE DE PAN
FLUTE TRAVERSI…
FORMATION MUSI…
GUITARE
GUITARE LAP ST…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH
MANDOLINE
MARIMBA
OCARINA
ORCHESTRE
ORGUE
PERCUSSION
PIANO
SAXOPHONE
SYNTHETISEUR
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIOLON
VIOLONCELLE
XYLOPHONE
style (tous)
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ASIE
BLUEGRASS
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CELTIQUE - IRISH - S…
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JAZZ MANOUCHE - SWIN…
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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…
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Vous avez sélectionné:
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Piano, Voix
Partitions à imprimer
213 partitions trouvées
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201
Good-By Old Stamp, Good-by. Song and Chorus by Uncle Sam, Author of all the Stamps
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Piano, Voix
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Old Stamp, Good-by
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Sam, Jr
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Good-By Old Stamp, Good-by. So
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Johns Hopkins University Sheridan Libraries
#
SheetMusicPlus
Piano and voice - SKU: LV.333 Composed by Sam, Jr., Uncle Sam. Postage stamps, Satire. Lester S. Levy Collection. 4 pages. Published by Johns Hopkins Un...
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Piano and voice - SKU: LV.333 Composed by Sam, Jr., Uncle Sam. Postage stamps, Satire. Lester S. Levy Collection. 4 pages. Published by Johns Hopkins University Sheridan Libraries (LV.333). Good-By Old Stamp, Good-by. Song and Chorus by Uncle Sam, Author of all the Stamps. Written by Sam, Jr. Composed by Uncle Sam. Published 1883 by H.S. Perkins & Co., 162 State Street in Chicago. Composition of strophic with chorus with piano and voice instrumentation. Subject headings for this piece include Postage stamps, Satire. First line reads Good by, old stamp, it's human luck that ends our friendship so.. 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
Gao's Waltz Mini Ballet
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Piano, Voix
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INTERMÉDIAIRE
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Contemporain
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Johnson Gao
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Johnson Gao
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Gao's Waltz Mini Ballet
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Johnson Gao
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SheetMusicPlus
Piano,Vocal,Voice - Level 3 - SKU: A0.1458135 By Johnson Gao. By Johnson Gao. Arranged by Johnson Gao. 20th Century. Score. 213 pages. Johnson Gao #1037...
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Piano,Vocal,Voice - Level 3 - SKU: A0.1458135 By Johnson Gao. By Johnson Gao. Arranged by Johnson Gao. 20th Century. Score. 213 pages. Johnson Gao #1037106. Published by Johnson Gao (A0.1458135). This song has 14 chapters representing 12 waltzes mixed. The music sheet has 213 pages and can be electronically converted to a soundtrack playing for about 21 minutes. Some songs (chapters) were composed of ancient Chinese poems by famous poets like Liu Bang, Bai Juyi, Tao Yuan-ming, Su Dong-po, et al. A video with the same title has been posted on YouTube.com, which contains more than 130 images of photos and a few short videos with the background melody of this song. Although most of the songs were published before as early as 2008 and later, the author re-composed carefully based on his memory with certain modifications and key signature changes to adjust an even playing of the song in one whole piece. The highlights of the stories' songs are as follows: The beginning part of the song is originally called the prelude of Tao Yuan-ming's The Eutopia of the Peach Land Spring; which is followed by the historical long poem of 616 Chinese characters called Pi Pa Xing by Bai Ji-yi around 1:30. Around 8:06 is a small bird feeding her young chicken and its tail-dancing matches with the melody of the song which was modified from Beijing Opera by the composer. Around 11:30 is the song called Wedding Waltz for Su Dong-po's poem Written on the West Wood Wall; around 13:40 is the Chi Le Song; around 14:00 to 15:00 is the song - Love Forever, which was jointly created with his son Raymond and his wife Catherine 25 years ago. The playing time at 15:30 is the song the author wrote for his poem called Life and Sea in 100 Chinese Characters; around 18:00 to 19:00 is King's Wedding by the author. Two songs around 11:00 are Raise the Championship Cup and 19:30 Bon Voyage which the composer wrote for the 2008 Bejing Olympic Games. 這首歌有14個章節，代表12首華爾滋混合曲。樂譜有 213 頁，可以透過電子方式轉換為播放約 21 分鐘的配樂。部分歌曲（篇章）取自劉邦、白居易、陶淵明、蘇東坡等著名詩人的中國古詩詞。 YouTube.com上已發布同名視頻，其中包含130多張照片和一些短視頻,有這首歌的背景旋律。雖然大部分歌曲早在2008年及以後就已發表，但作者根據記憶重新精心創作，進行了一定的修改和調號變化，以調整整首歌曲的均勻演奏。故事歌曲的亮點如下： 歌曲的開頭部分原為陶淵明《桃花源記》的前奏；接下來是1點30分左右，白居易創作的616字的歷史長詩《琵琶行》。 8點06分左右，一隻小鳥正在餵小雛，它的尾巴舞動與作曲家根據京劇改編的歌曲旋律相匹配。 11點30分左右，蘇東坡詩《題西林壁》的《婚禮華爾兹》； 13點40分左右是《敕勒歌》； 14:00至15:00左右是歌曲《Love Forever》，這是25年前他與兒子雷蒙和妻子凱瑟琳共同創作的歌曲。 15點30分播放的是作者為詩作的歌曲《大海人生百字歌》； 18:00到19:00左右是作者的《國王的婚禮》。 11:00左右的兩首歌曲是作曲家為2008年北京奧運創作的《舉金盃》和19:30的《一路順風》。.
$4.99
A WOMAN'S BLUES
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Piano, Voix
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INTERMÉDIAIRE
#
Joe Procopio From the CD ALL I
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Joe Procopio
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A WOMAN'S BLUES
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JoeCopio Music LLC
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SheetMusicPlus
Piano,Vocal,Voice - Level 3 - SKU: A0.876428 Composed by Joe Procopio. Blues,Pop. Score. 3 pages. JoeCopio Music LLC #1947. Published by JoeCopio Music ...
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Piano,Vocal,Voice - Level 3 - SKU: A0.876428 Composed by Joe Procopio. Blues,Pop. Score. 3 pages. JoeCopio Music LLC #1947. Published by JoeCopio Music LLC (A0.876428). A WOMEN’S BLUES By Joe Procopio From the CD ALL IN MY LIFE A WOMENS BLUES is a pop song describing the feelings of some women of today. The Blues is melancholic music and the lyrics of this song express a kind of pensive sadness with no apparent cause. The backing track of music however is uplifting. The result is a song with a curious combination of feelings that are both heartbroken and happy at the same time. There two recorded versions of this song. One was recorded in a studio in California the other is the original recording. The original is a homemade recording done in the Gymnasium of an Elementary School in New Woodstock, NY with Mark Freeman on Drums, brother Greg on both the Guitar and Flute solo, and Barbie Briars doing the vocals. You can also hear Barbie on The Touch, The Taste Of Time, Why Are You So Lonely, For You My God and Maybe It’s The Way. These recordings can be found at Sheet Music Plus, iTunes, Amazon, etc., on a CD entitled All In My Life by the author. The printed sheet music here shows the song as a Lead Sheet. That is, the melody, the lyrics and the chords. JOE PROCOPIO IS THE AUTHOR OF THE VERY BEST AND LOWEST PRICED MUSIC EBOOKS AVAILABLE WORLDWIDE INCLUDING THE AWARD WINNING BASIC MUSIC THEORY.
$3.99
THE TOUCH, THE TASTE OF TIME
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Piano, Voix
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INTERMÉDIAIRE
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Joe Procopio From the CD ALL I
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Joe Procopio
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THE TOUCH, THE TASTE OF TIME
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JoeCopio Music LLC
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SheetMusicPlus
Piano,Vocal,Voice - Level 3 - SKU: A0.876427 Composed by Joe Procopio. Christian,Pop. Score. 3 pages. JoeCopio Music LLC #1945. Published by JoeCopio Mu...
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Piano,Vocal,Voice - Level 3 - SKU: A0.876427 Composed by Joe Procopio. Christian,Pop. Score. 3 pages. JoeCopio Music LLC #1945. Published by JoeCopio Music LLC (A0.876427). THE TOUCH, THE TASTE OF TIME By Joe Procopio From the CD ALL IN MY LIFE THE TOUCH, THE TASTE OF TIME is a pop song that tells of the feelings that come from our unique awareness of our own mortality. It is a song that describes a love for another that is so powerful that it lets the lover see its source as infinite, divine and eternal Love. It is a love that transcends the moment and touches eternity. A deep, abiding, Divine love that is possible for us as humans to experience by loving God and others in a manner that mirrors Christ. Barbie plays the guitar and sings the song by herself. She is one of those rare artists that can do more alone than most can do with a group. You can also hear Barbie on Why Are You So Lonely, A Woman’s Blues, For You My God and Maybe It’s The Way. These recordings can be found on Sheet Music Plus, iTunes, Amazon, etc., in a CD entitled All In My Life by the author. The printed sheet music here shows the song as a Lead Sheet. That is, the melody, the lyrics and the chords. JOE PROCOPIO IS THE AUTHOR OF THE VERY BEST AND LOWEST PRICED MUSIC EBOOKS AVAILABLE WORLDWIDE INCLUDING THE AWARD WINNING BASIC MUSIC THEORY.
$3.99
Parted From Thee
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Piano, Voix
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George Matzka
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Parted From Thee
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Johns Hopkins University Sheridan Libraries
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SheetMusicPlus
Piano and voice - SKU: LV.3759 Composed by George Matzka. Portraits, Courtship, Love, Nostalgia, Sadness, Time. Lester S. Levy Collection. 6 pages. Publ...
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Piano and voice - SKU: LV.3759 Composed by George Matzka. Portraits, Courtship, Love, Nostalgia, Sadness, Time. Lester S. Levy Collection. 6 pages. Published by Johns Hopkins University Sheridan Libraries (LV.3759). The Only Authorized Edition of The Songs of Mademoiselle Parepa. Parted From Thee. Geo. Matzka. Published 1865 by Wm. A. Pond & Co., 547 Broadway in New York. Composition of strophic with piano and voice instrumentation. Subject headings for this piece include Portraits, Courtship, Love, Nostalgia, Sadness, Time. First line reads Absent from home, parted from thee, deep in my soul the grief lingers yet.. 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
O Waly, Waly Up the Bank
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Piano, Voix
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Jacques Blumenthal
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O Waly, Waly Up the Bank
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Johns Hopkins University Sheridan Libraries
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SheetMusicPlus
Piano and voice - SKU: LV.4411 Composed by Jacques Blumenthal. Portraits, Courtship, Love, Dialects, Scotland. Lester S. Levy Collection. 5 pages. Publi...
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Piano and voice - SKU: LV.4411 Composed by Jacques Blumenthal. Portraits, Courtship, Love, Dialects, Scotland. Lester S. Levy Collection. 5 pages. Published by Johns Hopkins University Sheridan Libraries (LV.4411). Authorized Edition of Mademoiselle Christine Nilsson's Songs. No. 1. O Waly, Waly Up the Bank. Jacques Blumenthal. Published 1870 by Wm. A. Pond & Co., 547 Broadway in New York. Composition of strophic with piano and voice instrumentation. Subject headings for this piece include Portraits, Courtship, Love, Dialects, Scotland. First line reads O waly waly up the bank, and waly waly down the brae.. 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
They're After Me
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Piano, Voix
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Marcus Meyer
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They're After Me
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Johns Hopkins University Sheridan Libraries
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SheetMusicPlus
Piano and voice - SKU: LV.5810 Arranged by Marcus Meyer. Portraits, Gifts, Presidential elections, Taxes, Beer. Lester S. Levy Collection. 4 pages. Publ...
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Piano and voice - SKU: LV.5810 Arranged by Marcus Meyer. Portraits, Gifts, Presidential elections, Taxes, Beer. Lester S. Levy Collection. 4 pages. Published by Johns Hopkins University Sheridan Libraries (LV.5810). Only Authorized Edition of the New Comic Song. They're After Me. Arranged by Marcus Meyer. Published 1890 by T.B. Harms & Co., 819 Broadway in New York. Composition of strophic with chorus with piano and voice instrumentation. Subject headings for this piece include Portraits, Gifts, Presidential elections, Taxes, Beer. First line reads To be a man sought after ev'rywhere, is rather sweet.. 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
Find Your Four-Leaf Clover
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Piano, Voix
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INTERMÉDIAIRE/AVANCÉ
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JYE BRYANT
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Find Your Four-Leaf Clover
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Jye Bryant
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SheetMusicPlus
Piano,Vocal,Voice - Level 4 - SKU: A0.1238011 Composed by JYE BRYANT. Broadway,Celtic,Folk,Irish,Musical/Show. Score. 26 pages. Jye Bryant #833480. Publ...
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Piano,Vocal,Voice - Level 4 - SKU: A0.1238011 Composed by JYE BRYANT. Broadway,Celtic,Folk,Irish,Musical/Show. Score. 26 pages. Jye Bryant #833480. Published by Jye Bryant (A0.1238011). From CAPTAIN MOONLITE - A New Australian Musical created by Jye BryantAndrew George Scott and his gang of misfits decide to leave Melbourne to escape persecution from the authorities and in search for work.
$4.99
Dear Reader
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Piano, Voix
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FACILE
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Pop musique
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Taylor Swift
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Jack Antonoff, performed by Ta
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Corinna Soeller
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Dear Reader
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Corinna Soeller
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SheetMusicPlus
Piano,Vocal,Voice - Level 2 - SKU: A0.1121835 By Taylor Swift. By Jack Antonoff and Taylor Swift. Arranged by Corinna Soeller. Folk,Pop,Rock,Singer/Song...
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Piano,Vocal,Voice - Level 2 - SKU: A0.1121835 By Taylor Swift. By Jack Antonoff and Taylor Swift. Arranged by Corinna Soeller. Folk,Pop,Rock,Singer/Songwriter. Score. 4 pages. Corinna Soeller #723028. Published by Corinna Soeller (A0.1121835). Piano Solo - Level 3 - Composed by Jack Antonoff, performed by Taylor Swift. Piano Solo with Lyrics . Pop Rock Folk. Arranged by Corinna Soeller. Score 4 pages. ID A723028 About s s are downloadable sheet music files that can be viewed directly on your computer, tablet or mobile device. Once you download your digital sheet music, you can view and print it at home, school, or anywhere you want to make music, and you don’t have to be connected to the internet. Just purchase, download and play! PLEASE NOTE: Your will have a watermark at the bottom of each page that will include your name, purchase date and number of copies purchased. You are only authorized to print the number of copies that you have purchased. You may not digitally distribute or print more copies than purchased for use (i.e., you may not print or digitally distribute individual copies to friends or students).
$4.99
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. 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. 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
#
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
#
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
#
INTERMÉDIAIRE
#
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. 1, No. 7: Dans un songe enchanté from Songs of Gouvy, V2 (Downloadable)
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Piano, Voix
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INTERMÉDIAIRE
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MeeAe Cecilia Nam and Theodore
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Op. 1, No. 7: Dans un songe en
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E. C. Schirmer Music Company - Digital
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SheetMusicPlus
Voice and piano - Medium - SKU: MQ.8492-31E Composed by MeeAe Cecilia Nam and Theodore Gouvy. Instrument part. 7 pages. E. C. Schirmer Music Company - D...
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Voice and piano - Medium - SKU: MQ.8492-31E Composed by MeeAe Cecilia Nam and Theodore Gouvy. Instrument part. 7 pages. E. C. Schirmer Music Company - Digital #8492-31E. Published by E. C. Schirmer Music Company - Digital (MQ.8492-31E). French.Gouvy was known for writing some of the most beautiful melodies of the Romantic period. His style is a combination of German forms and an early French romantic harmonic structure. His writing for the piano in the songs is totally unified in mood and description with the voice, just as the piano is in Schubert’s songs. The equal partnership of the vocal line and piano interact closely to bring the poetry vividly into life with unimaginable artistic heights and unbridled passion.This volume includes Gouvy songs set to 18 poems of Philippe Desportes (1546–1606), and 18 poems of Moritz Hartmann (1821–1872). The elements of Romantic love poetry, such as enchanting love and its pain, and the personifying of nature, are fluently described with a great sensitivity in both voice and piano. Gouvy’s melody stir up the imagination because of his special treatment of words through a distinguishable and melodious vocal line, and his story telling and poetic treatment and development of the piano accompaniment. His compositional artistry places him in the upper echelons of art-song composers. One should note that Gouvy had a special fondness for the 16th Century poetry of La Pléiade (a group of Renaissance French poets, led by Pièrre de Ronsard (1524–1585). Desportes was truly the heir to Ronsard; however his work, when compared to that of Ronsard, is filled with greater abstraction and greater fluidity. Desportes seems to avoid any of the passionate anger that is occasionally characteristic of La Pléiade. This may be an indication that Desportes lived in a less distressed time. It also seems necessary to point out that he learned much in his early career by copying and studying the earlier works of La Pléiade. This has led some scholars to label him as a plagiarist, but it is important to realize that all the members of La Pléiade copied from each other when they wished to learn something new, and truly understand the style of the other poets in the group. Gouvy’s only choice of poems from his contemporaries, were the works of Moritz Hartmann (1821–1872), a good friend of Gouvy’s. Much of his poetry was strongly political in support of freedom of the individual. He traveled to Leipzig in 1845, but when the authorities discovered a volume of patriotic poems entitled Kelch und Schwert (Chalice and Sword), he fled to Belgium and France. It is at this time that he possibly met Théodore Gouvy. Eighteen poems of Hartmann were translated from German to French by the French poet, Adolph Larmande, of whom very little is known. Pierre Toussaint Adolphe Larmande seems to have been a rather obscure poet and musician. We know that he taught music theory at the Paris Conservatory at the same time Anton Reicha and Michele Carafa were on the faculty. We also know that in 1847 he married an English woman by the name of Marie Caroline Bradley. There are random documents, such as a Certificate of Arrival in London, England, in 1837, but there are no birth and death dates given, and that includes his obituary notice. Contents:18 Sonnets et Chansons de Desportes pour ténor ou soprano et piano, Op. 45 Six poésies allemandes de Moritz Hartmann pour baryton et piano, Op. 21 Douze poésies allemandes de Moritz Hartmann pour ténor et piano, Op. 26 (Poésies françaises d’Adolphe Larmande).
$3.00
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
Op. 21, No. 4: Dans les bois from Songs of Gouvy, V2 (Downloadable)
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Piano, Voix
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INTERMÉDIAIRE
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MeeAe Cecilia Nam and Theodore
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Op. 21, No. 4: Dans les bois f
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E. C. Schirmer Music Company - Digital
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SheetMusicPlus
Voice and piano - Medium - SKU: MQ.8492-22E Composed by MeeAe Cecilia Nam and Theodore Gouvy. Instrument part. 5 pages. E. C. Schirmer Music Company - D...
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Voice and piano - Medium - SKU: MQ.8492-22E Composed by MeeAe Cecilia Nam and Theodore Gouvy. Instrument part. 5 pages. E. C. Schirmer Music Company - Digital #8492-22E. Published by E. C. Schirmer Music Company - Digital (MQ.8492-22E). French.Gouvy was known for writing some of the most beautiful melodies of the Romantic period. His style is a combination of German forms and an early French romantic harmonic structure. His writing for the piano in the songs is totally unified in mood and description with the voice, just as the piano is in Schubert’s songs. The equal partnership of the vocal line and piano interact closely to bring the poetry vividly into life with unimaginable artistic heights and unbridled passion.This volume includes Gouvy songs set to 18 poems of Philippe Desportes (1546–1606), and 18 poems of Moritz Hartmann (1821–1872). The elements of Romantic love poetry, such as enchanting love and its pain, and the personifying of nature, are fluently described with a great sensitivity in both voice and piano. Gouvy’s melody stir up the imagination because of his special treatment of words through a distinguishable and melodious vocal line, and his story telling and poetic treatment and development of the piano accompaniment. His compositional artistry places him in the upper echelons of art-song composers. One should note that Gouvy had a special fondness for the 16th Century poetry of La Pléiade (a group of Renaissance French poets, led by Pièrre de Ronsard (1524–1585). Desportes was truly the heir to Ronsard; however his work, when compared to that of Ronsard, is filled with greater abstraction and greater fluidity. Desportes seems to avoid any of the passionate anger that is occasionally characteristic of La Pléiade. This may be an indication that Desportes lived in a less distressed time. It also seems necessary to point out that he learned much in his early career by copying and studying the earlier works of La Pléiade. This has led some scholars to label him as a plagiarist, but it is important to realize that all the members of La Pléiade copied from each other when they wished to learn something new, and truly understand the style of the other poets in the group. Gouvy’s only choice of poems from his contemporaries, were the works of Moritz Hartmann (1821–1872), a good friend of Gouvy’s. Much of his poetry was strongly political in support of freedom of the individual. He traveled to Leipzig in 1845, but when the authorities discovered a volume of patriotic poems entitled Kelch und Schwert (Chalice and Sword), he fled to Belgium and France. It is at this time that he possibly met Théodore Gouvy. Eighteen poems of Hartmann were translated from German to French by the French poet, Adolph Larmande, of whom very little is known. Pierre Toussaint Adolphe Larmande seems to have been a rather obscure poet and musician. We know that he taught music theory at the Paris Conservatory at the same time Anton Reicha and Michele Carafa were on the faculty. We also know that in 1847 he married an English woman by the name of Marie Caroline Bradley. There are random documents, such as a Certificate of Arrival in London, England, in 1837, but there are no birth and death dates given, and that includes his obituary notice. Contents:18 Sonnets et Chansons de Desportes pour ténor ou soprano et piano, Op. 45 Six poésies allemandes de Moritz Hartmann pour baryton et piano, Op. 21 Douze poésies allemandes de Moritz Hartmann pour ténor et piano, Op. 26 (Poésies françaises d’Adolphe Larmande).
$3.00
Op. 45, No. 17: On verra défaillir tous les astres aux cieu 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. 17: On verra d&eac
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E. C. Schirmer Music Company - Digital
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SheetMusicPlus
Voice and piano - Medium - SKU: MQ.8492-17E 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.8492-17E Composed by MeeAe Cecilia Nam and Theodore Gouvy. Instrument part. 6 pages. E. C. Schirmer Music Company - Digital #8492-17E. Published by E. C. Schirmer Music Company - Digital (MQ.8492-17E). 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. 3: Adieu 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. 3: Adieu from Songs
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E. C. Schirmer Music Company - Digital
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SheetMusicPlus
Voice and piano - Medium - SKU: MQ.8492-27E 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.8492-27E Composed by MeeAe Cecilia Nam and Theodore Gouvy. Instrument part. 7 pages. E. C. Schirmer Music Company - Digital #8492-27E. Published by E. C. Schirmer Music Company - Digital (MQ.8492-27E). 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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