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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
Violin Opera
Sheetmusicplus
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736
Piano & claviers
Piano Trio: piano, violon, violoncelle
53
Piano seul
22
Piano Quintette: piano, 2 violons, alto, violoncelle
10
Piano Quatuor: piano, violon, alto, violoncelle
9
Piano, Voix
8
Piano, Voix et Guitare
6
Piano Quatuor: piano, 2 violons, violoncelle
6
Instruments en Do
5
Piano Facile
5
Orgue
2
Accordéon
1
+ 6 instrumentations
Retracter
Guitares
Guitare
4
Ligne De Mélodie, (Paroles) et Accords
3
Guitare notes et tablatures
2
Basse electrique
1
2 Guitares (duo)
1
Piano, Guitare (duo)
1
+ 1 instrumentations
Retracter
Voix
Chorale SATB
23
Chorale 3 parties
17
Chorale 2 parties
6
Voix duo
6
Voix seule
3
Voix Soprano, Piano
2
Chorale Unison
2
Voix duo, Piano
2
Voix haute
1
Voix Baryton, Piano
1
Chorale SSAA
1
+ 6 instrumentations
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Vents
Flûte traversière et Piano
25
Clarinette, Violon (duo)
22
Flûte, Violon
20
Clarinette et Piano
15
Hautbois, violon (duo)
14
Saxophone Alto et Piano
11
Flûte, Violon, Piano
11
Saxophone, Violon (duo)
10
Saxophone Soprano et Piano
10
Clarinette
8
2 Flûtes traversières (duo)
8
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
7
Flûte et Guitare
7
Flûte, Violon et Violoncelle
6
Hautbois, Piano (duo)
6
Cor anglais, Piano
5
Flûte, Hautbois, Clarinette, Basson
4
Quatuor de Saxophones: 4 saxophones
4
Quatuor de Clarinettes: 4 clarinettes
4
Flûte, Violon, Violoncelle et Piano
4
Saxophone Tenor et Piano
4
Ensemble de Clarinettes
4
Flûte, Violoncelle, Piano (trio)
3
2 Flûtes traversières, Piano
3
Flûte traversière
2
2 Clarinettes (duo)
2
3 Saxophones (trio)
2
Hautbois, Basson (duo)
1
Clarinette Basse, Piano
1
Hautbois, Harpe
1
Saxophone Alto
1
Flûte, Clarinette (duo)
1
Flûte traversière, Basse continue
1
Clarinette, Harpe (duo)
1
Flûte, Clarinette, Piano (trio)
1
Saxophone et violoncelle
1
Clarinette, Guitare (duo)
1
Flûte, Hautbois, Piano (trio)
1
2 Hautbois (duo)
1
Quintette de Clarinette: Clarinette, Quatuor à Cordes
1
2 Flûte à bec (duo)
1
Quatuor de Clarinettes: Clarinette, Violon, Alto, Violoncelle
1
Ensemble de Flûtes
1
Flute, harpe et violon
1
Flûte et Trio à cordes
1
Quatuor de Flûtes à bec
1
Quatuor de Flûtes : 4 flûtes
1
+ 42 instrumentations
Retracter
Cuivres
Trompette, violon (duo)
10
Trompette, Piano
9
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
7
Trombone et Piano
7
Cor anglais, Piano
5
Cor et Piano
4
Trompette
4
Euphonium, Piano (duo)
3
Trombone
1
Quatuor de Cuivres: 2 trompettes, Cor, trombone
1
Quatuor de Cuivres
1
Tuba et Piano
1
Cor
1
4 Tubas
1
2 Trombones (duo)
1
+ 10 instrumentations
Retracter
Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
546
Violon et Piano
450
Violon
181
Violon, Violoncelle (duo)
102
Trio à Cordes: violon, alto, violoncelle
84
2 Violons (duo)
81
Quintette à cordes: 2 violons, alto, violoncelle, basse
44
Violon (partie séparée)
41
Violon, Alto (duo)
41
Trio à Cordes: 2 violons, violoncelle
32
Violoncelle, Piano
20
Alto, Piano
16
Trio à cordes: 3 violins
14
Quatuor à cordes: 4 violons
13
Piano Trio: Violon, Alto, Piano
12
Violon, Guitare (duo)
11
2 Violons, Piano
7
Harpe, Violon (duo)
7
Quintette à cordes : 2 violons, alto et 2 violoncelles
6
Alto seul
6
Alto (partie séparée)
5
Harpe, Violon, Violoncelle
4
Trio à Cordes: 2 violons, alto
4
Violoncelle, Contrebasse (duo)
4
4 Violoncelles
4
Violoncelle
3
Violon, Basson (duo)
3
Harpe, Flûte (duo)
3
Trio à cordes: 3 altos
2
Violoncelle (partie séparée)
2
Quintette à cordes: 2 violons, 2 altos, violoncelle
2
Flûte, Contrebasse (duo)
1
Trio à Cordes: 3 violoncelles
1
2 Altos (duo)
1
Violoncelle, Orchestre
1
Violon, Orgue
1
Violon, Basse continue
1
Alto, Guitare (duo)
1
Trio à cordes
1
2 Violons et Basse continue
1
Violon, Clarinette, Piano (trio)
1
Contrebasse (partie séparée)
1
+ 37 instrumentations
Retracter
Orchestre & Percussions
Orchestre
109
Orchestre à Cordes
103
Orchestre de chambre
43
Orchestre d'harmonie
12
Jazz combo
4
Big band
3
Ensemble Jazz
3
Ensemble de Percussions
2
Piano et Orchestre
1
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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
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FLUTE A BEC
FLUTE DE PAN
FLUTE TRAVERSI…
FORMATION MUSI…
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GUITARE LAP ST…
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HARPE
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LIVRES
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MANDOLINE
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Violin Opera
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Partitions à imprimer
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La Serenissima (2013) for ten wind instruments
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Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
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INTERMÉDIAIRE/AVANCÉ
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Thomas Oboe Lee
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La Serenissima
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Thomas Oboe Lee
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SheetMusicPlus
Small Ensemble Bassoon,Clarinet,Flute,Horn,Oboe - Level 4 - SKU: A0.869288 Composed by Thomas Oboe Lee. 20th Century,Baroque,Classical,Contemporary,Roma...
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Small Ensemble Bassoon,Clarinet,Flute,Horn,Oboe - Level 4 - SKU: A0.869288 Composed by Thomas Oboe Lee. 20th Century,Baroque,Classical,Contemporary,Romantic Period. Score and parts. With Largo … III. 48 pages. Thomas Oboe Lee #431451. Published by Thomas Oboe Lee (A0.869288). Instrumentation: 2 flutes, 2 oboes, 2 clarinets in Bb, 2 horns in F, 2 bassoons Program note.Nancy Braithwaite, for whom I have written many works - all of them featuring her instrument the clarinet - told me that she was a member of a wind group based on Richard Strauss’ Serenade in E-flat Major, opus 7, for thirteen instruments: two flutes, two oboes, two clarinets, four horns, two bassoons, and contrabassoon. I said to Nancy, I should write a piece for that group. She said that was a good idea. I soon discovered that the name of the group is La Rondine, or the swallow. I then remembered that Puccini wrote an opera called La Rondine. So I told Nancy that I might do a little research on the Puccini opera and come up with a piece inspired by thematic snippets I found in the opera. Well, I did not find Puccini’s music that conducive to a transformation into TOL music. Around the same time, I stumbled upon a 27-CD box set of nine operas by the Venetian composer Antonio Vivaldi. As I was listening to these obscure operas by Vivaldi it dawned on me that I was very attracted to what I was hearing, and it was seeping into my musical thinking in the most natural way imaginable. Very quickly I was hearing things for this work I planned to write for Nancy’s group, and the music just moved along quite smoothly from one movement into another. At the same time I began reading about Vivaldi and his life as a priest, violinist, teacher, impresario, and composer in the city of Venice and other cities nearby. What a fascinating life he led!!! I also discovered in my reading that the city of Venice at that time was called La Serenissima Repubblica di Venezia. So, instead of a serenade for ten instruments, my work for two flutes, two oboes, two clarinets, two horns and two bassoons, is called La Serenissima as an homage to Antonio Vivaldi and that glorious city of Venice. La Serenissima is in six movements. I. Introduction, allegro … II. Largo … III. Presto … IV. Allegretto … V. Adagio … VI. Molto Allegro … TRIO Enjoy!!!! Audio link. Copy and paste the URL link into your browser.https://thomasoboelee.bandcamp.com/album/la-serenissima-2013Video link: https://youtu.be/wc9FVAejUww
$9.99
La Serenissima (2013) for ten wind instruments
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Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
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INTERMÉDIAIRE/AVANCÉ
#
Thomas Oboe Lee
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La Serenissima
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Thomas Oboe Lee
#
SheetMusicPlus
Small Ensemble Bassoon,Clarinet,Flute,Horn,Oboe - Level 4 - SKU: A0.869301 Composed by Thomas Oboe Lee. 20th Century,Baroque,Classical,Contemporary,Roma...
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Small Ensemble Bassoon,Clarinet,Flute,Horn,Oboe - Level 4 - SKU: A0.869301 Composed by Thomas Oboe Lee. 20th Century,Baroque,Classical,Contemporary,Romantic Period. Score and parts. With Largo … III. 48 pages. Thomas Oboe Lee #431227. Published by Thomas Oboe Lee (A0.869301). Program note. Nancy Braithwaite, for whom I have written many works - all of them featuring her instrument the clarinet - told me that she was a member of a wind group based on Richard Strauss’ Serenade in E-flat Major, opus 7, for thirteen instruments: two flutes, two oboes, two clarinets, four horns, two bassoons, and contrabassoon. I said to Nancy, I should write a piece for that group. She said that was a good idea. I soon discovered that the name of the group is La Rondine, or the swallow. I then remembered that Puccini wrote an opera called La Rondine. So I told Nancy that I might do a little research on the Puccini opera and come up with a piece inspired by thematic snippets I found in the opera. Well, I did not find Puccini’s music that conducive to a transformation into TOL music.Around the same time, I stumbled upon a 27-CD box set of nine operas by the Venetian composer Antonio Vivaldi. As I was listening to these obscure operas by Vivaldi it dawned on me that I was very attracted to what I was hearing, and it was seeping into my musical thinking in the most natural way imaginable. Very quickly I was hearing things for this work I planned to write for Nancy’s group, and the music just moved along quite smoothly from one movement into another. At the same time I began reading about Vivaldi and his life as a priest, violinist, teacher, impresario, and composer in the city of Venice and other cities nearby. What a fascinating life he led!!! I also discovered in my reading that the city of Venice at that time was called La Serenissima Repubblica di Venezia. So, instead of a serenade for ten instruments, my work for two flutes, two oboes, two clarinets, two horns and two bassoons, is called La Serenissima as an homage to Antonio Vivaldi and that glorious city of Venice. La Serenissima is in six movements. I. Introduction, allegro … II. Largo …III. Presto … IV. Allegretto … V. Adagio … VI. Molto Allegro … TRIO Enjoy!!!! Audio link. Copy and paste the URL link into your browser.https://thomasoboelee.bandcamp.com/album/la-serenissima-2013Video link: https://youtu.be/wc9FVAejUww
$9.99
Recondita armonia - Tosca
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Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
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INTERMÉDIAIRE/AVANCÉ
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Vittorio Tamburrano
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Vittorio Tamburrano
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Recondita armonia - Tosca
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Vittorio Tamburrano
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SheetMusicPlus
Woodwind Ensemble,Woodwind Quintet Bassoon,Clarinet,Flute,Horn,Oboe - Level 4 - SKU: A0.1490915 By Vittorio Tamburrano. By Giacomo Puccini. Arranged by ...
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Woodwind Ensemble,Woodwind Quintet Bassoon,Clarinet,Flute,Horn,Oboe - Level 4 - SKU: A0.1490915 By Vittorio Tamburrano. By Giacomo Puccini. Arranged by Vittorio Tamburrano. 20th Century,Classical,Opera. 12 pages. Vittorio Tamburrano #1067700. Published by Vittorio Tamburrano (A0.1490915). IntroduzioneLa trascrizione per quintetto di fiati di Recondita armonia, una delle arie più iconiche dell'opera Tosca di Giacomo Puccini, è concepita per mantenere l'intensità emotiva e la bellezza melodica dell'originale, adattandola a una formazione cameristica che possa esprimere al meglio le sfumature timbriche e dinamiche del brano.Struttura e AdattamentoLa trascrizione è stata realizzata per flauto, oboe, clarinetto, fagotto e corno. Ogni strumento svolge un ruolo specifico nel ricreare la ricchezza orchestrale dell'originale, pur rimanendo fedele alla scrittura vocale e orchestrale di Puccini.- Flauto: Il flauto è stato scelto per riprodurre le linee melodiche più alte e leggere, spesso simili a quelle del violino nella versione orchestrale. La sua brillantezza e agilità permettono di mantenere la chiarezza e la dolcezza della melodia principale.- Oboe: L'oboe, con il suo timbro caldo e penetrante, ricrea l'espressività e l'intensità della voce di Cavaradossi, catturando le sfumature emotive della melodia principale. La sua capacità di sostenere note lunghe e di modulare il vibrato è essenziale per trasmettere il lirismo dell'aria.- Clarinetto: Il clarinetto fornisce un supporto armonico ricco e flessibile, spesso accompagnando la melodia con contrappunti sottili e intermezzi melodici. La sua estensione e dinamica lo rendono perfetto per passare dalle tonalità più gravi a quelle più acute, aggiungendo profondità alla trascrizione.- Fagotto: Il fagotto sostiene la struttura armonica con il suo timbro profondo e caldo, riproducendo le linee del basso continuo. Inoltre, è impiegato per sottolineare i momenti più drammatici e le modulazioni, aggiungendo gravità e intensità al quintetto.- Corno: Il corno, con la sua capacità di esprimere potenza e delicatezza, è utilizzato per ricreare i momenti di tensione e rilascio presenti nell'originale orchestrale. Il suo ruolo è fondamentale per evocare l'atmosfera maestosa e romantica dell'aria.Considerazioni Timbriche e DinamicheL'adattamento per quintetto di fiati tiene conto delle caratteristiche timbriche degli strumenti, creando un equilibrio sonoro che permette di mantenere l'espressività e la ricchezza dinamica dell'aria originale. Le dinamiche sono attentamente calibrate per ricreare i crescendo e diminuendo che caratterizzano l'intensità dell'aria, mentre l'articolazione è stata adattata per sfruttare al meglio le capacità espressive di ciascun strumento.Sfide e SoluzioniUna delle principali sfide nel trascrivere Recondita armonia per quintetto di fiati è stata quella di preservare l'ampiezza orchestrale e la potenza espressiva della melodia vocale. Per raggiungere questo obiettivo, ho utilizzato una scrittura contrappuntistica che permette ai vari strumenti di dialogare tra loro, ricreando l'interazione tra voce solista e orchestra presente nell'originale.ConclusioneQuesta trascrizione per quintetto di fiati di Recondita armonia riesce a mantenere la forza drammatica e l'intensità emotiva dell'originale, offrendo una nuova prospettiva su un capolavoro dell'opera lirica. Il risultato è un arrangiamento che rispetta la grandezza della musica di Puccini, permettendo a un ensemble da camera di esplorare e esprimere le sfumature di uno dei momenti più emozionanti di Tosca.
$10.00
Beethoven: Sonata Op. 49 No. 2 for Woodwind Quintet
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Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
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INTERMÉDIAIRE
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Classique
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Ludwig van Beethoven
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James M
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Beethoven: Sonata Op. 49 No. 2
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jmsgu3
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SheetMusicPlus
Woodwind Ensemble,Woodwind Quintet - Level 3 - SKU: A0.549868 Composed by Ludwig van Beethoven. Arranged by James M. Guthrie, ASCAP. Classical,Concert,S...
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Woodwind Ensemble,Woodwind Quintet - Level 3 - SKU: A0.549868 Composed by Ludwig van Beethoven. Arranged by James M. Guthrie, ASCAP. Classical,Concert,Standards,Wedding,World. 56 pages. Jmsgu3 #3559227. Published by jmsgu3 (A0.549868). Beethoven Sonata Op. 49 No. 2 arranged for woodwind quintet.Instrumentation: 1 flute, 1 oboe, 1 clarinet in Bb, 1 French horn, 1 bassoon.Duration: ca: 10:15 Score: 30 pages, 242 measures. In two movements. A great recital piece to demonstrate nuances of the woodwind quintet. Sonata Op. 49 No. 2 Arranged from Beethoven’s Piano Sonata No. 20, this is a simple but interesting work in two movements showing the composers sense of humor. The first movement Allegro ma non troppo and the second movement Tempo di Menuetto are both in the key of G. Both Sonatas 19 and 20 (op. 49, No. 1 & 2) are named Easy Sonatas because they are technically easier than the usual Beethoven Sonatas. This makes them very popular among students and teachers alike. Beethoven Background Ludwig van Beethoven (1770 –1827) was certainly a German pianist. Above all, he was probably one of the greatest composers in history. As a result, he is a pivotal character in the progress between the Classical and Romantic periods. He is certainly one of the most famous and hence important of all composers. Seems like his most familiar and noteworthy works include symphonies 1-9; piano concertos 1-5; and furthermore, the violin concerto. Also, certainly of extreme importance are the noteworthy 32 sonatas for the piano; the string quartets 1-16; the Missa solemnis; and likewise, his only opera, Fidelio. Beethoven Overview First of all, Beethoven was born and consequently raised in Bonn. Upon turning 21 he moved to Vienna probably to study composition with Haydn. That’s when he consequently grew a reputation as a brilliant pianist. Furthermore, he probably stayed in Vienna the rest of his life. In his late 20s it seems like his hearing certainly began to decline. It slowly declined until consequently he was nearly totally deaf probably by the last decade of his life. As a result, he stopped conducting and performing. Nevertheless, he continued to compose. As a result, some of his greatest works probably come from this period. First Period Seems like we often divide Beethoven’s life into three periods. Period 1 begins with Beethoven’s arrival in Vienna. Hence, during this period, he mastered the Viennese style of Haydn & Mozart. He consequently began increasing the size and scale of his works. Furthermore, he experimented with extreme dynamics, and likewise extreme tempi. He worked similarly with chromatic harmony. His First and Second Symphonies therefore belong to this period. Other important works also belong here: the first six string quartets and the Sonata Pathétique, Op. 13. Second Period His second period probably began as soon as he realized that he was going deaf. During this period, it seems like he became obsessed with the idea of heroism. His works consequently become even larger and more massive. The most noteworthy of these include the symphonies 3 – 8, piano concertos 5& 6, 5 string quartets, several important piano sonatas (Waldstein and Appassionata), the Kreutzer violin sonata, the violin concerto and his only opera: Fidelio. Third Period In contrast, Beethoven's third period is branded above all by works of incredible intellectual depth, formal innovation, and penetrating expression. It seems like he continued to expand his works. Consequently, the string quartet Op. 131 spills over into seven connected movements. Likewise, in the Ninth Symphony he adds choral forces to his orchestra probably for the first time in history. Even more, other works from this period include his Missa solemnis, the final 5 string quartets (including the enormous Große Fuge) and the final five sonatas for piano. www.jamesguthrie.com
$49.95
5 Classical Wedding Music for Woodwind Quintet
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Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
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FACILE
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Charles Gonoud, Edward Elgar,
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Woods Only
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Co
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5 Classical Wedding Music for
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Woods Only, Arrangements
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SheetMusicPlus
Woodwind Ensemble,Woodwind Quintet - Level 2 - SKU: A0.956899 Composed by Charles Gonoud, Edward Elgar, Felix Bartholdy Mendelssohn, Peter Ilyich Tchaik...
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Woodwind Ensemble,Woodwind Quintet - Level 2 - SKU: A0.956899 Composed by Charles Gonoud, Edward Elgar, Felix Bartholdy Mendelssohn, Peter Ilyich Tchaikovsky, and Richard Wagner. Arranged by Woods Only. Christian,Film/TV,Romantic Period,Wedding,World. 62 pages. Woods Only, Arrangements #6476473. Published by Woods Only, Arrangements (A0.956899). This collection brings the most well-known and appropriate music for wedding ceremonies, arranged for woodwind quintet, where you can find music from beginner to professional levels of performance. They can be performed not only specifically in marriage ceremonies, but also in serenades, concerts, recitals and others. I. Ave Maria, Charles Gonoud/BACH The piece is composed of a melody by French Romantic composer Charles Gounod specially designed to overlap with Prelude No. Although published in instrumental versions and equipped for various texts during Gounod's lifetime, the claim that he never actually wrote it seems to be literally true. The version of Bach's prelude used by Gounod has the addition of a bar found only in the manuscript of Christian Friedrich Gottlieb Schwencke and the printed edition of Nikolaus Simrock which was based on it, but not in the other Bach manuscripts or the printed work of the scholar Bischoff or G. II. Dance of the Sugar Plum Fairy, Tchaikovsky The Dance of the Sugar Plum Fairy is a dance for a ballerina. Tchaikovsky introduced the celesta to Russian music lovers on 19 March 1892 when the Nutcracker Suite was performed for the Russian Musical Society in St. Petersburg. It is heard in other parts of Act 2 of The Nutcracker besides the Sugar Plum Fairy's dance. The Dance of the Sugar Plum Fairy is one of the ballet's best known musical numbers. The complete Nutcracker has enjoyed enormous popularity since the late 1960s and is now performed by countless ballet companies, primarily during the Christmas season, especially in North America. Major American ballet companies generate around 40% of their annual ticket revenues from performances of The Nutcracker. III. Salut d'amour, Elgar It was not published by Schott & Co., a German publisher, with offices in Mainz, London, Paris and Brussels, until a year later, and the first editions were for violin and piano, piano solo, cello and piano, and for small orchestra. As a violin-and-piano piece Salut d'Amour had been recorded for The Gramophone & Typewriter Ltd (predecessor to The Gramophone Company) as early as 1901 by Jacques Jacobs, leader/director of the Trocadero Restaurant orchestra. IV. Nuptial March, Wagner It is a bridal march played at the entrance of many Western wedding ceremonies. In English-speaking countries, it is generally known as Here Comes the Bride or Wedding March, but wedding march refers to any piece in march tempo accompanying the entrance or exit of the bride, notably Felix Mendelssohn's Wedding March. Wagner's piece was made popular when it was used as the processional at the wedding of Victoria the Princess Royal to Prince Frederick William of Prussia in 1858. Unlike the current tradition of it being played at the beginning of the ceremony, the work is performed after the wedding of Lohengrin and Elsa in the opera. V. Wedding March, Mendelssohn Felix Mendelssohn's Wedding March in C major, written in 1842, is one of the best known of the pieces from his suite of incidental music. The first known instance of Mendelssohn's Wedding March being used at a wedding was when Dorothy Carew wed Tom Daniel at St Peter's Church, Tiverton, England, on 2 June 1847 when it was performed by organist Samuel Reay. However, it did not become popular at weddings until it was selected by Victoria, The Princess Royal for her marriage to Prince Frederick William of Prussia on 25 January 1858. The bride was the daughter of Queen Victoria, who loved Mendelssohn's music and for whom Mendelssohn often played while on his visits to Britain.
$59.99
Jeanie with the Light Brown Hair
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Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
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Stephen Foster
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Judith Katz
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Jeanie with the Light Brown Ha
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Imagine Music - Digital
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SheetMusicPlus
Woodwind quintet - SKU: IZ.CMS1612 Composed by Stephen Foster. Arranged by Judith Katz. Score and Parts. 18 pages. Imagine Music - Digital #CMS1612. Pub...
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Woodwind quintet - SKU: IZ.CMS1612 Composed by Stephen Foster. Arranged by Judith Katz. Score and Parts. 18 pages. Imagine Music - Digital #CMS1612. Published by Imagine Music - Digital (IZ.CMS1612). 9 x 12 in inches.Jeanie With The Light Brown Hair is one of the most enduring, and popular American songs of all times.Characterized as a parlor song, it was written by Stephen Foster, and published by Firth, Pond & Co. of NewYork, in1854.In 1850, Foster married Jane Denny McDowell, whose nickname was Jennie. However, this was an unhappymarriage, short-lived, with numerous conflicts and separations. Jeanie With The Light Brown Hair, was written asperhaps an attempt to win his wife back. To add to his problems, Foster also ran into deep financial difficulties.Jeanie With the Light Brown Hair was virtually unknown during its time. When it was first published, the royaltieson the ten thousand copies sold, earned just $200 for Stephen Foster. To make ends meet, he had to sell the rights toJeanie, as well as other songs. After his death, the rights to Jeanie With The Light Brown Hair reverted back to hiswife and daughter.It would indeed be a pleasant surprise to Stephen Foster, if he only knew what a wide range of artists have adaptedthis song to different genres. Among solo instrumentalists, Jascha Heifitz, and William Primrose have arranged itfor solo violin and viola. The big bands of Gene Krupa, and Glen Miller have recorded it. The great R & B artist,Sam Cooke used it, as well as opera stars, Marilyn Horne and John McCormick, who added it to their concertrepertoire.The song's frequent airplay in the 1940's, led Spike Jones to create a parody, called, I Dream of Jeanie with theLight Blue Jeans. Les Brown in 1941, created a big band song, Joltin' Joe DiMaggio with the line.....We Dream ofJoey With the Light Brown Bat. Even Bugs Bunny got into the act. The 1960 short, From Hare To Heir, featuresBugs singing, I dream of Jeanie, she's a light brown hareMy arrangement, for woodwind quintet is written to capture a lyric, singing style, which I think Foster had in mind.
$12.00
I Had Much Grief
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Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Johann Sebastian Bach
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Luis Anjos Teixeira
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I Had Much Grief
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Luis Anjos Teixeira
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SheetMusicPlus
Small Ensemble Bassoon,Clarinet,Flute,Horn,Oboe - Level 4 - SKU: A0.889444 Composed by Johann Sebastian Bach. Arranged by Luis Anjos Teixeira. Baroque,C...
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Small Ensemble Bassoon,Clarinet,Flute,Horn,Oboe - Level 4 - SKU: A0.889444 Composed by Johann Sebastian Bach. Arranged by Luis Anjos Teixeira. Baroque,Concert,Standards. Score and parts. 12 pages. Luis Anjos Teixeira #5297057. Published by Luis Anjos Teixeira (A0.889444). I Had Much Grief, Cantata BWV 21. „Ich hatte viel Bekümmernis, BWV 21. „Sinfonia This work marks a transition between motet style on biblical and hymn text to operatic recitatives and arias on contemporary poetry. Bach catalogued the work as „e per ogni tempo „and for all times, indicating that due to its general theme, the cantata is suited for any occasion. With its distinctive gesture of descent and the plaintive lines of the oboe and violin, the Sinfonia, held in dark minor, sets a tone of pain that is characteristic of the cantata. With its emotional depth and formal wealth, the cantata I had much grief is almost a solitaire in Bach's church music. Performed in Weimar in 1714 and later rearranged several times, it is also suitable as a compositional business card due to its high standards and its shape, which is representative of various types of sentences, and could therefore be related to Bach's application. Bach performed the cantata on 17 June 1714, as his fourth work in a series of monthly cantatas for the Weimar court which came with his promotion to concert master. The Work was transposed to D minor during the Köthen years, and used in November 1720 for a performance in Hamburg to apply for the position as organist at St. Jacobi. As Thomaskantor in Leipzig, Bach performed the cantata again on his third Sunday in office on 13 June 1723. For this performance, he also changed the instrumentation, adding „for example four trombones to double the voices in the fifth stanza of the hymn. This version was used in several revivals during Bach's lifetime and is mostly performed today. From the plaintive sinfonia to the arias and duets touching in their pain and charm to the speaking rhythmic psalm and chorus choirs, a development arc spans that transforms suffering and grief into consolation and trust and culminates in an apotheosis reminiscent of Handel of the victorious lamb, Hardly ever has Bach put the process of a relentless self-questioning and spiritual healing as convincingly as here. This arrangement of the sinfonia is intended for modern instruments. The original score was translated into modern music literature standards thus simplifying the approach and helping to understand the legacy of baroque music in our modern times. A few embellishments and interpretation symbols where added thus mostly shortening the length of some notes. Some „fortes and „pianos are also included. The arrangement is absolutely faithful to Bach`s versions, not adding or omitting any notes from the original sources. P.S.- The score was written on Finale. The sound file was produced with samplers from Garritan, merely as an audio support for the presentation of the score. Thank you very much for taking your time to read this text and to listen to the file. I hope you enjoy the music. Musically Yours, „e per ogni tempo „and for all times Luis Anjos Teixeira Thanks to Claudia Eppelt for the all the Love and cover design. Special Thanks to Johann Sebastian Bach, Stray Dog Nina, Stray Queen Mimi, Carlinhos, Maria Pontinha, Maria Joaninha, Schwarzeneggerschen, Maria Koboldinha. For all Living beings on Earth, for all our Ancestors, Thank You for all of You All The Love and Compassion. Luis Anjos Teixeira Timeless Life, Love Forever
$7.94
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