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ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
COR
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CORNET
DEEJAY
DIDGERIDOO
DULCIMER
EUPHONIUM
FANFARE - BAND…
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FLUTE TRAVERSI…
FORMATION MUSI…
GUITARE
GUITARE LAP ST…
HARMONICA
HARPE
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LIVRES
LUTH
MANDOLINE
MARIMBA
OCARINA
ORCHESTRE
ORGUE
PERCUSSION
PIANO
SAXOPHONE
SYNTHETISEUR
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIOLON
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XYLOPHONE
Piano Sonata 1
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171
Piano & claviers
Piano seul
651
Piano Facile
141
1 Piano, 4 mains
58
Piano, Voix
9
Piano, Voix et Guitare
5
2 Pianos, 4 mains
5
Clavecin
4
Instruments en Do
2
Piano grosses notes
1
Piano Trio: piano, violon, violoncelle
1
+ 5 instrumentations
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Guitare notes et tablatures
10
Guitare
7
Piano, Guitare (duo)
4
2 Guitares (duo)
2
Voix
Chorale 2 parties
1
Chorale SATB
1
Vents
Flûte traversière et Piano
88
Clarinette et Piano
58
Hautbois, Piano (duo)
34
Flûte traversière
33
Saxophone Alto et Piano
32
Saxophone Tenor et Piano
23
Saxophone Soprano et Piano
20
Saxophone Baryton, Piano
15
Clarinette
15
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
12
Flûte, Hautbois, Clarinette, Basson
12
Cor anglais, Piano
9
Clarinette Basse, Piano
9
Quatuor de Clarinettes: 4 clarinettes
5
2 Flûtes traversières (duo)
5
Quatuor de Saxophones: 4 saxophones
4
Quintette de Saxophone: 5 saxophones
4
2 Saxophones (duo)
4
3 Saxophones (trio)
4
Flûte à Bec, Piano
4
2 Clarinettes (duo)
3
2 Flûte à bec (duo)
3
Quintette de Clarinettes: 5 clarinettes
3
Flûte, Clarinette (duo)
3
Quatuor de Flûtes : 4 flûtes
3
Saxophone Alto
2
Saxophone Tenor
2
Flûte à bec Alto, Piano
2
Clarinette, Violoncelle, Piano (trio)
2
Flûte à bec Soprano
1
3 Flûtes à bec (trio)
1
Flûte à bec Soprano, Piano
1
3 Clarinettes (trio)
1
Quintette de Flûte : 5 flûtes
1
Saxophone, Clarinette (duo)
1
Clarinette, Basson (duo)
1
Flûte irlandaise
1
Hautbois, Clarinette, Basson (trio d'anches)
1
Hautbois (partie séparée)
1
Flûte, Hautbois, Piano (trio)
1
Ensemble de Clarinettes
1
Piccolo, Piano
1
Flûte à Bec
1
Flûte, Violon, Piano
1
5 Flûtes à bec
1
Quatuor de Flûtes à bec
1
Flûte à bec Alto, Basse continue
1
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Trombone et Piano
24
Trompette, Piano
18
Cor et Piano
15
Euphonium, Piano (duo)
13
Trompette
11
Cor anglais, Piano
9
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
8
Tuba et Piano
5
Quatuor de Cuivres : 2 trompettes, trombone, tuba
2
Trombone
2
Ensemble de Cors
1
Cor
1
Quatuor de cuivres: 4 trompettes
1
4 Tubas
1
Quatuor de cuivres: 4 trombones
1
Ensemble de Trompettes
1
Quatuor de cuivres: 4 cors
1
+ 12 instrumentations
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Violon et Piano
120
Violoncelle, Piano
67
Violon
55
Alto, Piano
53
Quatuor à cordes: 2 violons, alto, violoncelle
17
Alto seul
13
Violoncelle
12
Contre Basse
7
Violon (partie séparée)
7
2 Violons, Piano
6
Contrebasse, Piano (duo)
5
Violon, Basse continue
4
Harpe
4
4 Violoncelles
3
2 Violons (duo)
3
2 Violons et Basse continue
3
Violon, Alto (duo)
2
Quintette à cordes: 2 violons, alto, violoncelle, basse
2
Trio à Cordes: violon, alto, violoncelle
2
2 Altos (duo)
2
Trio à cordes: 3 altos
1
Quatuor à cordes : 4 altos
1
Trio à Cordes: 2 violons, violoncelle
1
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1
2 Violoncelles (duo)
1
Trio à Cordes: 3 violoncelles
1
Violon, Violoncelle (duo)
1
Trio à cordes: 3 violins
1
Alto (partie séparée)
1
Quatuor à cordes: 4 violons
1
Violoncelle, Basse continue
1
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Orchestre à Cordes
63
Orchestre
18
Orchestre de chambre
6
Orchestre d'harmonie
5
Ensemble Jazz
1
Xylophone
1
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Piano Sonata 1
Piano Trio: piano, violon, violoncelle
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Piano Trio in C minor, Op. 143
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Piano Trio: piano, violon, violoncelle
#
INTERMÉDIAIRE
#
Classique
#
Ferdinand Ries
#
Dianne James
#
Piano Trio in C minor, Op. 143
#
Artaria Editions
#
SheetMusicPlus
Piano Trio Cello,Piano,Violin - Level 3 - SKU: A0.1487814 Composed by Ferdinand Ries. Arranged by Dianne James. Classical. 62 pages. Artaria Editions #1...
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Piano Trio Cello,Piano,Violin - Level 3 - SKU: A0.1487814 Composed by Ferdinand Ries. Arranged by Dianne James. Classical. 62 pages. Artaria Editions #1064752. Published by Artaria Editions (A0.1487814). The Piano Trio in C minor Op.143 was published by Schott in 1826, but could have been composed much earlier for Ries's personal use in the London concert halls. It is an imposing work, whose gruff tone and serious purpose recall Beethoven's use of this key. The first movement is an impressive sonata-form movement extending to a length of almost 250 bars. It contains two strikingly contrasted themes, one aggressively assertive, the other of a more lyrical, tender character (parallels to Beethoven's thematic tendencies in sonata-form movements are once again clearly apparent). The Adagio movement, cast in the rich colours of A flat major (the tonic minor - flat submediant major key relationship recalls Beethoven once again) contains some moments of real beauty and musical insight. The piano is often centrestage, its florid lines and ornamental flourishes reminiscent of another of Ries's contemporaries, Hummel. The technique of connected second and third movements seen in this work is not new but was a trend established in the piano trio genre by Joseph Haydn in the 1780s and 90s. The oasis of calm and tranquillity created in the Adagio is shattered dramatically by the jagged arpeggio figure which launches the finale. This extremely fast movement - the metronome marking indicates that the music should be felt in two, not in four - is characterised by the tarantella topos. It is a tremendously exciting movement, whose swirling energy and frantic pace is only reined in at the final cadence. The present edition reproduces as faithfully as possible the text of the trio as transmitted in Schott's 1826 edition of the work, a copy of which is preserved in the Staatsbibliothek in Berlin. The metronome markings at the head of each movement derive from this source. The piano compass extends from E flat 1 to a flat 4, a range of just over six octaves. Pedal markings indicated in the source have not been included in the current edition since these are generally very instrument-dependent. Minor rhythmic inconsistences between different statements of the same theme have been retained (e.g. first movement, second subject, bb.51-52, cello and 188-89, violin), as have some differences in phrasing between successive thematic statements (cf. finale, piano bb.3-6 and violin bb.18-21). The style and notation of articulation and dynamic markings have been standardised throughout, and, where missing from the print, markings have been reconstructed from parallel passages. These are indicated by the use of dotted slurs or brackets where appropriate. Obvious wrong notes have been corrected without comment, and editorial emendations with no authority from the print are placed within brackets. Dianne James.
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Piano Sonata 1
