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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
Alexander-Scriabin
Non classifié
32
Piano & claviers
Piano seul
227
Piano Facile
4
2 Pianos, 4 mains
1
Piano Quatuor: piano, 2 violons, violoncelle
1
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5
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4
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2
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1
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Vents
Flûte traversière et Piano
8
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5
Hautbois, Piano (duo)
5
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5
Saxophone Soprano et Piano
5
Saxophone Tenor et Piano
5
Clarinette et Piano
4
Clarinette
4
Saxophone (partie séparée)
3
Clarinette Basse, Piano
3
Clarinette (partie séparée)
2
Ensemble de Clarinettes
2
Cor anglais, Piano
2
Flûte à bec Alto
1
Piccolo, Piano
1
Hautbois (partie séparée)
1
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
1
Saxophone et Guitare
1
Ensemble de saxophones
1
Flute (partie séparée)
1
3 Saxophones (trio)
1
+ 16 instrumentations
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Cuivres
Trombone et Piano
8
Euphonium, Piano (duo)
7
Cor et Piano
4
Tuba et Piano
4
Tuba (partie séparée)
3
Trompette, Piano
3
Cor anglais, Piano
2
Trombone basse et Piano
2
Cor (partie séparée)
1
Quatuor de Cuivres : 2 trompettes, trombone, tuba
1
Trombone (partie séparée)
1
Trompette (partie séparée)
1
+ 7 instrumentations
Retracter
Cordes
Violon et Piano
33
Alto, Piano
7
Violoncelle, Piano
5
Violon
1
Contrebasse, Piano (duo)
1
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Orchestre d'harmonie
12
Orchestre
7
Orchestre à Cordes
3
Timbales (partie séparée)
1
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
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
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VIOLON
VIOLONCELLE
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Alexander-Scriabin
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Alexander Scriabin: Etude in D# minor Op.8 No.12 instantly for piano solo
Piano seul
Instantly downloadable sheet music by Alexander Scriabin for piano solo of HIGH skill leve…
(+)
Instantly downloadable sheet music by Alexander Scriabin for piano solo of HIGH skill level. Contents: etude in d sharp minor, opus 8, number 12, no. 12,study, studies, etudes, exercises / classical,instructional
$4.75
4.38 €
#
Piano seul
#
Alexander Scriabin
#
Virtualsheetmusic
Alexander Scriabin: Mazurka Op.3 No.7 for piano solo
Piano seul
Instantly downloadable sheet music by Alexander Scriabin for piano solo of MEDIUM skill le…
(+)
Instantly downloadable sheet music by Alexander Scriabin for piano solo of MEDIUM skill level. / classical
$4.75
4.38 €
#
Piano seul
#
Alexander Scriabin
#
Virtualsheetmusic
Alexander Scriabin: Etude in C# major Op.8 No.1 for piano solo
Piano seul
Instantly downloadable sheet music by Alexander Scriabin for piano solo of MEDIUM skill le…
(+)
Instantly downloadable sheet music by Alexander Scriabin for piano solo of MEDIUM skill level. Contents: etude in c sharp major,study, studies, etudes, exercises / classical,instructional
$4.75
4.38 €
#
Piano seul
#
Alexander Scriabin
#
Virtualsheetmusic
Scriabin: Prelude Op. 11 No. 2 for Trumpet & Piano
Trompette, Piano
B-Flat Trumpet,Piano - Level 3 - Digital Download SKU: A0.549478 Composed by Alexan…
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B-Flat Trumpet,Piano - Level 3 - Digital Download SKU: A0.549478 Composed by Alexander Scriabin. Arranged by James M. Guthrie, ASCAP. Concert,Instructional,Romantic Period,Sacred,Standards. Score and part. 12 pages. Jmsgu3 #3499993. Published by jmsgu3 (A0.549478). Alexander Scriabin Op. 11 No. 2. Score: 8 pages, solo part: 2 pages, piano part: 2 pages. Duration: 3:10. An introspective and meditative work with a lot of dynamic and phrasing nuance. Works well for church meditations or recital encores. Background Op.11/2 Alto Clarinet version. First of all, Scriabin composed mostly for the solo piano and also the orchestra. This is probably because he was a gifted pianist and therefore certainly appreciated the piano. Scriabin grew up in the late Romantic period, consequently, he was fond of the great piano masters of the time. As a result, he wrote his first noteworthy compositions in the manner of Chopin and Liszt. Forms Likewise, Scriabin used many of the same forms as Chopin. These certainly include the étude, prelude, nocturne, and even the mazurka. In contrast, as he developed his own sense of style his music became more and more unusual. So, the last five of his Piano Sonatas do not have a key signature and therefore lean towards atonality. Philosophy Scriabin also developed a keen interest in philosophy and likewise poetry. He was above all particularly fascinated by Nietzsche, Delville, and Blavatsky. Consequently, he finally established his own ideas about metaphysics and certainly mysticism. Scriabin consequently advanced theories about the relationship between color and musical keys. Synesthesia He also may have experienced a condition called synesthesia where he could probably sense a response created from a different stimulus. Therefore, it was almost as if he could see music and hear colors. Scriabin, therefore, arranged the colors in a circle similar to the circle-of-fifths and assigned each key area a color. Finally, he assigned the key of C to the color red, while the key of G was orange. Similarly, he assigned D to yellow, A to green, and so forth. Strangely, he did not differentiate between major and minor key colors. Multimedia Hence, his ability to translate colors into music certainly gave Scriabin a most noteworthy interest in creating multimedia events. Furthermore, He designed his biggest work, the Mysterium, to last an entire week. Even more, Scriabin made plans not only for music, but also colored lights, incense, and dancing. He designed the performance to occur in the foothills of the Himalaya mountains. The Mysterium was never performed, and only sketches of the work remain. Modern Performances In modern times, we often experience performances of Scriabin’s most famous completed works accompanied by colored laser lights and incense. These are the Poem of Ecstasy (completed in 1908) and the Poem of Fire (completed in 1910). The lighting effects for these early performances were accomplished by the clavier à lumiéres. It was a keyboard instrument that projected colored light onto a screen.
$19.95
18.39 €
#
Trompette, Piano
#
Alexander Scriabin
#
James M
#
Scriabin: Prelude Op. 11 No. 2 for Trumpet & Piano
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jmsgu3
#
SheetMusicPlus
Scriabin: Prelude Op. 11 No. 2 for English Horn & Piano
Cor anglais, Piano
English Horn,Piano - Level 3 - Digital Download SKU: A0.549472 Composed by Alexande…
(+)
English Horn,Piano - Level 3 - Digital Download SKU: A0.549472 Composed by Alexander Scriabin. Arranged by James M. Guthrie, ASCAP. Concert,Instructional,Romantic Period,Sacred,Standards. Score and part. 12 pages. Jmsgu3 #3499777. Published by jmsgu3 (A0.549472). Alexander Scriabin Op. 11 No. 2. Score: 8 pages, solo part: 2 pages, piano part: 2 pages. Duration: 3:10. An introspective and meditative work with a lot of dynamic and phrasing nuance. Works well for church meditations or recital encores. Background Op.11/2 Alto Clarinet version. First of all, Scriabin composed mostly for the solo piano and also the orchestra. This is probably because he was a gifted pianist and therefore certainly appreciated the piano. Scriabin grew up in the late Romantic period, consequently, he was fond of the great piano masters of the time. As a result, he wrote his first noteworthy compositions in the manner of Chopin and Liszt. Forms Likewise, Scriabin used many of the same forms as Chopin. These certainly include the étude, prelude, nocturne, and even the mazurka. In contrast, as he developed his own sense of style his music became more and more unusual. So, the last five of his Piano Sonatas do not have a key signature and therefore lean towards atonality. Philosophy Scriabin also developed a keen interest in philosophy and likewise poetry. He was above all particularly fascinated by Nietzsche, Delville, and Blavatsky. Consequently, he finally established his own ideas about metaphysics and certainly mysticism. Scriabin consequently advanced theories about the relationship between color and musical keys. Synesthesia He also may have experienced a condition called synesthesia where he could probably sense a response created from a different stimulus. Therefore, it was almost as if he could see music and hear colors. Scriabin, therefore, arranged the colors in a circle similar to the circle-of-fifths and assigned each key area a color. Finally, he assigned the key of C to the color red, while the key of G was orange. Similarly, he assigned D to yellow, A to green, and so forth. Strangely, he did not differentiate between major and minor key colors. Multimedia Hence, his ability to translate colors into music certainly gave Scriabin a most noteworthy interest in creating multimedia events. Furthermore, He designed his biggest work, the Mysterium, to last an entire week. Even more, Scriabin made plans not only for music, but also colored lights, incense, and dancing. He designed the performance to occur in the foothills of the Himalaya mountains. The Mysterium was never performed, and only sketches of the work remain. Modern Performances In modern times, we often experience performances of Scriabin’s most famous completed works accompanied by colored laser lights and incense. These are the Poem of Ecstasy (completed in 1908) and the Poem of Fire (completed in 1910). The lighting effects for these early performances were accomplished by the clavier à lumiéres. It was a keyboard instrument that projected colored light onto a screen.
$19.95
18.39 €
#
Cor anglais, Piano
#
Alexander Scriabin
#
James M
#
Scriabin: Prelude Op. 11 No. 2 for English Horn & Piano
#
jmsgu3
#
SheetMusicPlus
Scriabin: Prelude Op. 11 No. 2 for Baritone Horn & Piano
Euphonium, Piano (duo)
Euphonium,Piano - Level 3 - Digital Download SKU: A0.549481 Composed by Alexander S…
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Euphonium,Piano - Level 3 - Digital Download SKU: A0.549481 Composed by Alexander Scriabin. Arranged by James M. Guthrie, ASCAP. Concert,Instructional,Romantic Period,Sacred,Standards. Score and part. 12 pages. Jmsgu3 #3500065. Published by jmsgu3 (A0.549481). Alexander Scriabin Op. 11 No. 2. Score: 8 pages, solo part: 2 pages, piano part: 2 pages. Duration: 3:10. An introspective and meditative work with a lot of dynamic and phrasing nuance. Works well for church meditations or recital encores. Background Op.11/2 Alto Clarinet version. First of all, Scriabin composed mostly for the solo piano and also the orchestra. This is probably because he was a gifted pianist and therefore certainly appreciated the piano. Scriabin grew up in the late Romantic period, consequently, he was fond of the great piano masters of the time. As a result, he wrote his first noteworthy compositions in the manner of Chopin and Liszt. Forms Likewise, Scriabin used many of the same forms as Chopin. These certainly include the étude, prelude, nocturne, and even the mazurka. In contrast, as he developed his own sense of style his music became more and more unusual. So, the last five of his Piano Sonatas do not have a key signature and therefore lean towards atonality. Philosophy Scriabin also developed a keen interest in philosophy and likewise poetry. He was above all particularly fascinated by Nietzsche, Delville, and Blavatsky. Consequently, he finally established his own ideas about metaphysics and certainly mysticism. Scriabin consequently advanced theories about the relationship between color and musical keys. Synesthesia He also may have experienced a condition called synesthesia where he could probably sense a response created from a different stimulus. Therefore, it was almost as if he could see music and hear colors. Scriabin, therefore, arranged the colors in a circle similar to the circle-of-fifths and assigned each key area a color. Finally, he assigned the key of C to the color red, while the key of G was orange. Similarly, he assigned D to yellow, A to green, and so forth. Strangely, he did not differentiate between major and minor key colors. Multimedia Hence, his ability to translate colors into music certainly gave Scriabin a most noteworthy interest in creating multimedia events. Furthermore, He designed his biggest work, the Mysterium, to last an entire week. Even more, Scriabin made plans not only for music, but also colored lights, incense, and dancing. He designed the performance to occur in the foothills of the Himalaya mountains. The Mysterium was never performed, and only sketches of the work remain. Modern Performances In modern times, we often experience performances of Scriabin’s most famous completed works accompanied by colored laser lights and incense. These are the Poem of Ecstasy (completed in 1908) and the Poem of Fire (completed in 1910). The lighting effects for these early performances were accomplished by the clavier à lumiéres. It was a keyboard instrument that projected colored light onto a screen.
$19.95
18.39 €
#
Euphonium, Piano (duo)
#
Alexander Scriabin
#
James M
#
Scriabin: Prelude Op. 11 No. 2 for Baritone Horn & Piano
#
jmsgu3
#
SheetMusicPlus
Scriabin: Prelude Op. 11 No. 2 for Euphonium & Piano
Euphonium, Piano (duo)
Euphonium,Piano - Level 3 - Digital Download SKU: A0.549480 Composed by Alexander S…
(+)
Euphonium,Piano - Level 3 - Digital Download SKU: A0.549480 Composed by Alexander Scriabin. Arranged by James M. Guthrie, ASCAP. Concert,Instructional,Romantic Period,Sacred,Standards. Score and part. 12 pages. Jmsgu3 #3500061. Published by jmsgu3 (A0.549480). Alexander Scriabin Op. 11 No. 2. Score: 8 pages, solo part: 2 pages, piano part: 2 pages. Duration: 3:10. An introspective and meditative work with a lot of dynamic and phrasing nuance. Works well for church meditations or recital encores. Background Op.11/2 Alto Clarinet version. First of all, Scriabin composed mostly for the solo piano and also the orchestra. This is probably because he was a gifted pianist and therefore certainly appreciated the piano. Scriabin grew up in the late Romantic period, consequently, he was fond of the great piano masters of the time. As a result, he wrote his first noteworthy compositions in the manner of Chopin and Liszt. Forms Likewise, Scriabin used many of the same forms as Chopin. These certainly include the étude, prelude, nocturne, and even the mazurka. In contrast, as he developed his own sense of style his music became more and more unusual. So, the last five of his Piano Sonatas do not have a key signature and therefore lean towards atonality. Philosophy Scriabin also developed a keen interest in philosophy and likewise poetry. He was above all particularly fascinated by Nietzsche, Delville, and Blavatsky. Consequently, he finally established his own ideas about metaphysics and certainly mysticism. Scriabin consequently advanced theories about the relationship between color and musical keys. Synesthesia He also may have experienced a condition called synesthesia where he could probably sense a response created from a different stimulus. Therefore, it was almost as if he could see music and hear colors. Scriabin, therefore, arranged the colors in a circle similar to the circle-of-fifths and assigned each key area a color. Finally, he assigned the key of C to the color red, while the key of G was orange. Similarly, he assigned D to yellow, A to green, and so forth. Strangely, he did not differentiate between major and minor key colors. Multimedia Hence, his ability to translate colors into music certainly gave Scriabin a most noteworthy interest in creating multimedia events. Furthermore, He designed his biggest work, the Mysterium, to last an entire week. Even more, Scriabin made plans not only for music, but also colored lights, incense, and dancing. He designed the performance to occur in the foothills of the Himalaya mountains. The Mysterium was never performed, and only sketches of the work remain. Modern Performances In modern times, we often experience performances of Scriabin’s most famous completed works accompanied by colored laser lights and incense. These are the Poem of Ecstasy (completed in 1908) and the Poem of Fire (completed in 1910). The lighting effects for these early performances were accomplished by the clavier à lumiéres. It was a keyboard instrument that projected colored light onto a screen.
$19.95
18.39 €
#
Euphonium, Piano (duo)
#
Alexander Scriabin
#
James M
#
Scriabin: Prelude Op. 11 No. 2 for Euphonium & Piano
#
jmsgu3
#
SheetMusicPlus
Scriabin: Prelude Op. 11 No. 2 for Bass Clarinet & Piano
Clarinette Basse, Piano
Bass Clarinet,Piano - Level 3 - Digital Download SKU: A0.549476 Composed by Alexand…
(+)
Bass Clarinet,Piano - Level 3 - Digital Download SKU: A0.549476 Composed by Alexander Scriabin. Arranged by James M. Guthrie, ASCAP. Concert,Instructional,Romantic Period,Sacred,Standards. Score and part. 12 pages. Jmsgu3 #3499849. Published by jmsgu3 (A0.549476). Alexander Scriabin Op. 11 No. 2. Score: 8 pages, solo part: 2 pages, piano part: 2 pages. Duration: 3:10. An introspective and meditative work with a lot of dynamic and phrasing nuance. Works well for church meditations or recital encores. Background Op.11/2 Alto Clarinet version. First of all, Scriabin composed mostly for the solo piano and also the orchestra. This is probably because he was a gifted pianist and therefore certainly appreciated the piano. Scriabin grew up in the late Romantic period, consequently, he was fond of the great piano masters of the time. As a result, he wrote his first noteworthy compositions in the manner of Chopin and Liszt. Forms Likewise, Scriabin used many of the same forms as Chopin. These certainly include the étude, prelude, nocturne, and even the mazurka. In contrast, as he developed his own sense of style his music became more and more unusual. So, the last five of his Piano Sonatas do not have a key signature and therefore lean towards atonality. Philosophy Scriabin also developed a keen interest in philosophy and likewise poetry. He was above all particularly fascinated by Nietzsche, Delville, and Blavatsky. Consequently, he finally established his own ideas about metaphysics and certainly mysticism. Scriabin consequently advanced theories about the relationship between color and musical keys. Synesthesia He also may have experienced a condition called synesthesia where he could probably sense a response created from a different stimulus. Therefore, it was almost as if he could see music and hear colors. Scriabin, therefore, arranged the colors in a circle similar to the circle-of-fifths and assigned each key area a color. Finally, he assigned the key of C to the color red, while the key of G was orange. Similarly, he assigned D to yellow, A to green, and so forth. Strangely, he did not differentiate between major and minor key colors. Multimedia Hence, his ability to translate colors into music certainly gave Scriabin a most noteworthy interest in creating multimedia events. Furthermore, He designed his biggest work, the Mysterium, to last an entire week. Even more, Scriabin made plans not only for music, but also colored lights, incense, and dancing. He designed the performance to occur in the foothills of the Himalaya mountains. The Mysterium was never performed, and only sketches of the work remain. Modern Performances In modern times, we often experience performances of Scriabin’s most famous completed works accompanied by colored laser lights and incense. These are the Poem of Ecstasy (completed in 1908) and the Poem of Fire (completed in 1910). The lighting effects for these early performances were accomplished by the clavier à lumiéres. It was a keyboard instrument that projected colored light onto a screen.
$19.95
18.39 €
#
Clarinette Basse, Piano
#
Alexander Scriabin
#
James M
#
Scriabin: Prelude Op. 11 No. 2 for Bass Clarinet & Piano
#
jmsgu3
#
SheetMusicPlus
Scriabin: Prelude Op. 11 No. 2 for Bassoon & Piano
Basson, Piano (duo)
Instrumental Duet Bassoon,Instrumental Duet,Piano - Level 3 - Digital Download SKU: A0.…
(+)
Instrumental Duet Bassoon,Instrumental Duet,Piano - Level 3 - Digital Download SKU: A0.549477 Composed by Alexander Scriabin. Arranged by James M. Guthrie, ASCAP. Concert,Instructional,Romantic Period,Sacred,Standards. Score and parts. 12 pages. Jmsgu3 #3499857. Published by jmsgu3 (A0.549477). Alexander Scriabin Op. 11 No. 2. Score: 8 pages, solo part: 2 pages, piano part: 2 pages. Duration: 3:10. An introspective and meditative work with a lot of dynamic and phrasing nuance. Works well for church meditations or recital encores.Background Op.11/2 Alto Clarinet version. First of all, Scriabin composed mostly for the solo piano and also the orchestra. This is probably because he was a gifted pianist and therefore certainly appreciated the piano. Scriabin grew up in the late Romantic period, consequently, he was fond of the great piano masters of the time. As a result, he wrote his first noteworthy compositions in the manner of Chopin and Liszt. Forms Likewise, Scriabin used many of the same forms as Chopin. These certainly include the étude, prelude, nocturne, and even the mazurka. In contrast, as he developed his own sense of style his music became more and more unusual. So, the last five of his Piano Sonatas do not have a key signature and therefore lean towards atonality. Philosophy Scriabin also developed a keen interest in philosophy and likewise poetry. He was above all particularly fascinated by Nietzsche, Delville, and Blavatsky. Consequently, he finally established his own ideas about metaphysics and certainly mysticism. Scriabin consequently advanced theories about the relationship between color and musical keys. Synesthesia He also may have experienced a condition called synesthesia where he could probably sense a response created from a different stimulus. Therefore, it was almost as if he could see music and hear colors. Scriabin, therefore, arranged the colors in a circle similar to the circle-of-fifths and assigned each key area a color. Finally, he assigned the key of C to the color red, while the key of G was orange. Similarly, he assigned D to yellow, A to green, and so forth. Strangely, he did not differentiate between major and minor key colors. Multimedia Hence, his ability to translate colors into music certainly gave Scriabin a most noteworthy interest in creating multimedia events. Furthermore, He designed his biggest work, the Mysterium, to last an entire week. Even more, Scriabin made plans not only for music, but also colored lights, incense, and dancing. He designed the performance to occur in the foothills of the Himalaya mountains. The Mysterium was never performed, and only sketches of the work remain. Modern Performances In modern times, we often experience performances of Scriabin’s most famous completed works accompanied by colored laser lights and incense. These are the Poem of Ecstasy (completed in 1908) and the Poem of Fire (completed in 1910). The lighting effects for these early performances were accomplished by the clavier à lumiéres. It was a keyboard instrument that projected colored light onto a screen.
$19.95
18.39 €
#
Basson, Piano (duo)
#
Alexander Scriabin
#
James M
#
Scriabin: Prelude Op. 11 No. 2 for Bassoon & Piano
#
jmsgu3
#
SheetMusicPlus
Scriabin: Prelude Op. 11 No. 2 for Alto Flute & Piano
Flûte traversière et Piano
Flute,Piano - Level 3 - Digital Download SKU: A0.549473 Composed by Alexander Scria…
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Flute,Piano - Level 3 - Digital Download SKU: A0.549473 Composed by Alexander Scriabin. Arranged by James M. Guthrie, ASCAP. Concert,Instructional,Romantic Period,Sacred,Standards. Score and part. 12 pages. Jmsgu3 #3499833. Published by jmsgu3 (A0.549473). Score: 8 pages, solo part: 2 pages, piano part: 2 pages. Duration: 3:10. An introspective and meditative work with a lot of dynamic and phrasing nuance. Works well for church meditations or recital encores.BackgroundOp.11/2 Alto Clarinet version. First of all, Scriabin composed mostly for the solo piano and also the orchestra. This is probably because he was a gifted pianist and therefore certainly appreciated the piano. Scriabin grew up in the late Romantic period, consequently, he was fond of the great piano masters of the time. As a result, he wrote his first noteworthy compositions in the manner of Chopin and Liszt.FormsLikewise, Scriabin used many of the same forms as Chopin. These certainly include the étude, prelude, nocturne, and even the mazurka. In contrast, as he developed his own sense of style his music became more and more unusual. So, the last five of his Piano Sonatas do not have a key signature and therefore lean towards atonality.PhilosophyScriabin also developed a keen interest in philosophy and likewise poetry. He was above all particularly fascinated by Nietzsche, Delville, and Blavatsky. Consequently, he finally established his own ideas about metaphysics and certainly mysticism. Scriabin consequently advanced theories about the relationship between color and musical keys.SynesthesiaHe also may have experienced a condition called synesthesia where he could probably sense a response created from a different stimulus. Therefore, it was almost as if he could see music and hear colors. Scriabin, therefore, arranged the colors in a circle similar to the circle-of-fifths and assigned each key area a color. Finally, he assigned the key of C to the color red, while the key of G was orange. Similarly, he assigned D to yellow, A to green, and so forth. Strangely, he did not differentiate between major and minor key colors. MultimediaHence, his ability to translate colors into music certainly gave Scriabin a most noteworthy interest in creating multimedia events. Furthermore, He designed his biggest work, the Mysterium, to last an entire week. Even more, Scriabin made plans not only for music, but also colored lights, incense, and dancing. He designed the performance to occur in the foothills of the Himalaya mountains. The Mysterium was never performed, and only sketches of the work remain.Modern PerformancesIn modern times, we often experience performances of Scriabin’s most famous completed works accompanied by colored laser lights and incense. These are the Poem of Ecstasy (completed in 1908) and the Poem of Fire (completed in 1910). The lighting effects for these early performances were accomplished by the clavier à lumiéres. It was a keyboard instrument that projected colored light onto a screen.
$19.95
18.39 €
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Flûte traversière et Piano
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Alexander Scriabin
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James M
#
Scriabin: Prelude Op. 11 No. 2 for Alto Flute & Piano
#
jmsgu3
#
SheetMusicPlus
Scriabin: Prelude Op. 11 No. 2 for Bass Flute & Piano
Bass Flute,Instrumental Solo,Piano - Level 3 - Digital Download SKU: A0.549474 Comp…
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Bass Flute,Instrumental Solo,Piano - Level 3 - Digital Download SKU: A0.549474 Composed by Alexander Scriabin. Arranged by James M. Guthrie, ASCAP. Concert,Instructional,Romantic Period,Sacred,Standards. Score and individual part. 12 pages. Jmsgu3 #3499839. Published by jmsgu3 (A0.549474). Score: 8 pages, solo part: 2 pages, piano part: 2 pages. Duration: 3:10. An introspective and meditative work with a lot of dynamic and phrasing nuance. Works well for church meditations or recital encores. Background Op.11/2 Alto Clarinet version. First of all, Scriabin composed mostly for the solo piano and also the orchestra. This is probably because he was a gifted pianist and therefore certainly appreciated the piano. Scriabin grew up in the late Romantic period, consequently, he was fond of the great piano masters of the time. As a result, he wrote his first noteworthy compositions in the manner of Chopin and Liszt. Forms Likewise, Scriabin used many of the same forms as Chopin. These certainly include the étude, prelude, nocturne, and even the mazurka. In contrast, as he developed his own sense of style his music became more and more unusual. So, the last five of his Piano Sonatas do not have a key signature and therefore lean towards atonality. Philosophy Scriabin also developed a keen interest in philosophy and likewise poetry. He was above all particularly fascinated by Nietzsche, Delville, and Blavatsky. Consequently, he finally established his own ideas about metaphysics and certainly mysticism. Scriabin consequently advanced theories about the relationship between color and musical keys. Synesthesia He also may have experienced a condition called synesthesia where he could probably sense a response created from a different stimulus. Therefore, it was almost as if he could see music and hear colors. Scriabin, therefore, arranged the colors in a circle similar to the circle-of-fifths and assigned each key area a color. Finally, he assigned the key of C to the color red, while the key of G was orange. Similarly, he assigned D to yellow, A to green, and so forth. Strangely, he did not differentiate between major and minor key colors. Multimedia Hence, his ability to translate colors into music certainly gave Scriabin a most noteworthy interest in creating multimedia events. Furthermore, He designed his biggest work, the Mysterium, to last an entire week. Even more, Scriabin made plans not only for music, but also colored lights, incense, and dancing. He designed the performance to occur in the foothills of the Himalaya mountains. The Mysterium was never performed, and only sketches of the work remain. Modern Performances In modern times, we often experience performances of Scriabin’s most famous completed works accompanied by colored laser lights and incense. These are the Poem of Ecstasy (completed in 1908) and the Poem of Fire (completed in 1910). The lighting effects for these early performances were accomplished by the clavier à lumiéres. It was a keyboard instrument that projected colored light onto a screen.
$19.95
18.39 €
#
Alexander Scriabin
#
James M
#
Scriabin: Prelude Op. 11 No. 2 for Bass Flute & Piano
#
jmsgu3
#
SheetMusicPlus
Scriabin: Prelude Op. 11 No. 2 for Flute & Piano
Flûte traversière et Piano
Flute,Piano - Level 3 - Digital Download SKU: A0.549464 Composed by Alexander Scria…
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Flute,Piano - Level 3 - Digital Download SKU: A0.549464 Composed by Alexander Scriabin. Arranged by James M. Guthrie, ASCAP. Concert,Instructional,Romantic Period,Sacred,Standards. Score and part. 12 pages. Jmsgu3 #3499727. Published by jmsgu3 (A0.549464). Score: 8 pages, solo part: 2 pages, piano part: 2 pages. Duration: 3:10. An introspective and meditative work with a lot of dynamic and phrasing nuance. Works well for church meditations or recital encores. Background Op.11/2 Alto Clarinet version. First of all, Scriabin composed mostly for the solo piano and also the orchestra. This is probably because he was a gifted pianist and therefore certainly appreciated the piano. Scriabin grew up in the late Romantic period, consequently, he was fond of the great piano masters of the time. As a result, he wrote his first noteworthy compositions in the manner of Chopin and Liszt. Forms Likewise, Scriabin used many of the same forms as Chopin. These certainly include the étude, prelude, nocturne, and even the mazurka. In contrast, as he developed his own sense of style his music became more and more unusual. So, the last five of his Piano Sonatas do not have a key signature and therefore lean towards atonality. Philosophy Scriabin also developed a keen interest in philosophy and likewise poetry. He was above all particularly fascinated by Nietzsche, Delville, and Blavatsky. Consequently, he finally established his own ideas about metaphysics and certainly mysticism. Scriabin consequently advanced theories about the relationship between color and musical keys. Synesthesia He also may have experienced a condition called synesthesia where he could probably sense a response created from a different stimulus. Therefore, it was almost as if he could see music and hear colors. Scriabin, therefore, arranged the colors in a circle similar to the circle-of-fifths and assigned each key area a color. Finally, he assigned the key of C to the color red, while the key of G was orange. Similarly, he assigned D to yellow, A to green, and so forth. Strangely, he did not differentiate between major and minor key colors. Multimedia Hence, his ability to translate colors into music certainly gave Scriabin a most noteworthy interest in creating multimedia events. Furthermore, He designed his biggest work, the Mysterium, to last an entire week. Even more, Scriabin made plans not only for music, but also colored lights, incense, and dancing. He designed the performance to occur in the foothills of the Himalaya mountains. The Mysterium was never performed, and only sketches of the work remain. Modern Performances In modern times, we often experience performances of Scriabin’s most famous completed works accompanied by colored laser lights and incense. These are the Poem of Ecstasy (completed in 1908) and the Poem of Fire (completed in 1910). The lighting effects for these early performances were accomplished by the clavier à lumiéres. It was a keyboard instrument that projected colored light onto a screen.
$19.95
18.39 €
#
Flûte traversière et Piano
#
Alexander Scriabin
#
James M
#
Scriabin: Prelude Op. 11 No. 2 for Flute & Piano
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jmsgu3
#
SheetMusicPlus
Scriabin: Prelude Op. 11 No. 2 for Viola & Piano
Alto, Piano
Piano,Viola - Level 3 - Digital Download SKU: A0.549462 Composed by Alexander Scria…
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Piano,Viola - Level 3 - Digital Download SKU: A0.549462 Composed by Alexander Scriabin. Arranged by James M. Guthrie, ASCAP. Concert,Instructional,Romantic Period,Sacred,Standards. Score and part. 12 pages. Jmsgu3 #3499711. Published by jmsgu3 (A0.549462). Score: 8 pages, solo part: 2 pages, piano part: 2 pages. Duration: 3:10. An introspective and meditative work with a lot of dynamic and phrasing nuance. Works well for church meditations or recital encores. Background Op.11/2 Alto Clarinet version. First of all, Scriabin composed mostly for the solo piano and also the orchestra. This is probably because he was a gifted pianist and therefore certainly appreciated the piano. Scriabin grew up in the late Romantic period, consequently, he was fond of the great piano masters of the time. As a result, he wrote his first noteworthy compositions in the manner of Chopin and Liszt. Forms Likewise, Scriabin used many of the same forms as Chopin. These certainly include the étude, prelude, nocturne, and even the mazurka. In contrast, as he developed his own sense of style his music became more and more unusual. So, the last five of his Piano Sonatas do not have a key signature and therefore lean towards atonality. Philosophy Scriabin also developed a keen interest in philosophy and likewise poetry. He was above all particularly fascinated by Nietzsche, Delville, and Blavatsky. Consequently, he finally established his own ideas about metaphysics and certainly mysticism. Scriabin consequently advanced theories about the relationship between color and musical keys. Synesthesia He also may have experienced a condition called synesthesia where he could probably sense a response created from a different stimulus. Therefore, it was almost as if he could see music and hear colors. Scriabin, therefore, arranged the colors in a circle similar to the circle-of-fifths and assigned each key area a color. Finally, he assigned the key of C to the color red, while the key of G was orange. Similarly, he assigned D to yellow, A to green, and so forth. Strangely, he did not differentiate between major and minor key colors. Multimedia Hence, his ability to translate colors into music certainly gave Scriabin a most noteworthy interest in creating multimedia events. Furthermore, He designed his biggest work, the Mysterium, to last an entire week. Even more, Scriabin made plans not only for music, but also colored lights, incense, and dancing. He designed the performance to occur in the foothills of the Himalaya mountains. The Mysterium was never performed, and only sketches of the work remain. Modern Performances In modern times, we often experience performances of Scriabin’s most famous completed works accompanied by colored laser lights and incense. These are the Poem of Ecstasy (completed in 1908) and the Poem of Fire (completed in 1910). The lighting effects for these early performances were accomplished by the clavier à lumiéres. It was a keyboard instrument that projected colored light onto a screen.
$19.95
18.39 €
#
Alto, Piano
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Alexander Scriabin
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James M
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Scriabin: Prelude Op. 11 No. 2 for Viola & Piano
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jmsgu3
#
SheetMusicPlus
Scriabin: Prelude Op. 11 No. 2 for Baritone Sax & Piano
Saxophone Baryton, Piano
Baritone Saxophone,Piano - Level 3 - Digital Download SKU: A0.549468 Composed by Al…
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Baritone Saxophone,Piano - Level 3 - Digital Download SKU: A0.549468 Composed by Alexander Scriabin. Arranged by James M. Guthrie, ASCAP. Concert,Instructional,Romantic Period,Sacred,Standards. Score and part. 12 pages. Jmsgu3 #3499757. Published by jmsgu3 (A0.549468). Score: 8 pages, solo part: 2 pages, piano part: 2 pages. Duration: 3:10. An introspective and meditative work with a lot of dynamic and phrasing nuance. Works well for church meditations or recital encores.Background Op.11/2 Alto Clarinet version. First of all, Scriabin composed mostly for the solo piano and also the orchestra. This is probably because he was a gifted pianist and therefore certainly appreciated the piano. Scriabin grew up in the late Romantic period, consequently, he was fond of the great piano masters of the time. As a result, he wrote his first noteworthy compositions in the manner of Chopin and Liszt. Forms Likewise, Scriabin used many of the same forms as Chopin. These certainly include the étude, prelude, nocturne, and even the mazurka. In contrast, as he developed his own sense of style his music became more and more unusual. So, the last five of his Piano Sonatas do not have a key signature and therefore lean towards atonality. Philosophy Scriabin also developed a keen interest in philosophy and likewise poetry. He was above all particularly fascinated by Nietzsche, Delville, and Blavatsky. Consequently, he finally established his own ideas about metaphysics and certainly mysticism. Scriabin consequently advanced theories about the relationship between color and musical keys. Synesthesia He also may have experienced a condition called synesthesia where he could probably sense a response created from a different stimulus. Therefore, it was almost as if he could see music and hear colors. Scriabin, therefore, arranged the colors in a circle similar to the circle-of-fifths and assigned each key area a color. Finally, he assigned the key of C to the color red, while the key of G was orange. Similarly, he assigned D to yellow, A to green, and so forth. Strangely, he did not differentiate between major and minor key colors. Multimedia Hence, his ability to translate colors into music certainly gave Scriabin a most noteworthy interest in creating multimedia events. Furthermore, He designed his biggest work, the Mysterium, to last an entire week. Even more, Scriabin made plans not only for music, but also colored lights, incense, and dancing. He designed the performance to occur in the foothills of the Himalaya mountains. The Mysterium was never performed, and only sketches of the work remain. Modern Performances In modern times, we often experience performances of Scriabin’s most famous completed works accompanied by colored laser lights and incense. These are the Poem of Ecstasy (completed in 1908) and the Poem of Fire (completed in 1910). The lighting effects for these early performances were accomplished by the clavier à lumiéres. It was a keyboard instrument that projected colored light onto a screen.
$19.95
18.39 €
#
Saxophone Baryton, Piano
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Alexander Scriabin
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James M
#
Scriabin: Prelude Op. 11 No. 2 for Baritone Sax & Piano
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jmsgu3
#
SheetMusicPlus
Scriabin: Prelude Op. 11 No. 2 for Alto Sax & Piano
Saxophone Alto et Piano
Alto Saxophone,Piano - Level 3 - Digital Download SKU: A0.549467 Composed by Alexan…
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Alto Saxophone,Piano - Level 3 - Digital Download SKU: A0.549467 Composed by Alexander Scriabin. Arranged by James M. Guthrie, ASCAP. Concert,Instructional,Romantic Period,Sacred,Standards. Score and part. 12 pages. Jmsgu3 #3499755. Published by jmsgu3 (A0.549467). Score: 8 pages, solo part: 2 pages, piano part: 2 pages. Duration: 3:10. An introspective and meditative work with a lot of dynamic and phrasing nuance. Works well for church meditations or recital encores.Background Op.11/2 Alto Clarinet version. First of all, Scriabin composed mostly for the solo piano and also the orchestra. This is probably because he was a gifted pianist and therefore certainly appreciated the piano. Scriabin grew up in the late Romantic period, consequently, he was fond of the great piano masters of the time. As a result, he wrote his first noteworthy compositions in the manner of Chopin and Liszt. Forms Likewise, Scriabin used many of the same forms as Chopin. These certainly include the étude, prelude, nocturne, and even the mazurka. In contrast, as he developed his own sense of style his music became more and more unusual. So, the last five of his Piano Sonatas do not have a key signature and therefore lean towards atonality. Philosophy Scriabin also developed a keen interest in philosophy and likewise poetry. He was above all particularly fascinated by Nietzsche, Delville, and Blavatsky. Consequently, he finally established his own ideas about metaphysics and certainly mysticism. Scriabin consequently advanced theories about the relationship between color and musical keys. Synesthesia He also may have experienced a condition called synesthesia where he could probably sense a response created from a different stimulus. Therefore, it was almost as if he could see music and hear colors. Scriabin, therefore, arranged the colors in a circle similar to the circle-of-fifths and assigned each key area a color. Finally, he assigned the key of C to the color red, while the key of G was orange. Similarly, he assigned D to yellow, A to green, and so forth. Strangely, he did not differentiate between major and minor key colors. Multimedia Hence, his ability to translate colors into music certainly gave Scriabin a most noteworthy interest in creating multimedia events. Furthermore, He designed his biggest work, the Mysterium, to last an entire week. Even more, Scriabin made plans not only for music, but also colored lights, incense, and dancing. He designed the performance to occur in the foothills of the Himalaya mountains. The Mysterium was never performed, and only sketches of the work remain. Modern Performances In modern times, we often experience performances of Scriabin’s most famous completed works accompanied by colored laser lights and incense. These are the Poem of Ecstasy (completed in 1908) and the Poem of Fire (completed in 1910). The lighting effects for these early performances were accomplished by the clavier à lumiéres. It was a keyboard instrument that projected colored light onto a screen.
$19.95
18.39 €
#
Saxophone Alto et Piano
#
Alexander Scriabin
#
James M
#
Scriabin: Prelude Op. 11 No. 2 for Alto Sax & Piano
#
jmsgu3
#
SheetMusicPlus
Scriabin: Prelude Op. 11 No. 2 for Tenor Sax & Piano
Saxophone Tenor et Piano
Piano,Tenor Saxophone - Level 3 - Digital Download SKU: A0.549469 Composed by Alexa…
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Piano,Tenor Saxophone - Level 3 - Digital Download SKU: A0.549469 Composed by Alexander Scriabin. Arranged by James M. Guthrie, ASCAP. Concert,Instructional,Romantic Period,Sacred,Standards. Score and part. 12 pages. Jmsgu3 #3499759. Published by jmsgu3 (A0.549469). Score: 8 pages, solo part: 2 pages, piano part: 2 pages. Duration: 3:10. An introspective and meditative work with a lot of dynamic and phrasing nuance. Works well for church meditations or recital encores. Background Op.11/2 Alto Clarinet version. First of all, Scriabin composed mostly for the solo piano and also the orchestra. This is probably because he was a gifted pianist and therefore certainly appreciated the piano. Scriabin grew up in the late Romantic period, consequently, he was fond of the great piano masters of the time. As a result, he wrote his first noteworthy compositions in the manner of Chopin and Liszt. Forms Likewise, Scriabin used many of the same forms as Chopin. These certainly include the étude, prelude, nocturne, and even the mazurka. In contrast, as he developed his own sense of style his music became more and more unusual. So, the last five of his Piano Sonatas do not have a key signature and therefore lean towards atonality. Philosophy Scriabin also developed a keen interest in philosophy and likewise poetry. He was above all particularly fascinated by Nietzsche, Delville, and Blavatsky. Consequently, he finally established his own ideas about metaphysics and certainly mysticism. Scriabin consequently advanced theories about the relationship between color and musical keys. Synesthesia He also may have experienced a condition called synesthesia where he could probably sense a response created from a different stimulus. Therefore, it was almost as if he could see music and hear colors. Scriabin, therefore, arranged the colors in a circle similar to the circle-of-fifths and assigned each key area a color. Finally, he assigned the key of C to the color red, while the key of G was orange. Similarly, he assigned D to yellow, A to green, and so forth. Strangely, he did not differentiate between major and minor key colors. Multimedia Hence, his ability to translate colors into music certainly gave Scriabin a most noteworthy interest in creating multimedia events. Furthermore, He designed his biggest work, the Mysterium, to last an entire week. Even more, Scriabin made plans not only for music, but also colored lights, incense, and dancing. He designed the performance to occur in the foothills of the Himalaya mountains. The Mysterium was never performed, and only sketches of the work remain. Modern Performances In modern times, we often experience performances of Scriabin’s most famous completed works accompanied by colored laser lights and incense. These are the Poem of Ecstasy (completed in 1908) and the Poem of Fire (completed in 1910). The lighting effects for these early performances were accomplished by the clavier à lumiéres. It was a keyboard instrument that projected colored light onto a screen.
$19.95
18.39 €
#
Saxophone Tenor et Piano
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Alexander Scriabin
#
James M
#
Scriabin: Prelude Op. 11 No. 2 for Tenor Sax & Piano
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jmsgu3
#
SheetMusicPlus
Scriabin: Prelude Op. 11 No. 2 for Soprano Sax & Piano
Saxophone Soprano et Piano
Piano,Soprano Saxophone - Level 3 - Digital Download SKU: A0.549466 Composed by Ale…
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Piano,Soprano Saxophone - Level 3 - Digital Download SKU: A0.549466 Composed by Alexander Scriabin. Arranged by James M. Guthrie, ASCAP. Concert,Instructional,Romantic Period,Sacred,Standards. Score and part. 12 pages. Jmsgu3 #3499743. Published by jmsgu3 (A0.549466). Score: 8 pages, solo part: 2 pages, piano part: 2 pages. Duration: 3:10. An introspective and meditative work with a lot of dynamic and phrasing nuance. Works well for church meditations or recital encores. Background Op.11/2 Alto Clarinet version. First of all, Scriabin composed mostly for the solo piano and also the orchestra. This is probably because he was a gifted pianist and therefore certainly appreciated the piano. Scriabin grew up in the late Romantic period, consequently, he was fond of the great piano masters of the time. As a result, he wrote his first noteworthy compositions in the manner of Chopin and Liszt. Forms Likewise, Scriabin used many of the same forms as Chopin. These certainly include the étude, prelude, nocturne, and even the mazurka. In contrast, as he developed his own sense of style his music became more and more unusual. So, the last five of his Piano Sonatas do not have a key signature and therefore lean towards atonality. Philosophy Scriabin also developed a keen interest in philosophy and likewise poetry. He was above all particularly fascinated by Nietzsche, Delville, and Blavatsky. Consequently, he finally established his own ideas about metaphysics and certainly mysticism. Scriabin consequently advanced theories about the relationship between color and musical keys. Synesthesia He also may have experienced a condition called synesthesia where he could probably sense a response created from a different stimulus. Therefore, it was almost as if he could see music and hear colors. Scriabin, therefore, arranged the colors in a circle similar to the circle-of-fifths and assigned each key area a color. Finally, he assigned the key of C to the color red, while the key of G was orange. Similarly, he assigned D to yellow, A to green, and so forth. Strangely, he did not differentiate between major and minor key colors. Multimedia Hence, his ability to translate colors into music certainly gave Scriabin a most noteworthy interest in creating multimedia events. Furthermore, He designed his biggest work, the Mysterium, to last an entire week. Even more, Scriabin made plans not only for music, but also colored lights, incense, and dancing. He designed the performance to occur in the foothills of the Himalaya mountains. The Mysterium was never performed, and only sketches of the work remain. Modern Performances In modern times, we often experience performances of Scriabin’s most famous completed works accompanied by colored laser lights and incense. These are the Poem of Ecstasy (completed in 1908) and the Poem of Fire (completed in 1910). The lighting effects for these early performances were accomplished by the clavier à lumiéres. It was a keyboard instrument that projected colored light onto a screen.
$19.95
18.39 €
#
Saxophone Soprano et Piano
#
Alexander Scriabin
#
James M
#
Scriabin: Prelude Op. 11 No. 2 for Soprano Sax & Piano
#
jmsgu3
#
SheetMusicPlus
Scriabin: Prelude Op. 11 No. 2 for Oboe d'Amore & Piano
Instrumental Solo,Oboe d'Amore,Piano - Level 3 - Digital Download SKU: A0.549471 Co…
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Instrumental Solo,Oboe d'Amore,Piano - Level 3 - Digital Download SKU: A0.549471 Composed by Alexander Scriabin. Arranged by James M. Guthrie, ASCAP. Concert,Instructional,Romantic Period,Sacred,Standards. Score and individual part. 12 pages. Jmsgu3 #3499775. Published by jmsgu3 (A0.549471). Score: 8 pages, solo part: 2 pages, piano part: 2 pages. Duration: 3:10. An introspective and meditative work with a lot of dynamic and phrasing nuance. Works well for church meditations or recital encores. Background Op.11/2 Alto Clarinet version. First of all, Scriabin composed mostly for the solo piano and also the orchestra. This is probably because he was a gifted pianist and therefore certainly appreciated the piano. Scriabin grew up in the late Romantic period, consequently, he was fond of the great piano masters of the time. As a result, he wrote his first noteworthy compositions in the manner of Chopin and Liszt. Forms Likewise, Scriabin used many of the same forms as Chopin. These certainly include the étude, prelude, nocturne, and even the mazurka. In contrast, as he developed his own sense of style his music became more and more unusual. So, the last five of his Piano Sonatas do not have a key signature and therefore lean towards atonality. Philosophy Scriabin also developed a keen interest in philosophy and likewise poetry. He was above all particularly fascinated by Nietzsche, Delville, and Blavatsky. Consequently, he finally established his own ideas about metaphysics and certainly mysticism. Scriabin consequently advanced theories about the relationship between color and musical keys. Synesthesia He also may have experienced a condition called synesthesia where he could probably sense a response created from a different stimulus. Therefore, it was almost as if he could see music and hear colors. Scriabin, therefore, arranged the colors in a circle similar to the circle-of-fifths and assigned each key area a color. Finally, he assigned the key of C to the color red, while the key of G was orange. Similarly, he assigned D to yellow, A to green, and so forth. Strangely, he did not differentiate between major and minor key colors. Multimedia Hence, his ability to translate colors into music certainly gave Scriabin a most noteworthy interest in creating multimedia events. Furthermore, He designed his biggest work, the Mysterium, to last an entire week. Even more, Scriabin made plans not only for music, but also colored lights, incense, and dancing. He designed the performance to occur in the foothills of the Himalaya mountains. The Mysterium was never performed, and only sketches of the work remain. Modern Performances In modern times, we often experience performances of Scriabin’s most famous completed works accompanied by colored laser lights and incense. These are the Poem of Ecstasy (completed in 1908) and the Poem of Fire (completed in 1910). The lighting effects for these early performances were accomplished by the clavier à lumiéres. It was a keyboard instrument that projected colored light onto a screen.
$19.95
18.39 €
#
Alexander Scriabin
#
James M
#
Scriabin: Prelude Op. 11 No. 2 for Oboe d'Amore & Piano
#
jmsgu3
#
SheetMusicPlus
Scriabin: Prelude Op. 11 No. 2 for Oboe & Piano
Hautbois, Piano (duo)
Oboe,Piano - Level 3 - Digital Download SKU: A0.549470 Composed by Alexander Scriab…
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Oboe,Piano - Level 3 - Digital Download SKU: A0.549470 Composed by Alexander Scriabin. Arranged by James M. Guthrie, ASCAP. Concert,Instructional,Romantic Period,Sacred,Standards. Score and part. 12 pages. Jmsgu3 #3499773. Published by jmsgu3 (A0.549470). Score: 8 pages, solo part: 2 pages, piano part: 2 pages. Duration: 3:10. An introspective and meditative work with a lot of dynamic and phrasing nuance. Works well for church meditations or recital encores. Background Op.11/2 Alto Clarinet version. First of all, Scriabin composed mostly for the solo piano and also the orchestra. This is probably because he was a gifted pianist and therefore certainly appreciated the piano. Scriabin grew up in the late Romantic period, consequently, he was fond of the great piano masters of the time. As a result, he wrote his first noteworthy compositions in the manner of Chopin and Liszt. Forms Likewise, Scriabin used many of the same forms as Chopin. These certainly include the étude, prelude, nocturne, and even the mazurka. In contrast, as he developed his own sense of style his music became more and more unusual. So, the last five of his Piano Sonatas do not have a key signature and therefore lean towards atonality. Philosophy Scriabin also developed a keen interest in philosophy and likewise poetry. He was above all particularly fascinated by Nietzsche, Delville, and Blavatsky. Consequently, he finally established his own ideas about metaphysics and certainly mysticism. Scriabin consequently advanced theories about the relationship between color and musical keys. Synesthesia He also may have experienced a condition called synesthesia where he could probably sense a response created from a different stimulus. Therefore, it was almost as if he could see music and hear colors. Scriabin, therefore, arranged the colors in a circle similar to the circle-of-fifths and assigned each key area a color. Finally, he assigned the key of C to the color red, while the key of G was orange. Similarly, he assigned D to yellow, A to green, and so forth. Strangely, he did not differentiate between major and minor key colors. Multimedia Hence, his ability to translate colors into music certainly gave Scriabin a most noteworthy interest in creating multimedia events. Furthermore, He designed his biggest work, the Mysterium, to last an entire week. Even more, Scriabin made plans not only for music, but also colored lights, incense, and dancing. He designed the performance to occur in the foothills of the Himalaya mountains. The Mysterium was never performed, and only sketches of the work remain. Modern Performances In modern times, we often experience performances of Scriabin’s most famous completed works accompanied by colored laser lights and incense. These are the Poem of Ecstasy (completed in 1908) and the Poem of Fire (completed in 1910). The lighting effects for these early performances were accomplished by the clavier à lumiéres. It was a keyboard instrument that projected colored light onto a screen.
$19.95
18.39 €
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Hautbois, Piano (duo)
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Alexander Scriabin
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James M
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Scriabin: Prelude Op. 11 No. 2 for Oboe & Piano
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jmsgu3
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SheetMusicPlus
Scriabin: Prelude Op. 11 No. 2 for Violin & Piano
Violon et Piano
Piano,Violin - Level 3 - Digital Download SKU: A0.549461 Composed by Alexander Scri…
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Piano,Violin - Level 3 - Digital Download SKU: A0.549461 Composed by Alexander Scriabin. Arranged by James M. Guthrie, ASCAP. Concert,Instructional,Romantic Period,Sacred,Standards. 12 pages. Jmsgu3 #3499709. Published by jmsgu3 (A0.549461). Score: 8 pages, solo part: 2 pages, piano part: 2 pages. Duration: 3:10. An introspective and meditative work with a lot of dynamic and phrasing nuance. Works well for church meditations or recital encores.Background Op.11/2 Alto Clarinet version. First of all, Scriabin composed mostly for the solo piano and also the orchestra. This is probably because he was a gifted pianist and therefore certainly appreciated the piano. Scriabin grew up in the late Romantic period, consequently, he was fond of the great piano masters of the time. As a result, he wrote his first noteworthy compositions in the manner of Chopin and Liszt. Forms Likewise, Scriabin used many of the same forms as Chopin. These certainly include the étude, prelude, nocturne, and even the mazurka. In contrast, as he developed his own sense of style his music became more and more unusual. So, the last five of his Piano Sonatas do not have a key signature and therefore lean towards atonality. Philosophy Scriabin also developed a keen interest in philosophy and likewise poetry. He was above all particularly fascinated by Nietzsche, Delville, and Blavatsky. Consequently, he finally established his own ideas about metaphysics and certainly mysticism. Scriabin consequently advanced theories about the relationship between color and musical keys. Synesthesia He also may have experienced a condition called synesthesia where he could probably sense a response created from a different stimulus. Therefore, it was almost as if he could see music and hear colors. Scriabin, therefore, arranged the colors in a circle similar to the circle-of-fifths and assigned each key area a color. Finally, he assigned the key of C to the color red, while the key of G was orange. Similarly, he assigned D to yellow, A to green, and so forth. Strangely, he did not differentiate between major and minor key colors. Multimedia Hence, his ability to translate colors into music certainly gave Scriabin a most noteworthy interest in creating multimedia events. Furthermore, He designed his biggest work, the Mysterium, to last an entire week. Even more, Scriabin made plans not only for music, but also colored lights, incense, and dancing. He designed the performance to occur in the foothills of the Himalaya mountains. The Mysterium was never performed, and only sketches of the work remain. Modern Performances In modern times, we often experience performances of Scriabin’s most famous completed works accompanied by colored laser lights and incense. These are the Poem of Ecstasy (completed in 1908) and the Poem of Fire (completed in 1910). The lighting effects for these early performances were accomplished by the clavier à lumiéres. It was a keyboard instrument that projected colored light onto a screen.
$19.95
18.39 €
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Violon et Piano
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Alexander Scriabin
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James M
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Scriabin: Prelude Op. 11 No. 2 for Violin & Piano
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jmsgu3
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SheetMusicPlus
Scriabin Etude in C-sharp Minor (Op. 2 No. 1) for Brass Ensemble
Quatuor de Cuivres : 2 trompettes, trombone, tuba
Brass Ensemble Horn,Trombone,Trumpet,Tuba - Level 5 - Digital Download SKU: A0.942804
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Brass Ensemble Horn,Trombone,Trumpet,Tuba - Level 5 - Digital Download SKU: A0.942804 Composed by Alexander Scriabin. Arranged by ForteTwo. Romantic Period. Score and parts. 22 pages. ForteTwo Music #4277947. Published by ForteTwo Music (A0.942804). Alexander Scriabin was a Russian composer heavily influenced by the music of Chopin. Here is his popular C# minor étude (originally for piano solo) arranged for ten-part brass ensemble: Two C Trumpets, Two B-flat Trumpets, Two French Horns, Two Trombones and Two Tubas (Euphonium may substitute for the Tuba 1 part).
$10.00
9.22 €
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Quatuor de Cuivres : 2 trompettes, trombone, tuba
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Alexander Scriabin
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ForteTwo
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Scriabin Etude in C-sharp Minor
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ForteTwo Music
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SheetMusicPlus
Scriabin: Prelude, Op. 51, No. 2 for Clarinet & Piano
Clarinette et Piano
Clarinet,Piano - Level 3 - Digital Download SKU: A0.1401552 Composed by Alexander S…
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Clarinet,Piano - Level 3 - Digital Download SKU: A0.1401552 Composed by Alexander Scriabin. Arranged by James M. Guthrie. 20th Century,Chamber,Contemporary,Contest,Festival,Historic. Score and part. 7 pages. Jmsgu3 #984736. Published by jmsgu3 (A0.1401552). The historical context of Scriabin's Prelude, Op. 51 No. 2 is rooted in the broader tradition of preludes as improvisatory pieces that precede performances on keyboard instruments. Scriabin's composition, part of his Quatre Morceaux (Four Pieces) Op. 51, published in 1906, reflects his innovative approach to piano music within the musical landscape of the early 20th century. This piece, along with others by Scriabin, demonstrates a blend of traditional influences and his quest to develop a distinctive and original style in his compositions. The meaning behind Scriabin's Prelude, Op. 51 No. 2 is characterized by its emotional depth and expressive qualities, reflecting the composer's unique musical language and style. This piece, along with others by Scriabin, delves into themes of fatigue, exhaustion, eternity, and millions of years, as described by the composer. In this prelude, Scriabin's use of dissonance, tonal centers, and harmonic language conveys a sense of obsessively seeking out pain or grief. The composition captures a range of emotions, from fatigue to a cry in the night, showcasing Scriabin's ability to evoke intense feelings through his music.
$32.95
30.38 €
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Clarinette et Piano
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Alexander Scriabin
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James M
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Scriabin: Prelude, Op. 51, No. 2 for Clarinet & Piano
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jmsgu3
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SheetMusicPlus
Scriabin: Prelude, Op. 51, No. 2, for Soprano Saxophone & Piano
Saxophone Soprano et Piano
Piano,Soprano Saxophone - Level 3 - Digital Download SKU: A0.1401579 Composed by Al…
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Piano,Soprano Saxophone - Level 3 - Digital Download SKU: A0.1401579 Composed by Alexander Scriabin. Arranged by James M. Guthrie. 20th Century,Chamber,Contemporary,Contest,Festival,Historic. Score and part. 7 pages. Jmsgu3 #984760. Published by jmsgu3 (A0.1401579). The historical context of Scriabin's Prelude, Op. 51 No. 2 is rooted in the broader tradition of preludes as improvisatory pieces that precede performances on keyboard instruments. Scriabin's composition, part of his Quatre Morceaux (Four Pieces) Op. 51, published in 1906, reflects his innovative approach to piano music within the musical landscape of the early 20th century. This piece, along with others by Scriabin, demonstrates a blend of traditional influences and his quest to develop a distinctive and original style in his compositions. The meaning behind Scriabin's Prelude, Op. 51 No. 2 is characterized by its emotional depth and expressive qualities, reflecting the composer's unique musical language and style. This piece, along with others by Scriabin, delves into themes of fatigue, exhaustion, eternity, and millions of years, as described by the composer. In this prelude, Scriabin's use of dissonance, tonal centers, and harmonic language conveys a sense of obsessively seeking out pain or grief. The composition captures a range of emotions, from fatigue to a cry in the night, showcasing Scriabin's ability to evoke intense feelings through his music.
$32.95
30.38 €
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Saxophone Soprano et Piano
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Alexander Scriabin
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James M
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Scriabin: Prelude, Op. 51, No. 2, for Soprano Saxophone & Piano
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jmsgu3
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SheetMusicPlus
Scriabin: Prelude, Op. 51, No. 2, for Violin & Harp
Violon et Piano
Piano,Violin - Level 3 - Digital Download SKU: A0.1401520 Composed by Alexander Scr…
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Piano,Violin - Level 3 - Digital Download SKU: A0.1401520 Composed by Alexander Scriabin. Arranged by James M. Guthrie. 20th Century,Chamber,Contemporary,Contest,Festival,Historic. 7 pages. Jmsgu3 #984703. Published by jmsgu3 (A0.1401520). The historical context of Scriabin's Prelude, Op. 51 No. 2 is rooted in the broader tradition of preludes as improvisatory pieces that precede performances on keyboard instruments. Scriabin's composition, part of his Quatre Morceaux (Four Pieces) Op. 51, published in 1906, reflects his innovative approach to piano music within the musical landscape of the early 20th century. This piece, along with others by Scriabin, demonstrates a blend of traditional influences and his quest to develop a distinctive and original style in his compositions. The meaning behind Scriabin's Prelude, Op. 51 No. 2 is characterized by its emotional depth and expressive qualities, reflecting the composer's unique musical language and style. This piece, along with others by Scriabin, delves into themes of fatigue, exhaustion, eternity, and millions of years, as described by the composer. In this prelude, Scriabin's use of dissonance, tonal centers, and harmonic language conveys a sense of obsessively seeking out pain or grief. The composition captures a range of emotions, from fatigue to a cry in the night, showcasing Scriabin's ability to evoke intense feelings through his music.
$32.95
30.38 €
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Violon et Piano
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Alexander Scriabin
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James M
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Scriabin: Prelude, Op. 51, No. 2, for Violin & Harp
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jmsgu3
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SheetMusicPlus
Scriabin: Prelude, Op. 51, No. 2 for Viola & Harp
Alto, Piano
Piano,Viola - Level 3 - Digital Download SKU: A0.1401524 Composed by Alexander Scri…
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Piano,Viola - Level 3 - Digital Download SKU: A0.1401524 Composed by Alexander Scriabin. Arranged by James M. Guthrie. 20th Century,Chamber,Contemporary,Contest,Festival,Historic. Score and part. 7 pages. Jmsgu3 #984707. Published by jmsgu3 (A0.1401524). The historical context of Scriabin's Prelude, Op. 51 No. 2 is rooted in the broader tradition of preludes as improvisatory pieces that precede performances on keyboard instruments. Scriabin's composition, part of his Quatre Morceaux (Four Pieces) Op. 51, published in 1906, reflects his innovative approach to piano music within the musical landscape of the early 20th century. This piece, along with others by Scriabin, demonstrates a blend of traditional influences and his quest to develop a distinctive and original style in his compositions. The meaning behind Scriabin's Prelude, Op. 51 No. 2 is characterized by its emotional depth and expressive qualities, reflecting the composer's unique musical language and style. This piece, along with others by Scriabin, delves into themes of fatigue, exhaustion, eternity, and millions of years, as described by the composer. In this prelude, Scriabin's use of dissonance, tonal centers, and harmonic language conveys a sense of obsessively seeking out pain or grief. The composition captures a range of emotions, from fatigue to a cry in the night, showcasing Scriabin's ability to evoke intense feelings through his music.
$32.95
30.38 €
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Alto, Piano
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Alexander Scriabin
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James M
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Scriabin: Prelude, Op. 51, No. 2 for Viola & Harp
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jmsgu3
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SheetMusicPlus
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