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7
2 Violons (duo)
5
Trio à Cordes: 2 violons, violoncelle
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Violon (partie séparée)
5
4 Violoncelles
5
Trio à cordes: 3 violins
4
Alto (partie séparée)
4
Quintette à cordes: 2 violons, alto, violoncelle, basse
3
Violon, Alto (duo)
3
Trio à Cordes: violon, alto, violoncelle
2
Violon, Guitare (duo)
2
5 Harpes
2
Piano Trio: Violon, Alto, Piano
2
Contrebasse (partie séparée)
2
2 Violoncelles (duo)
2
3 Harpes
2
Alto, Violoncelle (duo)
1
2 Altos (duo)
1
Violoncelle , Guitare (duo)
1
Harpe, Flûte (duo)
1
Harpe, Voix
1
Quintette à cordes: 2 violons, 2 altos, violoncelle
1
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PERCUSSIONS & ORCHESTRES
Orchestre d'harmonie
158
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67
Orchestre à Cordes
49
Orchestre
41
Orchestre de chambre
20
Ensemble Jazz
9
Percussion (partie séparée)
7
Marimba
7
Jazz combo
5
Batterie
5
Cloches
5
Timbales (partie séparée)
3
Ensemble de Percussions
3
Fanfare
2
Vibraphone
1
Quintette de Cuivres: autres combinaisons
1
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Op. 45, No. 1: Ô songe heureux et doux from Songs of Gouvy, V2 (Downloadable)
Piano, Voix
Voice and piano - Medium - Digital Download SKU: MQ.8492-01E Composed by MeeAe Ceci…
(+)
Voice and piano - Medium - Digital Download SKU: MQ.8492-01E Composed by MeeAe Cecilia Nam and Theodore Gouvy. Instrument part. 6 pages. E. C. Schirmer Music Company - Digital #8492-01E. Published by E. C. Schirmer Music Company - Digital (MQ.8492-01E). French.Gouvy was known for writing some of the most beautiful melodies of the Romantic period. His style is a combination of German forms and an early French romantic harmonic structure. His writing for the piano in the songs is totally unified in mood and description with the voice, just as the piano is in Schubert’s songs. The equal partnership of the vocal line and piano interact closely to bring the poetry vividly into life with unimaginable artistic heights and unbridled passion.This volume includes Gouvy songs set to 18 poems of Philippe Desportes (1546–1606), and 18 poems of Moritz Hartmann (1821–1872). The elements of Romantic love poetry, such as enchanting love and its pain, and the personifying of nature, are fluently described with a great sensitivity in both voice and piano. Gouvy’s melody stir up the imagination because of his special treatment of words through a distinguishable and melodious vocal line, and his story telling and poetic treatment and development of the piano accompaniment. His compositional artistry places him in the upper echelons of art-song composers. One should note that Gouvy had a special fondness for the 16th Century poetry of La Pléiade (a group of Renaissance French poets, led by Pièrre de Ronsard (1524–1585). Desportes was truly the heir to Ronsard; however his work, when compared to that of Ronsard, is filled with greater abstraction and greater fluidity. Desportes seems to avoid any of the passionate anger that is occasionally characteristic of La Pléiade. This may be an indication that Desportes lived in a less distressed time. It also seems necessary to point out that he learned much in his early career by copying and studying the earlier works of La Pléiade. This has led some scholars to label him as a plagiarist, but it is important to realize that all the members of La Pléiade copied from each other when they wished to learn something new, and truly understand the style of the other poets in the group. Gouvy’s only choice of poems from his contemporaries, were the works of Moritz Hartmann (1821–1872), a good friend of Gouvy’s. Much of his poetry was strongly political in support of freedom of the individual. He traveled to Leipzig in 1845, but when the authorities discovered a volume of patriotic poems entitled Kelch und Schwert (Chalice and Sword), he fled to Belgium and France. It is at this time that he possibly met Théodore Gouvy. Eighteen poems of Hartmann were translated from German to French by the French poet, Adolph Larmande, of whom very little is known. Pierre Toussaint Adolphe Larmande seems to have been a rather obscure poet and musician. We know that he taught music theory at the Paris Conservatory at the same time Anton Reicha and Michele Carafa were on the faculty. We also know that in 1847 he married an English woman by the name of Marie Caroline Bradley. There are random documents, such as a Certificate of Arrival in London, England, in 1837, but there are no birth and death dates given, and that includes his obituary notice. Contents:18 Sonnets et Chansons de Desportes pour ténor ou soprano et piano, Op. 45 Six poésies allemandes de Moritz Hartmann pour baryton et piano, Op. 21 Douze poésies allemandes de Moritz Hartmann pour ténor et piano, Op. 26 (Poésies françaises d’Adolphe Larmande).
$3.00
2.76 €
#
Piano, Voix
#
MeeAe Cecilia Nam and Theodore Gouvy
#
Op. 45, No. 1: Ô songe heureux et doux from Songs of Gouvy, V2
#
E. C. Schirmer Music Company - Digital
#
SheetMusicPlus
Op. 1, No. 7: Dans un songe enchanté from Songs of Gouvy, V2 (Downloadable)
Piano, Voix
Voice and piano - Medium - Digital Download SKU: MQ.8492-31E Composed by MeeAe Ceci…
(+)
Voice and piano - Medium - Digital Download SKU: MQ.8492-31E Composed by MeeAe Cecilia Nam and Theodore Gouvy. Instrument part. 7 pages. E. C. Schirmer Music Company - Digital #8492-31E. Published by E. C. Schirmer Music Company - Digital (MQ.8492-31E). French.Gouvy was known for writing some of the most beautiful melodies of the Romantic period. His style is a combination of German forms and an early French romantic harmonic structure. His writing for the piano in the songs is totally unified in mood and description with the voice, just as the piano is in Schubert’s songs. The equal partnership of the vocal line and piano interact closely to bring the poetry vividly into life with unimaginable artistic heights and unbridled passion.This volume includes Gouvy songs set to 18 poems of Philippe Desportes (1546–1606), and 18 poems of Moritz Hartmann (1821–1872). The elements of Romantic love poetry, such as enchanting love and its pain, and the personifying of nature, are fluently described with a great sensitivity in both voice and piano. Gouvy’s melody stir up the imagination because of his special treatment of words through a distinguishable and melodious vocal line, and his story telling and poetic treatment and development of the piano accompaniment. His compositional artistry places him in the upper echelons of art-song composers. One should note that Gouvy had a special fondness for the 16th Century poetry of La Pléiade (a group of Renaissance French poets, led by Pièrre de Ronsard (1524–1585). Desportes was truly the heir to Ronsard; however his work, when compared to that of Ronsard, is filled with greater abstraction and greater fluidity. Desportes seems to avoid any of the passionate anger that is occasionally characteristic of La Pléiade. This may be an indication that Desportes lived in a less distressed time. It also seems necessary to point out that he learned much in his early career by copying and studying the earlier works of La Pléiade. This has led some scholars to label him as a plagiarist, but it is important to realize that all the members of La Pléiade copied from each other when they wished to learn something new, and truly understand the style of the other poets in the group. Gouvy’s only choice of poems from his contemporaries, were the works of Moritz Hartmann (1821–1872), a good friend of Gouvy’s. Much of his poetry was strongly political in support of freedom of the individual. He traveled to Leipzig in 1845, but when the authorities discovered a volume of patriotic poems entitled Kelch und Schwert (Chalice and Sword), he fled to Belgium and France. It is at this time that he possibly met Théodore Gouvy. Eighteen poems of Hartmann were translated from German to French by the French poet, Adolph Larmande, of whom very little is known. Pierre Toussaint Adolphe Larmande seems to have been a rather obscure poet and musician. We know that he taught music theory at the Paris Conservatory at the same time Anton Reicha and Michele Carafa were on the faculty. We also know that in 1847 he married an English woman by the name of Marie Caroline Bradley. There are random documents, such as a Certificate of Arrival in London, England, in 1837, but there are no birth and death dates given, and that includes his obituary notice. Contents:18 Sonnets et Chansons de Desportes pour ténor ou soprano et piano, Op. 45 Six poésies allemandes de Moritz Hartmann pour baryton et piano, Op. 21 Douze poésies allemandes de Moritz Hartmann pour ténor et piano, Op. 26 (Poésies françaises d’Adolphe Larmande).
$3.00
2.76 €
#
Piano, Voix
#
MeeAe Cecilia Nam and Theodore Gouvy
#
Op. 1, No. 7: Dans un songe enchanté from Songs of Gouvy, V2
#
E. C. Schirmer Music Company - Digital
#
SheetMusicPlus
Wooden Heart
Saxophone (partie séparée)
Tenor Saxophone Solo - Level 2 - Digital Download SKU: A0.1226782 By Elvis Presley.…
(+)
Tenor Saxophone Solo - Level 2 - Digital Download SKU: A0.1226782 By Elvis Presley. By Ben Weisman, Bert Kaempfert, Fred Wise, and Kay Twomey. Arranged by Leo Silva. Multicultural,Pop,Rock,World. Individual part. 2 pages. MP Sheet Music #822785. Published by MP Sheet Music (A0.1226782). Wooden Heart is a pop song recorded by Elvis Presley. The composition is based on a German folk song Muss i denn (I must then) and was featured in the 1960 Elvis Presley film GI Blues. The song was a hit single for Presley on the UK Singles Chart, reaching number one for six weeks in March and April 1961, it was released in November 1964 as the B-side to Blue Christmas.A cover version by Joe Dowell on the Smash Records label reached No. 1 in the US in late August 1961, knocking Bobby Lewis's Tossin' and Turnin' off the No. 1 spot on the Billboard Hot 100 after seven weeks. Dowell's version also spent three weeks at number one on the Easy Listening chart.
$4.99
4.59 €
#
Saxophone (partie séparée)
#
Elvis Presley
#
Leo Silva
#
Wooden Heart
#
MP Sheet Music
#
SheetMusicPlus
Wooden Heart
Saxophone (partie séparée)
Soprano Saxophone Solo - Level 2 - Digital Download SKU: A0.1226780 By Elvis Presle…
(+)
Soprano Saxophone Solo - Level 2 - Digital Download SKU: A0.1226780 By Elvis Presley. By Ben Weisman, Bert Kaempfert, Fred Wise, and Kay Twomey. Arranged by Leo Silva. Multicultural,Pop,Rock,World. Individual part. 2 pages. MP Sheet Music #822783. Published by MP Sheet Music (A0.1226780). Wooden Heart is a pop song recorded by Elvis Presley. The composition is based on a German folk song Muss i denn (I must then) and was featured in the 1960 Elvis Presley film GI Blues. The song was a hit single for Presley on the UK Singles Chart, reaching number one for six weeks in March and April 1961, it was released in November 1964 as the B-side to Blue Christmas.A cover version by Joe Dowell on the Smash Records label reached No. 1 in the US in late August 1961, knocking Bobby Lewis's Tossin' and Turnin' off the No. 1 spot on the Billboard Hot 100 after seven weeks. Dowell's version also spent three weeks at number one on the Easy Listening chart.
$4.99
4.59 €
#
Saxophone (partie séparée)
#
Elvis Presley
#
Leo Silva
#
Wooden Heart
#
MP Sheet Music
#
SheetMusicPlus
RACHMANINOFF Sergei: I wait for thee, an art song with transcription and translation (E flat major)
Chorale 3 parties
Choral Choir (SSA) - Level 4 - Digital Download SKU: A0.868981 Composed by Sergei R…
(+)
Choral Choir (SSA) - Level 4 - Digital Download SKU: A0.868981 Composed by Sergei RACHMANINOFF (1873 – 1943). Arranged by Sergei PICHUGIN. 20th Century,Concert,Instructional,Standards,World. Octavo. 6 pages. Really Good Music, LLC. #5828397. Published by Really Good Music, LLC. (A0.868981). The art song (romance) I wait for thee («Я жду тебÑ») (Op. 14, No. 1) was composed by Sergei RACHMANINOFF (1873 – 1943) in 1894. In present edition the Russian lyrics by Maria DAVIDOVA with transliteration and English translation are inserted into the score. The romance is available in the key of E flat major (Bb3 – Ab5) for low voice.
$5.95
5.48 €
#
Chorale 3 parties
#
Sergei RACHMANINOFF
#
Sergei PICHUGIN
#
RACHMANINOFF Sergei: I wait for thee, an art song with transcription and translation
#
Really Good Music, LLC.
#
SheetMusicPlus
RACHMANINOFF Sergei: I wait for thee, an art song with transcription and translation (D major)
Chorale 3 parties
Choral Choir (SSA) - Level 4 - Digital Download SKU: A0.868983 Composed by Sergei R…
(+)
Choral Choir (SSA) - Level 4 - Digital Download SKU: A0.868983 Composed by Sergei RACHMANINOFF (1873 – 1943). Arranged by Sergei PICHUGIN. 20th Century,Concert,Instructional,Standards,World. Octavo. 6 pages. Really Good Music, LLC. #5828399. Published by Really Good Music, LLC. (A0.868983). The art song (romance) I wait for thee («Я жду тебÑ») (Op. 14, No. 1) was composed by Sergei RACHMANINOFF (1873 – 1943) in 1894. In present edition the Russian lyrics by Maria DAVIDOVA with transliteration and English translation are inserted into the score. The romance is available in the key of D major (A3 – G5) for low voice.
$5.95
5.48 €
#
Chorale 3 parties
#
Sergei RACHMANINOFF
#
Sergei PICHUGIN
#
RACHMANINOFF Sergei: I wait for thee, an art song with transcription and translation
#
Really Good Music, LLC.
#
SheetMusicPlus
"Heroes" - string quartet
Quatuor à cordes: 2 violons, alto, violoncelle
By David Bowie, The Wallflowers. Arranged by Alison Harbottle. Score, Set of Parts. …
(+)
By David Bowie, The Wallflowers. Arranged by Alison Harbottle. Score, Set of Parts. 21 pages. Published by Martini Strings
An iconic song from 1977, this is one of David Bowie's most popular tracks. Voted no.1 in both Uncut's "David Bowie's 30 Best Songs" of 2008 & NME's "David Bowie's 40 Greatest Songs" of 2014, this song has also been included in numerous other Top selections including no.3 in NME's "100 Greatest Songs in NME's Lifetime...So Far" in 2012. This arrangement retains the insistence of the rhythm section, along with the interplay between the vocal & lead guitar.
$12.99
11.96 €
#
Quatuor à cordes: 2 violons, alto, violoncelle
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David Bowie, The Wallflowers
#
Alison Harbottle
#
"Heroes" - string quartet
#
SheetMusicPlus
This I Promise You - String Quartet - *NSYNC arr. Cellobat - Recording Available!
Quatuor à cordes: 2 violons, alto, violoncelle
String Quartet - Intermediate - Digital Download By N Sync. Arranged by Sarah Celloba…
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String Quartet - Intermediate - Digital Download By N Sync. Arranged by Sarah Cellobat Chaffee. Score, Set of Parts. 17 pages. Published by Sarah Chaffee
"This I Promise You" is one of *NSYNC's most iconic love songs and a ubiquitous pop hit of the early 2000's. Originally written by Richard Marx, this song lasted 13 weeks at number 1 on the Billboard Adult Contemporary chart after its release, so any child of the 90's probably knows this one by heart! I had the honor of performing this song with Richard Marx himself as part of the quartet-in-residence for his 3-week residency "Satisfied: Only The Hits" at the Flamingo Hotel in Las Vegas, so I'm super excited to bring you my own version!<br> <br> This arrangement for string quartet will be perfect for pop concerts, solo & ensemble concerts, weddings, receptions, and any other occasion that needs some boy band throwback nostalgia - you're sure to get everyone singing along! Full of catchy melodies, beautiful layered harmonies, and a laid back R&B-style groove, this arrangement is just as much fun to listen to as it is to play. Rated intermediate - there is nothing very difficult in any of the parts and this chart will be easily sightreadable for professionals, but students might need a minute to look at the syncopated rhythms in the violin parts.<br> <br> Why choose Cellobat Charts arrangements? For any musician who knows what they're doing, the answer is easy: just listen to them. Every freelance musician has thrown hard-earned money away on questionable, error-filled charts by unknown arrangers from weird corners of the Internet. But watch out -- inferior arrangements not only make gigs less enjoyable to play, but they also make your group sound bad to your client and audience, no matter how great your players really are. That's why Cellobat Charts is here: to provide students and working string players alike with high-quality versions of highly requested music. My arrangements are guaranteed to be energetic, fun to play, and enjoyable to listen to, whether or not you're familiar with the original songs. Hear the difference for yourself! Full videos of many Cellobat Charts arrangements are available on YouTube so you know exactly what you're getting. Click "Watch" near the item details at the top of the page for full video of "This I Promise You." Crowd pleasing guaranteed.<br> <br> <br> Sarah "Cellobat" Chaffee earned her bachelor's degree in cello performance from the Cleveland Institute of Music and is now based in Las Vegas. She currently performs with Aerosmith in their "Deuces Are Wild" residency at The Park MGM Theater on the Las Vegas Strip. Sarah is also the principal cellist in David Perrico's Pop Strings Orchestra, a 14-piece band that performs every Friday and Saturday at Caesars Palace, and she plays regularly for Premiere Wedding Music and Bella Electric Strings. Sarah has performed and recorded with many other artists including Halsey, Disturbed, Mötley Crüe, Celine Dion, Kygo, Ricky Martin, Sarah Brightman, Il Divo, and Lady Antebellum. She can be found at:<br> http://www.cellobat.com <br> http://www.instagram.com/cellobat <br> http://www.youtube.com/c/SarahCellobatChaffee
$16.99
15.64 €
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Quatuor à cordes: 2 violons, alto, violoncelle
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N Sync
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Sarah Cellobat Chaffee
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This I Promise You - String Quartet - *NSYNC arr. Cellobat - Recording Available!
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SheetMusicPlus
Op. 1, No. 1: Tu demandes pourquoi from Songs of Gouvy, V2 (Downloadable)
Piano, Voix
Voice and piano - Medium - Digital Download SKU: MQ.8492-25E Composed by MeeAe Ceci…
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Voice and piano - Medium - Digital Download SKU: MQ.8492-25E Composed by MeeAe Cecilia Nam and Theodore Gouvy. Instrument part. 6 pages. E. C. Schirmer Music Company - Digital #8492-25E. Published by E. C. Schirmer Music Company - Digital (MQ.8492-25E). French.Gouvy was known for writing some of the most beautiful melodies of the Romantic period. His style is a combination of German forms and an early French romantic harmonic structure. His writing for the piano in the songs is totally unified in mood and description with the voice, just as the piano is in Schubert’s songs. The equal partnership of the vocal line and piano interact closely to bring the poetry vividly into life with unimaginable artistic heights and unbridled passion.This volume includes Gouvy songs set to 18 poems of Philippe Desportes (1546–1606), and 18 poems of Moritz Hartmann (1821–1872). The elements of Romantic love poetry, such as enchanting love and its pain, and the personifying of nature, are fluently described with a great sensitivity in both voice and piano. Gouvy’s melody stir up the imagination because of his special treatment of words through a distinguishable and melodious vocal line, and his story telling and poetic treatment and development of the piano accompaniment. His compositional artistry places him in the upper echelons of art-song composers. One should note that Gouvy had a special fondness for the 16th Century poetry of La Pléiade (a group of Renaissance French poets, led by Pièrre de Ronsard (1524–1585). Desportes was truly the heir to Ronsard; however his work, when compared to that of Ronsard, is filled with greater abstraction and greater fluidity. Desportes seems to avoid any of the passionate anger that is occasionally characteristic of La Pléiade. This may be an indication that Desportes lived in a less distressed time. It also seems necessary to point out that he learned much in his early career by copying and studying the earlier works of La Pléiade. This has led some scholars to label him as a plagiarist, but it is important to realize that all the members of La Pléiade copied from each other when they wished to learn something new, and truly understand the style of the other poets in the group. Gouvy’s only choice of poems from his contemporaries, were the works of Moritz Hartmann (1821–1872), a good friend of Gouvy’s. Much of his poetry was strongly political in support of freedom of the individual. He traveled to Leipzig in 1845, but when the authorities discovered a volume of patriotic poems entitled Kelch und Schwert (Chalice and Sword), he fled to Belgium and France. It is at this time that he possibly met Théodore Gouvy. Eighteen poems of Hartmann were translated from German to French by the French poet, Adolph Larmande, of whom very little is known. Pierre Toussaint Adolphe Larmande seems to have been a rather obscure poet and musician. We know that he taught music theory at the Paris Conservatory at the same time Anton Reicha and Michele Carafa were on the faculty. We also know that in 1847 he married an English woman by the name of Marie Caroline Bradley. There are random documents, such as a Certificate of Arrival in London, England, in 1837, but there are no birth and death dates given, and that includes his obituary notice. Contents:18 Sonnets et Chansons de Desportes pour ténor ou soprano et piano, Op. 45 Six poésies allemandes de Moritz Hartmann pour baryton et piano, Op. 21 Douze poésies allemandes de Moritz Hartmann pour ténor et piano, Op. 26 (Poésies françaises d’Adolphe Larmande).
$3.00
2.76 €
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Piano, Voix
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MeeAe Cecilia Nam and Theodore Gouvy
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Op. 1, No. 1: Tu demandes pourquoi from Songs of Gouvy, V2
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E. C. Schirmer Music Company - Digital
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SheetMusicPlus
Art Song No.1
Voix Soprano, Piano
Soprano voice,Vocal Solo - Level 4 - Digital Download SKU: A0.1003168 Composed by M…
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Soprano voice,Vocal Solo - Level 4 - Digital Download SKU: A0.1003168 Composed by Michael Rosin. Contemporary. 7 pages. Michael Rosin #12197. Published by Michael Rosin (A0.1003168). An Art Song written for soprano with piano accompaniment. The text is William Shakespeare's 66th sonnet.
$3.99
3.67 €
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Voix Soprano, Piano
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Michael Rosin
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Art Song No.1
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Michael Rosin
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SheetMusicPlus
Op. 1, No. 2: Barque légère, mon coeur from Songs of Gouvy, V2 (Downloadable)
Piano, Voix
Voice and piano - Medium - Digital Download SKU: MQ.8492-26E Composed by MeeAe Ceci…
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Voice and piano - Medium - Digital Download SKU: MQ.8492-26E Composed by MeeAe Cecilia Nam and Theodore Gouvy. Instrument part. 7 pages. E. C. Schirmer Music Company - Digital #8492-26E. Published by E. C. Schirmer Music Company - Digital (MQ.8492-26E). French.Gouvy was known for writing some of the most beautiful melodies of the Romantic period. His style is a combination of German forms and an early French romantic harmonic structure. His writing for the piano in the songs is totally unified in mood and description with the voice, just as the piano is in Schubert’s songs. The equal partnership of the vocal line and piano interact closely to bring the poetry vividly into life with unimaginable artistic heights and unbridled passion.This volume includes Gouvy songs set to 18 poems of Philippe Desportes (1546–1606), and 18 poems of Moritz Hartmann (1821–1872). The elements of Romantic love poetry, such as enchanting love and its pain, and the personifying of nature, are fluently described with a great sensitivity in both voice and piano. Gouvy’s melody stir up the imagination because of his special treatment of words through a distinguishable and melodious vocal line, and his story telling and poetic treatment and development of the piano accompaniment. His compositional artistry places him in the upper echelons of art-song composers. One should note that Gouvy had a special fondness for the 16th Century poetry of La Pléiade (a group of Renaissance French poets, led by Pièrre de Ronsard (1524–1585). Desportes was truly the heir to Ronsard; however his work, when compared to that of Ronsard, is filled with greater abstraction and greater fluidity. Desportes seems to avoid any of the passionate anger that is occasionally characteristic of La Pléiade. This may be an indication that Desportes lived in a less distressed time. It also seems necessary to point out that he learned much in his early career by copying and studying the earlier works of La Pléiade. This has led some scholars to label him as a plagiarist, but it is important to realize that all the members of La Pléiade copied from each other when they wished to learn something new, and truly understand the style of the other poets in the group. Gouvy’s only choice of poems from his contemporaries, were the works of Moritz Hartmann (1821–1872), a good friend of Gouvy’s. Much of his poetry was strongly political in support of freedom of the individual. He traveled to Leipzig in 1845, but when the authorities discovered a volume of patriotic poems entitled Kelch und Schwert (Chalice and Sword), he fled to Belgium and France. It is at this time that he possibly met Théodore Gouvy. Eighteen poems of Hartmann were translated from German to French by the French poet, Adolph Larmande, of whom very little is known. Pierre Toussaint Adolphe Larmande seems to have been a rather obscure poet and musician. We know that he taught music theory at the Paris Conservatory at the same time Anton Reicha and Michele Carafa were on the faculty. We also know that in 1847 he married an English woman by the name of Marie Caroline Bradley. There are random documents, such as a Certificate of Arrival in London, England, in 1837, but there are no birth and death dates given, and that includes his obituary notice. Contents:18 Sonnets et Chansons de Desportes pour ténor ou soprano et piano, Op. 45 Six poésies allemandes de Moritz Hartmann pour baryton et piano, Op. 21 Douze poésies allemandes de Moritz Hartmann pour ténor et piano, Op. 26 (Poésies françaises d’Adolphe Larmande).
$3.00
2.76 €
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Piano, Voix
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MeeAe Cecilia Nam and Theodore Gouvy
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Op. 1, No. 2: Barque légère, mon coeur from Songs of Gouvy, V2
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E. C. Schirmer Music Company - Digital
#
SheetMusicPlus
Op. 1, No. 5: La chanson du printemps from Songs of Gouvy, V2 (Downloadable)
Piano, Voix
Voice and piano - Medium - Digital Download SKU: MQ.8492-29E Composed by MeeAe Ceci…
(+)
Voice and piano - Medium - Digital Download SKU: MQ.8492-29E Composed by MeeAe Cecilia Nam and Theodore Gouvy. Instrument part. 5 pages. E. C. Schirmer Music Company - Digital #8492-29E. Published by E. C. Schirmer Music Company - Digital (MQ.8492-29E). French.Gouvy was known for writing some of the most beautiful melodies of the Romantic period. His style is a combination of German forms and an early French romantic harmonic structure. His writing for the piano in the songs is totally unified in mood and description with the voice, just as the piano is in Schubert’s songs. The equal partnership of the vocal line and piano interact closely to bring the poetry vividly into life with unimaginable artistic heights and unbridled passion.This volume includes Gouvy songs set to 18 poems of Philippe Desportes (1546–1606), and 18 poems of Moritz Hartmann (1821–1872). The elements of Romantic love poetry, such as enchanting love and its pain, and the personifying of nature, are fluently described with a great sensitivity in both voice and piano. Gouvy’s melody stir up the imagination because of his special treatment of words through a distinguishable and melodious vocal line, and his story telling and poetic treatment and development of the piano accompaniment. His compositional artistry places him in the upper echelons of art-song composers. One should note that Gouvy had a special fondness for the 16th Century poetry of La Pléiade (a group of Renaissance French poets, led by Pièrre de Ronsard (1524–1585). Desportes was truly the heir to Ronsard; however his work, when compared to that of Ronsard, is filled with greater abstraction and greater fluidity. Desportes seems to avoid any of the passionate anger that is occasionally characteristic of La Pléiade. This may be an indication that Desportes lived in a less distressed time. It also seems necessary to point out that he learned much in his early career by copying and studying the earlier works of La Pléiade. This has led some scholars to label him as a plagiarist, but it is important to realize that all the members of La Pléiade copied from each other when they wished to learn something new, and truly understand the style of the other poets in the group. Gouvy’s only choice of poems from his contemporaries, were the works of Moritz Hartmann (1821–1872), a good friend of Gouvy’s. Much of his poetry was strongly political in support of freedom of the individual. He traveled to Leipzig in 1845, but when the authorities discovered a volume of patriotic poems entitled Kelch und Schwert (Chalice and Sword), he fled to Belgium and France. It is at this time that he possibly met Théodore Gouvy. Eighteen poems of Hartmann were translated from German to French by the French poet, Adolph Larmande, of whom very little is known. Pierre Toussaint Adolphe Larmande seems to have been a rather obscure poet and musician. We know that he taught music theory at the Paris Conservatory at the same time Anton Reicha and Michele Carafa were on the faculty. We also know that in 1847 he married an English woman by the name of Marie Caroline Bradley. There are random documents, such as a Certificate of Arrival in London, England, in 1837, but there are no birth and death dates given, and that includes his obituary notice. Contents:18 Sonnets et Chansons de Desportes pour ténor ou soprano et piano, Op. 45 Six poésies allemandes de Moritz Hartmann pour baryton et piano, Op. 21 Douze poésies allemandes de Moritz Hartmann pour ténor et piano, Op. 26 (Poésies françaises d’Adolphe Larmande).
$3.00
2.76 €
#
Piano, Voix
#
MeeAe Cecilia Nam and Theodore Gouvy
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Op. 1, No. 5: La chanson du printemps from Songs of Gouvy, V2
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E. C. Schirmer Music Company - Digital
#
SheetMusicPlus
Op. 1, No. 3: Adieu from Songs of Gouvy, V2 (Downloadable)
Piano, Voix
Voice and piano - Medium - Digital Download SKU: MQ.8492-27E Composed by MeeAe Ceci…
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Voice and piano - Medium - Digital Download SKU: MQ.8492-27E Composed by MeeAe Cecilia Nam and Theodore Gouvy. Instrument part. 7 pages. E. C. Schirmer Music Company - Digital #8492-27E. Published by E. C. Schirmer Music Company - Digital (MQ.8492-27E). French.Gouvy was known for writing some of the most beautiful melodies of the Romantic period. His style is a combination of German forms and an early French romantic harmonic structure. His writing for the piano in the songs is totally unified in mood and description with the voice, just as the piano is in Schubert’s songs. The equal partnership of the vocal line and piano interact closely to bring the poetry vividly into life with unimaginable artistic heights and unbridled passion.This volume includes Gouvy songs set to 18 poems of Philippe Desportes (1546–1606), and 18 poems of Moritz Hartmann (1821–1872). The elements of Romantic love poetry, such as enchanting love and its pain, and the personifying of nature, are fluently described with a great sensitivity in both voice and piano. Gouvy’s melody stir up the imagination because of his special treatment of words through a distinguishable and melodious vocal line, and his story telling and poetic treatment and development of the piano accompaniment. His compositional artistry places him in the upper echelons of art-song composers. One should note that Gouvy had a special fondness for the 16th Century poetry of La Pléiade (a group of Renaissance French poets, led by Pièrre de Ronsard (1524–1585). Desportes was truly the heir to Ronsard; however his work, when compared to that of Ronsard, is filled with greater abstraction and greater fluidity. Desportes seems to avoid any of the passionate anger that is occasionally characteristic of La Pléiade. This may be an indication that Desportes lived in a less distressed time. It also seems necessary to point out that he learned much in his early career by copying and studying the earlier works of La Pléiade. This has led some scholars to label him as a plagiarist, but it is important to realize that all the members of La Pléiade copied from each other when they wished to learn something new, and truly understand the style of the other poets in the group. Gouvy’s only choice of poems from his contemporaries, were the works of Moritz Hartmann (1821–1872), a good friend of Gouvy’s. Much of his poetry was strongly political in support of freedom of the individual. He traveled to Leipzig in 1845, but when the authorities discovered a volume of patriotic poems entitled Kelch und Schwert (Chalice and Sword), he fled to Belgium and France. It is at this time that he possibly met Théodore Gouvy. Eighteen poems of Hartmann were translated from German to French by the French poet, Adolph Larmande, of whom very little is known. Pierre Toussaint Adolphe Larmande seems to have been a rather obscure poet and musician. We know that he taught music theory at the Paris Conservatory at the same time Anton Reicha and Michele Carafa were on the faculty. We also know that in 1847 he married an English woman by the name of Marie Caroline Bradley. There are random documents, such as a Certificate of Arrival in London, England, in 1837, but there are no birth and death dates given, and that includes his obituary notice. Contents:18 Sonnets et Chansons de Desportes pour ténor ou soprano et piano, Op. 45 Six poésies allemandes de Moritz Hartmann pour baryton et piano, Op. 21 Douze poésies allemandes de Moritz Hartmann pour ténor et piano, Op. 26 (Poésies françaises d’Adolphe Larmande).
$3.00
2.76 €
#
Piano, Voix
#
MeeAe Cecilia Nam and Theodore Gouvy
#
Op. 1, No. 3: Adieu from Songs of Gouvy, V2
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E. C. Schirmer Music Company - Digital
#
SheetMusicPlus
Op. 1, No. 12: La nuit après l’orage from Songs of Gouvy, V2 (Downloadable)
Piano, Voix
Voice and piano - Medium - Digital Download SKU: MQ.8492-36E Composed by MeeAe Ceci…
(+)
Voice and piano - Medium - Digital Download SKU: MQ.8492-36E Composed by MeeAe Cecilia Nam and Theodore Gouvy. Instrument part. 5 pages. E. C. Schirmer Music Company - Digital #8492-36E. Published by E. C. Schirmer Music Company - Digital (MQ.8492-36E). French.Gouvy was known for writing some of the most beautiful melodies of the Romantic period. His style is a combination of German forms and an early French romantic harmonic structure. His writing for the piano in the songs is totally unified in mood and description with the voice, just as the piano is in Schubert’s songs. The equal partnership of the vocal line and piano interact closely to bring the poetry vividly into life with unimaginable artistic heights and unbridled passion.This volume includes Gouvy songs set to 18 poems of Philippe Desportes (1546–1606), and 18 poems of Moritz Hartmann (1821–1872). The elements of Romantic love poetry, such as enchanting love and its pain, and the personifying of nature, are fluently described with a great sensitivity in both voice and piano. Gouvy’s melody stir up the imagination because of his special treatment of words through a distinguishable and melodious vocal line, and his story telling and poetic treatment and development of the piano accompaniment. His compositional artistry places him in the upper echelons of art-song composers. One should note that Gouvy had a special fondness for the 16th Century poetry of La Pléiade (a group of Renaissance French poets, led by Pièrre de Ronsard (1524–1585). Desportes was truly the heir to Ronsard; however his work, when compared to that of Ronsard, is filled with greater abstraction and greater fluidity. Desportes seems to avoid any of the passionate anger that is occasionally characteristic of La Pléiade. This may be an indication that Desportes lived in a less distressed time. It also seems necessary to point out that he learned much in his early career by copying and studying the earlier works of La Pléiade. This has led some scholars to label him as a plagiarist, but it is important to realize that all the members of La Pléiade copied from each other when they wished to learn something new, and truly understand the style of the other poets in the group. Gouvy’s only choice of poems from his contemporaries, were the works of Moritz Hartmann (1821–1872), a good friend of Gouvy’s. Much of his poetry was strongly political in support of freedom of the individual. He traveled to Leipzig in 1845, but when the authorities discovered a volume of patriotic poems entitled Kelch und Schwert (Chalice and Sword), he fled to Belgium and France. It is at this time that he possibly met Théodore Gouvy. Eighteen poems of Hartmann were translated from German to French by the French poet, Adolph Larmande, of whom very little is known. Pierre Toussaint Adolphe Larmande seems to have been a rather obscure poet and musician. We know that he taught music theory at the Paris Conservatory at the same time Anton Reicha and Michele Carafa were on the faculty. We also know that in 1847 he married an English woman by the name of Marie Caroline Bradley. There are random documents, such as a Certificate of Arrival in London, England, in 1837, but there are no birth and death dates given, and that includes his obituary notice. Contents:18 Sonnets et Chansons de Desportes pour ténor ou soprano et piano, Op. 45 Six poésies allemandes de Moritz Hartmann pour baryton et piano, Op. 21 Douze poésies allemandes de Moritz Hartmann pour ténor et piano, Op. 26 (Poésies françaises d’Adolphe Larmande).
$3.00
2.76 €
#
Piano, Voix
#
MeeAe Cecilia Nam and Theodore Gouvy
#
Op. 1, No. 12: La nuit après l’orage from Songs of Gouvy, V2
#
E. C. Schirmer Music Company - Digital
#
SheetMusicPlus
Op. 1, No. 10: À la gloire, au bonheur! from Songs of Gouvy, V2 (Downloadable)
Piano, Voix
Voice and piano - Medium - Digital Download SKU: MQ.8492-34E Composed by MeeAe Ceci…
(+)
Voice and piano - Medium - Digital Download SKU: MQ.8492-34E Composed by MeeAe Cecilia Nam and Theodore Gouvy. Instrument part. 8 pages. E. C. Schirmer Music Company - Digital #8492-34E. Published by E. C. Schirmer Music Company - Digital (MQ.8492-34E). French.Gouvy was known for writing some of the most beautiful melodies of the Romantic period. His style is a combination of German forms and an early French romantic harmonic structure. His writing for the piano in the songs is totally unified in mood and description with the voice, just as the piano is in Schubert’s songs. The equal partnership of the vocal line and piano interact closely to bring the poetry vividly into life with unimaginable artistic heights and unbridled passion.This volume includes Gouvy songs set to 18 poems of Philippe Desportes (1546–1606), and 18 poems of Moritz Hartmann (1821–1872). The elements of Romantic love poetry, such as enchanting love and its pain, and the personifying of nature, are fluently described with a great sensitivity in both voice and piano. Gouvy’s melody stir up the imagination because of his special treatment of words through a distinguishable and melodious vocal line, and his story telling and poetic treatment and development of the piano accompaniment. His compositional artistry places him in the upper echelons of art-song composers. One should note that Gouvy had a special fondness for the 16th Century poetry of La Pléiade (a group of Renaissance French poets, led by Pièrre de Ronsard (1524–1585). Desportes was truly the heir to Ronsard; however his work, when compared to that of Ronsard, is filled with greater abstraction and greater fluidity. Desportes seems to avoid any of the passionate anger that is occasionally characteristic of La Pléiade. This may be an indication that Desportes lived in a less distressed time. It also seems necessary to point out that he learned much in his early career by copying and studying the earlier works of La Pléiade. This has led some scholars to label him as a plagiarist, but it is important to realize that all the members of La Pléiade copied from each other when they wished to learn something new, and truly understand the style of the other poets in the group. Gouvy’s only choice of poems from his contemporaries, were the works of Moritz Hartmann (1821–1872), a good friend of Gouvy’s. Much of his poetry was strongly political in support of freedom of the individual. He traveled to Leipzig in 1845, but when the authorities discovered a volume of patriotic poems entitled Kelch und Schwert (Chalice and Sword), he fled to Belgium and France. It is at this time that he possibly met Théodore Gouvy. Eighteen poems of Hartmann were translated from German to French by the French poet, Adolph Larmande, of whom very little is known. Pierre Toussaint Adolphe Larmande seems to have been a rather obscure poet and musician. We know that he taught music theory at the Paris Conservatory at the same time Anton Reicha and Michele Carafa were on the faculty. We also know that in 1847 he married an English woman by the name of Marie Caroline Bradley. There are random documents, such as a Certificate of Arrival in London, England, in 1837, but there are no birth and death dates given, and that includes his obituary notice. Contents:18 Sonnets et Chansons de Desportes pour ténor ou soprano et piano, Op. 45 Six poésies allemandes de Moritz Hartmann pour baryton et piano, Op. 21 Douze poésies allemandes de Moritz Hartmann pour ténor et piano, Op. 26 (Poésies françaises d’Adolphe Larmande).
$3.00
2.76 €
#
Piano, Voix
#
MeeAe Cecilia Nam and Theodore Gouvy
#
Op. 1, No. 10: À la gloire, au bonheur! from Songs of Gouvy, V2
#
E. C. Schirmer Music Company - Digital
#
SheetMusicPlus
Op. 1, No. 8: Illusions perdues from Songs of Gouvy, V2 (Downloadable)
Piano, Voix
Voice and piano - Medium - Digital Download SKU: MQ.8492-32E Composed by MeeAe Ceci…
(+)
Voice and piano - Medium - Digital Download SKU: MQ.8492-32E Composed by MeeAe Cecilia Nam and Theodore Gouvy. Instrument part. 8 pages. E. C. Schirmer Music Company - Digital #8492-32E. Published by E. C. Schirmer Music Company - Digital (MQ.8492-32E). French.Gouvy was known for writing some of the most beautiful melodies of the Romantic period. His style is a combination of German forms and an early French romantic harmonic structure. His writing for the piano in the songs is totally unified in mood and description with the voice, just as the piano is in Schubert’s songs. The equal partnership of the vocal line and piano interact closely to bring the poetry vividly into life with unimaginable artistic heights and unbridled passion.This volume includes Gouvy songs set to 18 poems of Philippe Desportes (1546–1606), and 18 poems of Moritz Hartmann (1821–1872). The elements of Romantic love poetry, such as enchanting love and its pain, and the personifying of nature, are fluently described with a great sensitivity in both voice and piano. Gouvy’s melody stir up the imagination because of his special treatment of words through a distinguishable and melodious vocal line, and his story telling and poetic treatment and development of the piano accompaniment. His compositional artistry places him in the upper echelons of art-song composers. One should note that Gouvy had a special fondness for the 16th Century poetry of La Pléiade (a group of Renaissance French poets, led by Pièrre de Ronsard (1524–1585). Desportes was truly the heir to Ronsard; however his work, when compared to that of Ronsard, is filled with greater abstraction and greater fluidity. Desportes seems to avoid any of the passionate anger that is occasionally characteristic of La Pléiade. This may be an indication that Desportes lived in a less distressed time. It also seems necessary to point out that he learned much in his early career by copying and studying the earlier works of La Pléiade. This has led some scholars to label him as a plagiarist, but it is important to realize that all the members of La Pléiade copied from each other when they wished to learn something new, and truly understand the style of the other poets in the group. Gouvy’s only choice of poems from his contemporaries, were the works of Moritz Hartmann (1821–1872), a good friend of Gouvy’s. Much of his poetry was strongly political in support of freedom of the individual. He traveled to Leipzig in 1845, but when the authorities discovered a volume of patriotic poems entitled Kelch und Schwert (Chalice and Sword), he fled to Belgium and France. It is at this time that he possibly met Théodore Gouvy. Eighteen poems of Hartmann were translated from German to French by the French poet, Adolph Larmande, of whom very little is known. Pierre Toussaint Adolphe Larmande seems to have been a rather obscure poet and musician. We know that he taught music theory at the Paris Conservatory at the same time Anton Reicha and Michele Carafa were on the faculty. We also know that in 1847 he married an English woman by the name of Marie Caroline Bradley. There are random documents, such as a Certificate of Arrival in London, England, in 1837, but there are no birth and death dates given, and that includes his obituary notice. Contents:18 Sonnets et Chansons de Desportes pour ténor ou soprano et piano, Op. 45 Six poésies allemandes de Moritz Hartmann pour baryton et piano, Op. 21 Douze poésies allemandes de Moritz Hartmann pour ténor et piano, Op. 26 (Poésies françaises d’Adolphe Larmande).
$3.00
2.76 €
#
Piano, Voix
#
MeeAe Cecilia Nam and Theodore Gouvy
#
Op. 1, No. 8: Illusions perdues from Songs of Gouvy, V2
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E. C. Schirmer Music Company - Digital
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SheetMusicPlus
Op. 1, No. 4: Mon âme est près de toi from Songs of Gouvy, V2 (Downloadable)
Piano, Voix
Voice and piano - Medium - Digital Download SKU: MQ.8492-28E Composed by MeeAe Ceci…
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Voice and piano - Medium - Digital Download SKU: MQ.8492-28E Composed by MeeAe Cecilia Nam and Theodore Gouvy. Instrument part. 6 pages. E. C. Schirmer Music Company - Digital #8492-28E. Published by E. C. Schirmer Music Company - Digital (MQ.8492-28E). French.Gouvy was known for writing some of the most beautiful melodies of the Romantic period. His style is a combination of German forms and an early French romantic harmonic structure. His writing for the piano in the songs is totally unified in mood and description with the voice, just as the piano is in Schubert’s songs. The equal partnership of the vocal line and piano interact closely to bring the poetry vividly into life with unimaginable artistic heights and unbridled passion.This volume includes Gouvy songs set to 18 poems of Philippe Desportes (1546–1606), and 18 poems of Moritz Hartmann (1821–1872). The elements of Romantic love poetry, such as enchanting love and its pain, and the personifying of nature, are fluently described with a great sensitivity in both voice and piano. Gouvy’s melody stir up the imagination because of his special treatment of words through a distinguishable and melodious vocal line, and his story telling and poetic treatment and development of the piano accompaniment. His compositional artistry places him in the upper echelons of art-song composers. One should note that Gouvy had a special fondness for the 16th Century poetry of La Pléiade (a group of Renaissance French poets, led by Pièrre de Ronsard (1524–1585). Desportes was truly the heir to Ronsard; however his work, when compared to that of Ronsard, is filled with greater abstraction and greater fluidity. Desportes seems to avoid any of the passionate anger that is occasionally characteristic of La Pléiade. This may be an indication that Desportes lived in a less distressed time. It also seems necessary to point out that he learned much in his early career by copying and studying the earlier works of La Pléiade. This has led some scholars to label him as a plagiarist, but it is important to realize that all the members of La Pléiade copied from each other when they wished to learn something new, and truly understand the style of the other poets in the group. Gouvy’s only choice of poems from his contemporaries, were the works of Moritz Hartmann (1821–1872), a good friend of Gouvy’s. Much of his poetry was strongly political in support of freedom of the individual. He traveled to Leipzig in 1845, but when the authorities discovered a volume of patriotic poems entitled Kelch und Schwert (Chalice and Sword), he fled to Belgium and France. It is at this time that he possibly met Théodore Gouvy. Eighteen poems of Hartmann were translated from German to French by the French poet, Adolph Larmande, of whom very little is known. Pierre Toussaint Adolphe Larmande seems to have been a rather obscure poet and musician. We know that he taught music theory at the Paris Conservatory at the same time Anton Reicha and Michele Carafa were on the faculty. We also know that in 1847 he married an English woman by the name of Marie Caroline Bradley. There are random documents, such as a Certificate of Arrival in London, England, in 1837, but there are no birth and death dates given, and that includes his obituary notice. Contents:18 Sonnets et Chansons de Desportes pour ténor ou soprano et piano, Op. 45 Six poésies allemandes de Moritz Hartmann pour baryton et piano, Op. 21 Douze poésies allemandes de Moritz Hartmann pour ténor et piano, Op. 26 (Poésies françaises d’Adolphe Larmande).
$3.00
2.76 €
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Piano, Voix
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MeeAe Cecilia Nam and Theodore Gouvy
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Op. 1, No. 4: Mon âme est près de toi from Songs of Gouvy, V2
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E. C. Schirmer Music Company - Digital
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SheetMusicPlus
Op. 1, No. 11: Comme la fleur discrète from Songs of Gouvy, V2 (Downloadable)
Piano, Voix
Voice and piano - Medium - Digital Download SKU: MQ.8492-35E Composed by MeeAe Ceci…
(+)
Voice and piano - Medium - Digital Download SKU: MQ.8492-35E Composed by MeeAe Cecilia Nam and Theodore Gouvy. Instrument part. 4 pages. E. C. Schirmer Music Company - Digital #8492-35E. Published by E. C. Schirmer Music Company - Digital (MQ.8492-35E). French.Gouvy was known for writing some of the most beautiful melodies of the Romantic period. His style is a combination of German forms and an early French romantic harmonic structure. His writing for the piano in the songs is totally unified in mood and description with the voice, just as the piano is in Schubert’s songs. The equal partnership of the vocal line and piano interact closely to bring the poetry vividly into life with unimaginable artistic heights and unbridled passion.This volume includes Gouvy songs set to 18 poems of Philippe Desportes (1546–1606), and 18 poems of Moritz Hartmann (1821–1872). The elements of Romantic love poetry, such as enchanting love and its pain, and the personifying of nature, are fluently described with a great sensitivity in both voice and piano. Gouvy’s melody stir up the imagination because of his special treatment of words through a distinguishable and melodious vocal line, and his story telling and poetic treatment and development of the piano accompaniment. His compositional artistry places him in the upper echelons of art-song composers. One should note that Gouvy had a special fondness for the 16th Century poetry of La Pléiade (a group of Renaissance French poets, led by Pièrre de Ronsard (1524–1585). Desportes was truly the heir to Ronsard; however his work, when compared to that of Ronsard, is filled with greater abstraction and greater fluidity. Desportes seems to avoid any of the passionate anger that is occasionally characteristic of La Pléiade. This may be an indication that Desportes lived in a less distressed time. It also seems necessary to point out that he learned much in his early career by copying and studying the earlier works of La Pléiade. This has led some scholars to label him as a plagiarist, but it is important to realize that all the members of La Pléiade copied from each other when they wished to learn something new, and truly understand the style of the other poets in the group. Gouvy’s only choice of poems from his contemporaries, were the works of Moritz Hartmann (1821–1872), a good friend of Gouvy’s. Much of his poetry was strongly political in support of freedom of the individual. He traveled to Leipzig in 1845, but when the authorities discovered a volume of patriotic poems entitled Kelch und Schwert (Chalice and Sword), he fled to Belgium and France. It is at this time that he possibly met Théodore Gouvy. Eighteen poems of Hartmann were translated from German to French by the French poet, Adolph Larmande, of whom very little is known. Pierre Toussaint Adolphe Larmande seems to have been a rather obscure poet and musician. We know that he taught music theory at the Paris Conservatory at the same time Anton Reicha and Michele Carafa were on the faculty. We also know that in 1847 he married an English woman by the name of Marie Caroline Bradley. There are random documents, such as a Certificate of Arrival in London, England, in 1837, but there are no birth and death dates given, and that includes his obituary notice. Contents:18 Sonnets et Chansons de Desportes pour ténor ou soprano et piano, Op. 45 Six poésies allemandes de Moritz Hartmann pour baryton et piano, Op. 21 Douze poésies allemandes de Moritz Hartmann pour ténor et piano, Op. 26 (Poésies françaises d’Adolphe Larmande).
$3.00
2.76 €
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Piano, Voix
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MeeAe Cecilia Nam and Theodore Gouvy
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Op. 1, No. 11: Comme la fleur discrète from Songs of Gouvy, V2
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E. C. Schirmer Music Company - Digital
#
SheetMusicPlus
Op. 1, No. 6: Le Château dans la forêt from Songs of Gouvy, V2 (Downloadable)
Piano, Voix
Voice and piano - Medium - Digital Download SKU: MQ.8492-30E Composed by MeeAe Ceci…
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Voice and piano - Medium - Digital Download SKU: MQ.8492-30E Composed by MeeAe Cecilia Nam and Theodore Gouvy. Instrument part. 5 pages. E. C. Schirmer Music Company - Digital #8492-30E. Published by E. C. Schirmer Music Company - Digital (MQ.8492-30E). French.Gouvy was known for writing some of the most beautiful melodies of the Romantic period. His style is a combination of German forms and an early French romantic harmonic structure. His writing for the piano in the songs is totally unified in mood and description with the voice, just as the piano is in Schubert’s songs. The equal partnership of the vocal line and piano interact closely to bring the poetry vividly into life with unimaginable artistic heights and unbridled passion.This volume includes Gouvy songs set to 18 poems of Philippe Desportes (1546–1606), and 18 poems of Moritz Hartmann (1821–1872). The elements of Romantic love poetry, such as enchanting love and its pain, and the personifying of nature, are fluently described with a great sensitivity in both voice and piano. Gouvy’s melody stir up the imagination because of his special treatment of words through a distinguishable and melodious vocal line, and his story telling and poetic treatment and development of the piano accompaniment. His compositional artistry places him in the upper echelons of art-song composers. One should note that Gouvy had a special fondness for the 16th Century poetry of La Pléiade (a group of Renaissance French poets, led by Pièrre de Ronsard (1524–1585). Desportes was truly the heir to Ronsard; however his work, when compared to that of Ronsard, is filled with greater abstraction and greater fluidity. Desportes seems to avoid any of the passionate anger that is occasionally characteristic of La Pléiade. This may be an indication that Desportes lived in a less distressed time. It also seems necessary to point out that he learned much in his early career by copying and studying the earlier works of La Pléiade. This has led some scholars to label him as a plagiarist, but it is important to realize that all the members of La Pléiade copied from each other when they wished to learn something new, and truly understand the style of the other poets in the group. Gouvy’s only choice of poems from his contemporaries, were the works of Moritz Hartmann (1821–1872), a good friend of Gouvy’s. Much of his poetry was strongly political in support of freedom of the individual. He traveled to Leipzig in 1845, but when the authorities discovered a volume of patriotic poems entitled Kelch und Schwert (Chalice and Sword), he fled to Belgium and France. It is at this time that he possibly met Théodore Gouvy. Eighteen poems of Hartmann were translated from German to French by the French poet, Adolph Larmande, of whom very little is known. Pierre Toussaint Adolphe Larmande seems to have been a rather obscure poet and musician. We know that he taught music theory at the Paris Conservatory at the same time Anton Reicha and Michele Carafa were on the faculty. We also know that in 1847 he married an English woman by the name of Marie Caroline Bradley. There are random documents, such as a Certificate of Arrival in London, England, in 1837, but there are no birth and death dates given, and that includes his obituary notice. Contents:18 Sonnets et Chansons de Desportes pour ténor ou soprano et piano, Op. 45 Six poésies allemandes de Moritz Hartmann pour baryton et piano, Op. 21 Douze poésies allemandes de Moritz Hartmann pour ténor et piano, Op. 26 (Poésies françaises d’Adolphe Larmande).
$3.00
2.76 €
#
Piano, Voix
#
MeeAe Cecilia Nam and Theodore Gouvy
#
Op. 1, No. 6: Le Château dans la forêt from Songs of Gouvy, V2
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E. C. Schirmer Music Company - Digital
#
SheetMusicPlus
Op. 21, No. 1: À L’Absente from Songs of Gouvy, V2 (Downloadable)
Piano, Voix
Voice and piano - Medium - Digital Download SKU: MQ.8492-19E Composed by MeeAe Ceci…
(+)
Voice and piano - Medium - Digital Download SKU: MQ.8492-19E Composed by MeeAe Cecilia Nam and Theodore Gouvy. Instrument part. 6 pages. E. C. Schirmer Music Company - Digital #8492-19E. Published by E. C. Schirmer Music Company - Digital (MQ.8492-19E). French.Gouvy was known for writing some of the most beautiful melodies of the Romantic period. His style is a combination of German forms and an early French romantic harmonic structure. His writing for the piano in the songs is totally unified in mood and description with the voice, just as the piano is in Schubert’s songs. The equal partnership of the vocal line and piano interact closely to bring the poetry vividly into life with unimaginable artistic heights and unbridled passion.This volume includes Gouvy songs set to 18 poems of Philippe Desportes (1546–1606), and 18 poems of Moritz Hartmann (1821–1872). The elements of Romantic love poetry, such as enchanting love and its pain, and the personifying of nature, are fluently described with a great sensitivity in both voice and piano. Gouvy’s melody stir up the imagination because of his special treatment of words through a distinguishable and melodious vocal line, and his story telling and poetic treatment and development of the piano accompaniment. His compositional artistry places him in the upper echelons of art-song composers. One should note that Gouvy had a special fondness for the 16th Century poetry of La Pléiade (a group of Renaissance French poets, led by Pièrre de Ronsard (1524–1585). Desportes was truly the heir to Ronsard; however his work, when compared to that of Ronsard, is filled with greater abstraction and greater fluidity. Desportes seems to avoid any of the passionate anger that is occasionally characteristic of La Pléiade. This may be an indication that Desportes lived in a less distressed time. It also seems necessary to point out that he learned much in his early career by copying and studying the earlier works of La Pléiade. This has led some scholars to label him as a plagiarist, but it is important to realize that all the members of La Pléiade copied from each other when they wished to learn something new, and truly understand the style of the other poets in the group. Gouvy’s only choice of poems from his contemporaries, were the works of Moritz Hartmann (1821–1872), a good friend of Gouvy’s. Much of his poetry was strongly political in support of freedom of the individual. He traveled to Leipzig in 1845, but when the authorities discovered a volume of patriotic poems entitled Kelch und Schwert (Chalice and Sword), he fled to Belgium and France. It is at this time that he possibly met Théodore Gouvy. Eighteen poems of Hartmann were translated from German to French by the French poet, Adolph Larmande, of whom very little is known. Pierre Toussaint Adolphe Larmande seems to have been a rather obscure poet and musician. We know that he taught music theory at the Paris Conservatory at the same time Anton Reicha and Michele Carafa were on the faculty. We also know that in 1847 he married an English woman by the name of Marie Caroline Bradley. There are random documents, such as a Certificate of Arrival in London, England, in 1837, but there are no birth and death dates given, and that includes his obituary notice. Contents:18 Sonnets et Chansons de Desportes pour ténor ou soprano et piano, Op. 45 Six poésies allemandes de Moritz Hartmann pour baryton et piano, Op. 21 Douze poésies allemandes de Moritz Hartmann pour ténor et piano, Op. 26 (Poésies françaises d’Adolphe Larmande).
$3.00
2.76 €
#
Piano, Voix
#
MeeAe Cecilia Nam and Theodore Gouvy
#
Op. 21, No. 1: À L’Absente from Songs of Gouvy, V2
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E. C. Schirmer Music Company - Digital
#
SheetMusicPlus
Op. 1, No. 9: Beaux yeux aimés from Songs of Gouvy, V2 (Downloadable)
Piano, Voix
Voice and piano - Medium - Digital Download SKU: MQ.8492-33E Composed by MeeAe Ceci…
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Voice and piano - Medium - Digital Download SKU: MQ.8492-33E Composed by MeeAe Cecilia Nam and Theodore Gouvy. Instrument part. 8 pages. E. C. Schirmer Music Company - Digital #8492-33E. Published by E. C. Schirmer Music Company - Digital (MQ.8492-33E). French.Gouvy was known for writing some of the most beautiful melodies of the Romantic period. His style is a combination of German forms and an early French romantic harmonic structure. His writing for the piano in the songs is totally unified in mood and description with the voice, just as the piano is in Schubert’s songs. The equal partnership of the vocal line and piano interact closely to bring the poetry vividly into life with unimaginable artistic heights and unbridled passion.This volume includes Gouvy songs set to 18 poems of Philippe Desportes (1546–1606), and 18 poems of Moritz Hartmann (1821–1872). The elements of Romantic love poetry, such as enchanting love and its pain, and the personifying of nature, are fluently described with a great sensitivity in both voice and piano. Gouvy’s melody stir up the imagination because of his special treatment of words through a distinguishable and melodious vocal line, and his story telling and poetic treatment and development of the piano accompaniment. His compositional artistry places him in the upper echelons of art-song composers. One should note that Gouvy had a special fondness for the 16th Century poetry of La Pléiade (a group of Renaissance French poets, led by Pièrre de Ronsard (1524–1585). Desportes was truly the heir to Ronsard; however his work, when compared to that of Ronsard, is filled with greater abstraction and greater fluidity. Desportes seems to avoid any of the passionate anger that is occasionally characteristic of La Pléiade. This may be an indication that Desportes lived in a less distressed time. It also seems necessary to point out that he learned much in his early career by copying and studying the earlier works of La Pléiade. This has led some scholars to label him as a plagiarist, but it is important to realize that all the members of La Pléiade copied from each other when they wished to learn something new, and truly understand the style of the other poets in the group. Gouvy’s only choice of poems from his contemporaries, were the works of Moritz Hartmann (1821–1872), a good friend of Gouvy’s. Much of his poetry was strongly political in support of freedom of the individual. He traveled to Leipzig in 1845, but when the authorities discovered a volume of patriotic poems entitled Kelch und Schwert (Chalice and Sword), he fled to Belgium and France. It is at this time that he possibly met Théodore Gouvy. Eighteen poems of Hartmann were translated from German to French by the French poet, Adolph Larmande, of whom very little is known. Pierre Toussaint Adolphe Larmande seems to have been a rather obscure poet and musician. We know that he taught music theory at the Paris Conservatory at the same time Anton Reicha and Michele Carafa were on the faculty. We also know that in 1847 he married an English woman by the name of Marie Caroline Bradley. There are random documents, such as a Certificate of Arrival in London, England, in 1837, but there are no birth and death dates given, and that includes his obituary notice. Contents:18 Sonnets et Chansons de Desportes pour ténor ou soprano et piano, Op. 45 Six poésies allemandes de Moritz Hartmann pour baryton et piano, Op. 21 Douze poésies allemandes de Moritz Hartmann pour ténor et piano, Op. 26 (Poésies françaises d’Adolphe Larmande).
$3.00
2.76 €
#
Piano, Voix
#
MeeAe Cecilia Nam and Theodore Gouvy
#
Op. 1, No. 9: Beaux yeux aimés from Songs of Gouvy, V2
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E. C. Schirmer Music Company - Digital
#
SheetMusicPlus
Spring "La Primavera" Concerto No. 1, 1st Mov. for Cello Solo
Violoncelle (partie séparée)
Cello Solo - Level 3 - Digital Download SKU: A0.1209530 Composed by Antonio Vivaldi…
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Cello Solo - Level 3 - Digital Download SKU: A0.1209530 Composed by Antonio Vivaldi. Arranged by Sherry Lewis. Baroque,Classical,Wedding. Individual part. 5 pages. Sherry Lewis Publishing #807672. Published by Sherry Lewis Publishing (A0.1209530). Spring, Concerto No. 1 “La Primavera†First Mov.Cello Solo Intermediate LevelScore: 0Parts: 2 pagesTime: 3:00ABOUT THE AUDIO: Audio starts a few bars into the songIf you can't find a title then contact me through https://baysbest.com/contact/ and I'll give you the link back to SMP. Thank you for your order!
$4.50
4.14 €
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Violoncelle (partie séparée)
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Antonio Vivaldi
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Sherry Lewis
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Spring "La Primavera" Concerto No. 1, 1st Mov. for Cello Solo
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Sherry Lewis Publishing
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SheetMusicPlus
Separate Ways (Worlds Apart): 1st Percussion
Percussion (partie séparée)
Percussion Ensemble Percussion Ensemble - Digital Download SKU: AX.00-PC-0016030_PC1
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Percussion Ensemble Percussion Ensemble - Digital Download SKU: AX.00-PC-0016030_PC1 1st Percussion. By Journey. By Jonathan Cain and Steve Perry. Arranged by Patrick Moore. Instructional. Part. 2 pages. Alfred Music - Digital Sheet Music #00-PC-0016030_PC1. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0016030_PC1). ISBN 9780739093344. UPC: 038081452104.Separate Ways is a song by Journey from their album Frontiers. Released as a single, it peaked at No. 8 for six consecutive weeks on the Billboard Hot 100, and spent four weeks at No. 1. Now arranged for percussion ensemble, it will make a great selection for your next concert program. Instrumentation: orchestra bells, xylophone, vibraphone, marimba 1, marimba 2, electric bass, timpani, chimes, congas, drumset.
$3.00
2.76 €
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Percussion (partie séparée)
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Journey
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Patrick Moore
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Separate Ways
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
Six Pieces from First Term at the Piano, - instruments in four parts
Small Ensemble - Level 2 - Digital Download SKU: A0.835850 Composed by Bela Bartok.…
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Small Ensemble - Level 2 - Digital Download SKU: A0.835850 Composed by Bela Bartok. Arranged by Paul Burnell. 20th Century,Children,Folk. Score and parts. 34 pages. Paul Burnell #5724505. Published by Paul Burnell (A0.835850). Six Pieces from First Term at the Piano by Béla Bartók arranged by Paul Burnell for instruments in four parts.Duration 4:45I Allegro Deciso (No. 17)II Andante (No. 14)III Waltz (No. 18, Keringo)IV Folk Song: Moderato (No. 7, Népdal)V Where Have You Been, My Lamb? - Folksong (No. 13, Hol jártál, báránykám? - Népdal)VI Folksong: Allegro (No. 10, Népdal)The arrangement is suitable for multiple quartet combinations with parts available (and potential instrumentations suggested) as follows: Part 1: C, Eb (flute, oboe, alto recorder, Eb clarinet, violin 1)Part 2: C, Bb (oboe, tenor recorder, Bb clarinet, violin 2)Part 3: C - alto & bass clefs, Bb, Eb, F (Bb clarinet, bass recorder, alto saxophone, horn in F, viola)Part 4: C - bass clef, Bb, F (bassoon, great bass recorder, tenor saxophone, horn in F, 'cello)Part 4 may be played an octave lower than written.Any other appropriate instruments, even if not suggested above, may play.Although the score is presented with a layout appropriate for string quartet this does not indicate a preferred instrumentation.Performers may wish to consider playing each movement through more than once and, in an ensemble with more than four players, varying the instrumentation for each iteration.The arrangements maintain the keys of the original piano pieces, but many sections have been transposed at the octave.The original metronome indication in Folksong: Allegro has been maintained, but performers may prefer a faster speed.Programme note:‘First Term at the Piano’ (‘Kezdök zongoramuzsikája’ – piano music for beginners) is a collection of pieces for first-year piano students. The collection was collaboration with Sándor Reschofsky with Béla Bartók writing eighteen of the short pieces. The volume was published in 1913 and was intended as the first of a five-volume piano instructional series. This arrangement features six of Bartók’s contributions: Allegro Deciso, Andante, Waltz, and three Folksongs.
$3.99
3.67 €
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Bela Bartok
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Paul Burnell
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Six Pieces from First Term at the Piano, - instruments in four parts
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Paul Burnell
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SheetMusicPlus
8. The Distance Between Two Hearts (from The Heart of Growth, a musical)
Piano, Voix et Guitare
Guitar,Piano,Vocal,Voice - Digital Download SKU: A0.1477869 Composed by Siu Tin Chi…
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Guitar,Piano,Vocal,Voice - Digital Download SKU: A0.1477869 Composed by Siu Tin Chi. Broadway,Comedy,Multicultural,Musical/Show,Pop,World. Score. 4 pages. Musical Trio Ltd. (HK) #1055250. Published by Musical Trio Ltd. (HK) (A0.1477869). The Heart of Growth, a musicalChildren's literary author A Nong's work The Heart of Growth has accompanied an entire generation of Hong Kong people as they grew up and is a treasure of local cultural and artistic heritage! His works are filled with deep and sincere emotions, exuding the nostalgic atmosphere of youthful school days and showcasing a positive and proactive attitude towards life.The theatrical version adapted six of his short stories: Listen, the Cicadas Sing!, A Thread of Love, The Shoe-Shining Gang, The Story on the Bus, Tales on a Rainy Day, and Mom, You Should Give Him a Good Scolding!. With live musical accompaniment and dance, these stories were transformed into a musical collection that vividly recreates the people and emotions of old Hong Kong.The Heart of Growth, a musical premiered in the Hong Kong International Arts Carnival (HKIAC) in 2019 as a community and school touring production and an extended theatrical version was staged at the Sai Wan Ho Civic Centre Theatre in 2021, also as a programme of the HKIAC. The two productions were produced by Musical Trio, a Hong Kong Arts Group. 2019 Community and School Touring ProductionOriginal Story: A NongArtistic Director & Choreographer: Seth ChanAdaptation & Director: Freddy WongMusic & Arrangement: Siu Tin-chiLyricist: Jacqueline KwokMusic Director & Accompanist: Janice TsuiCast: Judy Or, Tony Li, Suet Ip Wong & Seth Chan (Replacement: Vince Lau & Ariel Cheung)Producer: Cheryl Li 2021 Sai Wan Ho Civic Centre Theatre ProductionOriginal Story: A NongArtistic Director & Choreographer: Seth ChanAdaptation & Director: Freddy WongMusic & Arrangement: Siu Tin-chiLyricist: Jacqueline KwokMusic Director: Frankie HoAccompanist: Janice TsuiCast: Ariel Cheung, Judy Or, Luk Pang-yue, Rick Cheung & Vince Lau Set and Costume Designer: Bill CheungLighting Designer: Leo SiuSound Designer: Martin LaiIllustrator: A Day A LoneStage Manager: Win LeungDeputy Stage Manager: Nancy LeeProducer: Cheryl Li Complete Song List1. Overture: Listen, the Cicadas Sing!2. Disconnected3. No more Dating!4. Tales on a Rainy Day: Green Mist5. Tales on a Rainy Day: Passerby6. Tales on Rainy Day: Love Fraud7. Prestigious School Girls8. The Distance Between Two Hearts9. Denouement10. Apart for You11. Finale: Listen, the Cicadas Sing!12. Curtain Call13. Apart for You (Solo Version)More information: www.musicaltrio.hkMusical Trio is financially supported by HKADC.
$2.99
2.75 €
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Piano, Voix et Guitare
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Siu Tin Chi
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8. The Distance Between Two Hearts
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Musical Trio Ltd.
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SheetMusicPlus
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