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TRI ET FILTRES
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ACCORDEON
ALTO
AUTOHARPE
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BASSE
BASSON
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BOUZOUKI
CHORALE - CHAN…
CITHARE
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FORMATION MUSI…
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HARPE
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SAXOPHONE
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Piano seul
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Piano Facile
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Piano, Voix et Guitare
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1 Piano, 4 mains
89
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55
Instruments en Do
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Orgue
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Piano Trio: piano, violon, violoncelle
18
2 Pianos, 4 mains
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Piano grosses notes
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7
Piano Quatuor: piano, violon, alto, violoncelle
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2 Pianos, 8 mains
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Orgue, Trompette (duo)
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Guitare
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55
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42
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25
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16
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5
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4
Guitare (partie séparée)
4
4 Guitares (Quatuor)
4
Piano, Guitare (duo)
3
Mandoline
1
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VOIX
Chorale SATB
217
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111
Chorale 3 parties
102
Voix Tenor, Piano
73
Voix haute
37
Voix duo, Piano
35
Chorale 2 parties
34
Voix Baryton, Piano
34
Voix seule
34
Voix duo
33
Voix Alto, Piano
33
Chorale TTBB
27
Voix basse, Piano
21
Chorale SSAA
20
Chorale Unison
19
Voix Baryton
16
Voix Mezzo-Soprano, Piano
16
Voix moyenne, Piano
15
Voix Tenor
8
Voix Soprano
7
Voix haute, Piano
4
Chorale
3
Soli, choeur mixte et accompagnement
1
Voix basse
1
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VENTS
Flûte traversière et Piano
248
Clarinette et Piano
166
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
140
Hautbois, Piano (duo)
132
Quatuor de Saxophones: 4 saxophones
123
Saxophone Alto et Piano
115
Quatuor de Clarinettes: 4 clarinettes
112
Clarinette
94
Flûte traversière
93
2 Flûtes traversières (duo)
89
Flûte, Hautbois, Clarinette, Basson
78
Saxophone Tenor et Piano
69
Saxophone Soprano et Piano
63
2 Saxophones (duo)
60
Quatuor de Flûtes : 4 flûtes
54
Saxophone (partie séparée)
51
Harmonica
47
Saxophone Alto
46
Hautbois (partie séparée)
45
2 Clarinettes (duo)
36
Quintette de Saxophone: 5 saxophones
35
Ensemble de Flûtes
35
Ensemble de saxophones
35
Saxophone Tenor
33
Saxophone Baryton, Piano
25
Quintette de Clarinettes: 5 clarinettes
24
Cor anglais, Piano
23
Ensemble de Clarinettes
23
Clarinette Basse, Piano
22
Clarinette (partie séparée)
22
3 Clarinettes (trio)
22
Flûte et Guitare
21
3 Saxophones (trio)
13
2 Hautbois (duo)
11
Instruments en Mib
11
Flûte, Clarinette (duo)
11
Flûte, Clarinette et Basson
11
2 Flûte à bec (duo)
10
Saxophone
10
Quintette de Flûte : 5 flûtes
9
Quatuor de Flûtes à bec
9
2 Clarinettes, Piano
8
Flûte à Bec
7
5 Flûtes à bec
7
Hautbois, Basson (duo)
7
Flûte à bec Soprano
6
Flûte, Violoncelle, Piano (trio)
6
Flute (partie séparée)
6
Saxophone, Clarinette (duo)
6
Trio de Flûtes: 3 flûtes
6
Clarinette, Violon (duo)
5
Hautbois, Clarinette, Basson (trio d'anches)
5
Hautbois, Clarinette (duo)
5
Clarinette, Guitare (duo)
5
Flûte, Violoncelle
4
Hautbois
4
Clarinette, Violoncelle, Piano (trio)
4
Flûte, Clarinette, Piano (trio)
4
Clarinette, Basson (duo)
4
Flûte, Saxophone (duo)
4
Flûte, Hautbois, Basson
3
Flûte, Violon, Piano
3
Flûte à bec Soprano, Piano
3
Flûte à bec Alto
3
Flûte à bec, Guitare (duo)
3
Flûte, Violon et Violoncelle
3
2 Flûtes traversières, Piano
3
Flûte, Violon
3
Flûte à bec Tenor
3
Flûte, Hautbois, Clarinette (trio)
2
3 Flûtes à bec (trio)
2
2 Clarinettes, Basson
2
Cor Anglais
2
Clarinette, Violoncelle (duo)
2
Piccolo
2
Hautbois, Flûte
2
Flûte traversière, Basse continue
2
Clarinette, Trompette (duo)
2
Flûte, Clarinette, Cor, Basson (Quartet)
1
Flûte, Alto (duo)
1
Cor anglais, Guitare (duo)
1
Clarinette et Alto
1
Flûte, Hautbois, Piano (trio)
1
Flûte, trombone et piano
1
Flûte, Basson et Piano
1
Flûte, Trompette (duo)
1
Flûte traversière, Orgue (duo)
1
Hautbois, Clarinette et Piano (Trio)
1
Saxophone et Guitare
1
Flûte à Bec, Piano
1
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CUIVRES
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
132
Trompette, Piano
129
Cor et Piano
107
Trombone et Piano
104
Trompette
82
Cor
74
Quatuor de Cuivres : 2 trompettes, trombone, tuba
73
Tuba et Piano
67
Trombone
57
2 Trombones (duo)
39
Tuba
35
Quatuor de Cuivres: 2 trompettes, Cor, trombone
28
Ensemble de Trombones
28
Trompette (partie séparée)
27
Euphonium, Piano (duo)
26
Trombone (partie séparée)
26
Cor anglais, Piano
23
2 Trompettes (duo)
19
Quatuor de cuivres: 4 cors
19
Quatuor de cuivres: 4 trombones
17
Cor (partie séparée)
12
2 Cors (duo)
11
Instruments en Sib
11
2 Euphoniums (duo)
10
Trompette, Trombone (duo)
9
Ensemble de Cors
9
Ensemble de Trompettes
7
Bass Clef Instruments
7
Tuba (partie séparée)
6
Quatuor de cuivres: 4 trompettes
5
2 Tubas (duo)
4
4 Tubas
4
Quatuor de Cuivres
4
Euphonium, Tuba (duo)
4
3 Trombones (trio)
4
2 Euphoniums et 2 Tubas
4
Trompette, Saxophone (duo)
3
Euphonium
3
Instruments en Fa
2
Cor Anglais
2
3 Trompettes (trio)
2
Trio de Cuivres
2
3 Tubas (trio)
2
Quatuor de cuivres: Cor, Trombone, Tuba, Trompette Sib
1
Trombone, Cor (duo)
1
Trombone basse et Piano
1
Cor anglais, Guitare (duo)
1
2 Cors, Piano
1
Trompette, Cor (duo)
1
Trompette, Violoncelle et Piano
1
Trompette, Trombone, Piano
1
Cor et Orgue
1
3 Cors (trio)
1
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CORDES
Violon et Piano
269
Quatuor à cordes: 2 violons, alto, violoncelle
248
Violoncelle, Piano
211
Alto, Piano
141
Violon
119
Violoncelle
90
Alto seul
65
Violon, Violoncelle (duo)
61
Harpe
58
Contrebasse, Piano (duo)
43
Trio à Cordes: violon, alto, violoncelle
42
Contre Basse
30
2 Violons (duo)
30
2 Violoncelles (duo)
25
Violon (partie séparée)
24
Violon, Alto (duo)
23
2 Harpes (duo)
22
2 Altos (duo)
20
Trio à Cordes: 2 violons, violoncelle
17
Alto (partie séparée)
17
4 Violoncelles
13
Contrebasse (partie séparée)
9
Violon, Guitare (duo)
8
Alto, Violoncelle (duo)
7
Quintette à cordes: 2 violons, alto, violoncelle, basse
7
Quintette à cordes : 2 violons, alto et 2 violoncelles
6
Quatuor à cordes : 4 altos
6
Violoncelle (partie séparée)
6
Harpe, Flûte (duo)
5
Quatuor à cordes: 4 violons
5
Alto, Guitare (duo)
4
Ensemble de Violoncelles
4
Piano Trio: Violon, Alto, Piano
4
Trio à Cordes: 3 violoncelles
4
Violoncelle , Guitare (duo)
3
Trio à cordes: 3 altos
3
Trio à cordes
3
Harpe, Violon (duo)
2
2 Contrebasses (duo)
2
Harpe, Violon, Violoncelle
2
Trio à cordes: 3 violins
2
Violoncelle, Contrebasse (duo)
2
Flûte, Contrebasse (duo)
2
Violon, Orgue
1
Violoncelle, Orgue
1
Violoncelle, Orchestre
1
Quintette à cordes: 2 violons, 2 altos, violoncelle
1
Violon, Basson (duo)
1
2 Altos, Piano
1
Violon, Basse continue
1
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PERCUSSIONS & ORCHESTRES
Orchestre d'harmonie
466
Orchestre
230
Orchestre à Cordes
145
Ensemble de cuivres
100
Orchestre de chambre
87
Ensemble Jazz
18
Jazz combo
14
Percussion (partie séparée)
10
Xylophone, Piano
8
Cloches
7
Ensemble de Percussions
7
Timbales (partie séparée)
3
Batterie (partie séparée)
2
Fanfare
2
Xylophone
1
Percussion
1
Piano et Orchestre
1
Batterie
1
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9976
Aria from the Opera Orfeo ed Euridice for Brass Quintet (French Horn solo)
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
Brass Quintet Horn,Trombone,Trumpet,Tuba - Level 4 - Digital Download SKU: A0.1446054
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Brass Quintet Horn,Trombone,Trumpet,Tuba - Level 4 - Digital Download SKU: A0.1446054 Composed by Christoph Willibald Gluck,. Arranged by Keith Terrett. Classical,Contest,Festival,Historic,Instructional,Opera. 16 pages. Keith Terrett #1025876. Published by Keith Terrett (A0.1446054). Orfeo ed Euridice is an opera composed by Christoph Willibald Gluck, based on the myth of Orpheus and set to a libretto by Ranieri de' Calzabigi. It belongs to the genre of the azione teatrale, meaning an opera on a mythological subject with choruses and dancing.The piece was first performed at the Burgtheater in Vienna on 5 October 1762, in the presence of Empress Maria Theresa. Orfeo ed Euridice is the first of Gluck's reform operas, in which he attempted to replace the abstruse plots and overly complex music of opera seria with a noble simplicity in both the music and the drama.The opera is the most popular of Gluck's works, and was one of the most influential on subsequent German operas. Variations on its plot—the underground rescue mission in which the hero must control, or conceal, his emotions—can be found in Mozart's The Magic Flute, Beethoven's Fidelio, and Wagner's Das Rheingold.Though originally set to an Italian libretto, Orfeo ed Euridice owes much to the genre of French opera, particularly in its use of accompanied recitative and a general absence of vocal virtuosity. Indeed, twelve years after the 1762 premiere, Gluck re-adapted the opera to suit the tastes of a Parisian audience at the Académie Royale de Musique with a libretto by Pierre-Louis Moline. This reworking was given the title Orphée et Eurydice, and several alterations were made in vocal casting and orchestration to suit French tastes.Ther picture is Count Francesco Algarotti, an Italian polymath, philosopher, poet, essayist, anglophile, art critic and art collector. He was a man of broad knowledge, an expert in Newtonianism, architecture and opera. He was a friend of Frederick the Great and leading authors of his times: Voltaire, Jean-Baptiste de Boyer, Marquis d'Argens, Pierre-Louis de Maupertuis and the atheist Julien Offray de La Mettrie. Lord Chesterfield, Thomas Gray, George Lyttelton, Thomas Hollis, Metastasio, Benedict XIV and Heinrich von Brühl were among his correspondents.''The Sicilienne and Rigaudon is one of the many pieces that violin virtuoso Fritz Kreisler composed in the style of other composers. When he first presented and published these pieces, he offered them as recently discovered works by those other composers, newly adapted and arranged by himself. In the case of Sicilienne and Rigaudon, it is eighteenth-century French violinist/composer François Francoeur whose name is on the title sheet, though the piece really has nothing to do with Francoeur's style.The piece is a simple and a charming one, however. The Sicilienne is a binary-form miniature that sweeps along on a characteristic dotted rhythm, with a rather melancholy melody. Think old French ballet. The constant 16th notes of the Rigaudon, give it a character quite unlike that of a traditional rigaudon-a cheerful Baroque dance movement in duple meter.
$8.99
8.14 €
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Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
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Christoph Willibald Gluck,
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Keith Terrett
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Aria from the Opera Orfeo ed Euridice for Brass Quintet
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Keith Terrett
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SheetMusicPlus
The Journey (Downloadable Piano/Vocal Score)
6 soloists, SATB choir, chamber orchestra (1[afl/pic] 1 2[1.bcl] 1 — 2 1 1 0  
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6 soloists, SATB choir, chamber orchestra (1[afl/pic] 1 2[1.bcl] 1 — 2 1 1 0 — 1 perc — hp, pf — str —Solo Voices — SATB Chorus) - Digital Download SKU: MQ.5969-E Composed by David Conte. Instrument part. 47 pages. E. C. Schirmer Music Company - Digital #5969-E. Published by E. C. Schirmer Music Company - Digital (MQ.5969-E). The Journey is a twenty-minute cantata extracted from the opera The Dreamers. The opera was commissioned and produced by the Sonoma City Opera in 1996; Antoinette Kuhry, producer; musical direction by John Miner; stage direction by Sanrda Bernhard. The Dreamers captures a formative moment in American history where characters are separated by their cultural and racial differences, and brought together by their dreams and their longing for a new home. The Journey was commissioned by the Oakland East Bay Symphony, Michael Morgan, conductor, and was premiered at the Paramount Theater in Oakland, CA on May 18th, 2001. To set the scene for the excerpt here entitled The Journey: The entire town of Sonoma is gathered at The Collonade Theater to watch an amateur production of Shakespeare's Othello. An unpleasant racial incident occurs which brings the performance to a halt. To smooth thingsover, a sing-a-long is proposed. The song chosen is My Old Kentucky Home by Stephen Foster. After a brief statement of that tune in the orchestra, the entire company enters a dream-state, as six characters from the opera, with commentary by the chorus, sing arias about home. Johnny Rowe, an American soldier stationed in Sonoma, serves as a kind of master-of-ceremonies. Black Sam is a freed slave working as a gambler in Sonoma to earn money to buy his wife out of slavery. Indian Princess Isadora is the last of her tribe. Jim and Mary Eastin have migrated to California from Kentucky. Lizzy Fine is a widow who sings a farewell to her departed husband. The finale of this sequence is an Octet, where all six characters and the men and women of the chorus sing their various texts together, ending with the words from Stephen Foster: Weep no more.
$16.00
14.49 €
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David Conte
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Antoinette Kuhry, producer
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The Journey
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E. C. Schirmer Music Company - Digital
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SheetMusicPlus
MÉDITATION - From the Opera Thaïs (for Violoncello and Piano accompaniment)
Violoncelle, Piano
Piano Accompaniment, Cello - Intermediate - Digital Download Composed by Jules Massen…
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Piano Accompaniment, Cello - Intermediate - Digital Download Composed by Jules Massenet (1842-1912). Arranged by Flavio Regis Cunha. Romantic Period, Opera, Valentine's Day, St. Patrick's Day, Wedding. Individual Part, Score, Solo Part. 12 pages. Published by Flavio Regis Cunha
This arrangement was modified in its edition and violin indications. A very clean piano part was written. Very good edition of the entire score.<br> <br> The Méditation is an instrumental entr'acte performed between the scenes of Act II in the opera Thaïs. In the first scene of Act II, Athanaël, a Cenobite monk, confronts Thaïs, a beautiful and hedonistic courtesan and devotée of Venus, and attempts to persuade her to leave her life of luxury and pleasure and find salvation through God. It is during a time of reflection following the encounter that the Méditation is played by the orchestra. In the second scene of Act II, following the Méditation, Thaïs tells Athanaël that she will follow him to the desert.<br> <br> The piece is in D major and is approximately five minutes long (although there are a number of interpretations that stretch the piece to over six minutes). Massenet may also have written the piece with religious intentions; the tempo marking is Andante religioso, signifying his intention that it should be played religiously (which could mean either strictly in the tempo or literally with religiously-founded emotion) and at walking tempo, or around 60 BPM. The piece opens with a short introduction, with the solo violin quickly entering with the motif. After the violin plays the melody twice, the piece goes into a section marked animato, gradually becoming more and more passionate (Massenet wrote poco a poco appassionato). The climax is reached at a place marked poco piu appassionato (a little more passion) and is then followed by a short cadenza-like passage from the soloist and returns to the main theme. After the theme is played twice, the soloist joins the piano while playing harmonics on the upper register as the piano quietly play below the solo line.
$5.99
5.43 €
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Violoncelle, Piano
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Jules Massenet (1842-1912)
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Flavio Regis Cunha
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MÉDITATION - From the Opera Thaïs
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Flavio Regis Cunha
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SheetMusicPlus
MÉDITATION - From the Opera Thaïs (for Violin and Piano accompaniment)
Violon et Piano
Piano Accompaniment, Violin - Intermediate - Digital Download Composed by Jules Masse…
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Piano Accompaniment, Violin - Intermediate - Digital Download Composed by Jules Massenet (1842-1912). Arranged by Flavio Regis Cunha. Romantic Period, Opera, Wedding, Graduation, Recital. Score, Solo Part. 12 pages. Published by Flavio Regis Cunha
This arrangement was modified in its edition and violin indications. A very clean piano part was written. Very good edition of the entire score.<br> <br> The Méditation is an instrumental entr'acte performed between the scenes of Act II in the opera Thaïs. In the first scene of Act II, Athanaël, a Cenobite monk, confronts Thaïs, a beautiful and hedonistic courtesan and devotée of Venus, and attempts to persuade her to leave her life of luxury and pleasure and find salvation through God. It is during a time of reflection following the encounter that the Méditation is played by the orchestra. In the second scene of Act II, following the Méditation, Thaïs tells Athanaël that she will follow him to the desert.<br> <br> The piece is in D major and is approximately five minutes long (although there are a number of interpretations that stretch the piece to over six minutes). Massenet may also have written the piece with religious intentions; the tempo marking is Andante religioso, signifying his intention that it should be played religiously (which could mean either strictly in the tempo or literally with religiously-founded emotion) and at walking tempo, or around 60 BPM. The piece opens with a short introduction, with the solo violin quickly entering with the motif. After the violin plays the melody twice, the piece goes into a section marked animato, gradually becoming more and more passionate (Massenet wrote poco a poco appassionato). The climax is reached at a place marked poco piu appassionato (a little more passion) and is then followed by a short cadenza-like passage from the soloist and returns to the main theme. After the theme is played twice, the soloist joins the piano while playing harmonics on the upper register as the piano quietly play below the solo line.
$5.99
5.43 €
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Violon et Piano
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Jules Massenet (1842-1912)
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Flavio Regis Cunha
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MÉDITATION - From the Opera Thaïs
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Flavio Regis Cunha
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SheetMusicPlus
Excerpt from the Last Part of Ariadne Auf Naxos
Guitare
Solo Guitar - Level 3 - Digital Download SKU: A0.899127 Composed by Richard Strauss…
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Solo Guitar - Level 3 - Digital Download SKU: A0.899127 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 4 pages. Maggie Creek Music #3037161. Published by Maggie Creek Music (A0.899127). Transcription for solo classical guitar. 4 pages. Richard Strauss (1864 -1949) Strauss's music amounts to a huge body of symphonic and operatic work written over 60 years. Full of vitality, endlessly melodic, brilliantly orchestrated, it begins and ends in the romantic tradition, but for the most part expresses something more modern and individualistic, not without controversy in its time. Variation of style and structure is drawn from the descriptive (literary) nature of compositions, and an extraordinary inventiveness enlivens the scenes, moods and situations. Strauss said once that he produced music the way cows give milk, and indeed his music rarely seems contrived. The opera Strauss wrote 15 operas on a variety of subjects and across the whole spectrum of drama. He acknowledged being enchanted by the soprano voice, and his writing for it highlights many of the works, including Adriane auf Naxos (composed in 1912). The opera has been described as 'sparkling', which sums it up well, and passages influenced by Bach, Mozart, Puccini, and Wagner add to the interest. The storyline is a play within a play, the second part being the mythological 'Opera' staged in the story. The three pieces transcribed* are from this Opera. The guitar arrangements All classical guitar pieces are compromises. The instrument has only six strings, the left hand four fingers able to be used, and with the right hand its rare to use more than three fingers and the thumb. So, despite the amount of noise possible, it's inevitable that passages occur where either harmony, bass or fragments of counterpoint that would be beneficial are left out. In particular, the higher up the neck music is played the simpler it tends to be, if harder to play, and unless the low bass is an open string there wont be any. So I think the main part of attaining a fair transcription (better to be called an arrangement if the original musical structure is not strictly followed, as in this case) is determining how a good compromise can be reached. Melody, counterpoint, bass and main harmonies demand inclusion, and register is important. One may generally assume the original score can't be improved on. However, if the music may sound well on guitar, and the above elements can be incorporated without the playing becoming very difficult, something enjoyable to play and worthwhile listening to should be able to be achieved. Overture; 'A golden time …' Here the Mozart influence, better, inspiration, is wonderfully evident. A gentle waltz time (only the first section of the overture is transcribed) carries the colourful harmonies, strong melodic threads and connecting flourishes that stamp both pieces. The aria is alluded to in the Overture several times, which as you would expect, is intricately woven with the hints themes later to be established in the Opera. It has a kind of 'jazzy' freedom, and it's always miraculous to me that composition so involved can retain its musical line, here done in Strauss's inimitable way. The aria, sung not far into the Opera, has the perfect inevitability of Mozart, but again it is Strauss. As explained, keys have been changed to suit the guitar. Chorus and Aria This selection from the finale has features well worth trying to translate. The device of having a strong chorus, in the style of a Bach chorale, stated and then counterpointed by a solo voice in a restatement, is potent, and that in the opera the chorus (of the three nymphs) isn't immediately followed by the accompanying aria (of Ariadne) means the latter comes as a moment of surprising beauty. Neither parts are complicated, and lovely arpeggios, a feature Strauss's music, often impart the assured progressions. A problem was to capture the distinct register of the soprano voices, som.
$7.00
6.34 €
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Guitare
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Richard Strauss
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Rod Whittle
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Excerpt from the Last Part of Ariadne Auf Naxos
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Maggie Creek Music
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SheetMusicPlus
'A golden time ...' from Ariadne auf Naxos
Guitare
Solo Guitar - Level 4 - Digital Download SKU: A0.899112 Composed by Richard Strauss…
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Solo Guitar - Level 4 - Digital Download SKU: A0.899112 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 2 pages. Maggie Creek Music #25789. Published by Maggie Creek Music (A0.899112). 2 pages; for solo classical guitar; published by Maggie Creek MusicRichard Strauss (1864 -1949) Strauss's music amounts to a huge body of symphonic and operatic work written over 60 years. Full of vitality, endlessly melodic, brilliantly orchestrated, it begins and ends in the romantic tradition, but for the most part expresses something more modern and individualistic, not without controversy in its time. Variation of style and structure is drawn from the descriptive (literary) nature of compositions, and an extraordinary inventiveness enlivens the scenes, moods and situations. Strauss said once that he produced music the way cows give milk, and indeed his music rarely seems contrived. The opera Strauss wrote 15 operas on a variety of subjects and across the whole spectrum of drama. He acknowledged being enchanted by the soprano voice, and his writing for it highlights many of the works, including Adriane auf Naxos (composed in 1912). The opera has been described as 'sparkling', which sums it up well, and passages influenced by Bach, Mozart, Puccini, and Wagner add to the interest. The storyline is a play within a play, the second part being the mythological 'Opera' staged in the story. The three pieces transcribed* are from this Opera. The guitar arrangements All classical guitar pieces are compromises. The instrument has only six strings, the left hand four fingers able to be used, and with the right hand its rare to use more than three fingers and the thumb. So, despite the amount of noise possible, it's inevitable that passages occur where either harmony, bass or fragments of counterpoint that would be beneficial are left out. In particular, the higher up the neck music is played the simpler it tends to be, if harder to play, and unless the low bass is an open string there wont be any. So I think the main part of attaining a fair transcription (better to be called an arrangement if the original musical structure is not strictly followed, as in this case) is determining how a good compromise can be reached. Melody, counterpoint, bass and main harmonies demand inclusion, and register is important. One may generally assume the original score can't be improved on. However, if the music may sound well on guitar, and the above elements can be incorporated without the playing becoming very difficult, something enjoyable to play and worthwhile listening to should be able to be achieved. Overture; 'A golden time …' Here the Mozart influence, better, inspiration, is wonderfully evident. A gentle waltz time (only the first section of the overture is transcribed) carries the colourful harmonies, strong melodic threads and connecting flourishes that stamp both pieces. The aria is alluded to in the Overture several times, which as you would expect, is intricately woven with the hints themes later to be established in the Opera. It has a kind of 'jazzy' freedom, and it's always miraculous to me that composition so involved can retain its musical line, here done in Strauss's inimitable way. The aria, sung not far into the Opera, has the perfect inevitability of Mozart, but again it is Strauss. As explained, keys have been changed to suit the guitar. Chorus and Aria This selection from the finale has features well worth trying to translate. The device of having a strong chorus, in the style of a Bach chorale, stated and then counterpointed by a solo voice in a restatement, is potent, and that in the opera the chorus (of the three nymphs) isn't immediately followed by the accompanying aria (of Ariadne) means the latter comes as a moment of surprising beauty. Neither parts are complicated, and lovely arpeggios, a feature Strauss's music, often impart the assured progressions. A problem was to capture the distinct register of the so.
$7.00
6.34 €
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Guitare
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Richard Strauss
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Rod Whittle
#
for solo classical guitar
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'A golden time ...' from Ariadne auf Naxos
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Maggie Creek Music
#
SheetMusicPlus
Overture from Ariadne auf Naxos
Guitare
Solo Guitar - Level 4 - Digital Download SKU: A0.899111 Composed by Richard Strauss…
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Solo Guitar - Level 4 - Digital Download SKU: A0.899111 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 2 pages. Maggie Creek Music #25793. Published by Maggie Creek Music (A0.899111). 2 pages; for solo classical guitar; published by Maggie Creek MusicRichard Strauss (1864 -1949) Strauss's music amounts to a huge body of symphonic and operatic work written over 60 years. Full of vitality, endlessly melodic, brilliantly orchestrated, it begins and ends in the romantic tradition, but for the most part expresses something more modern and individualistic, not without controversy in its time. Variation of style and structure is drawn from the descriptive (literary) nature of compositions, and an extraordinary inventiveness enlivens the scenes, moods and situations. Strauss said once that he produced music the way cows give milk, and indeed his music rarely seems contrived. The opera Strauss wrote 15 operas on a variety of subjects and across the whole spectrum of drama. He acknowledged being enchanted by the soprano voice, and his writing for it highlights many of the works, including Adriane auf Naxos (composed in 1912). The opera has been described as 'sparkling', which sums it up well, and passages influenced by Bach, Mozart, Puccini, and Wagner add to the interest. The storyline is a play within a play, the second part being the mythological 'Opera' staged in the story. The three pieces transcribed* are from this Opera. The guitar arrangements All classical guitar pieces are compromises. The instrument has only six strings, the left hand four fingers able to be used, and with the right hand its rare to use more than three fingers and the thumb. So, despite the amount of noise possible, it's inevitable that passages occur where either harmony, bass or fragments of counterpoint that would be beneficial are left out. In particular, the higher up the neck music is played the simpler it tends to be, if harder to play, and unless the low bass is an open string there wont be any. So I think the main part of attaining a fair transcription (better to be called an arrangement if the original musical structure is not strictly followed, as in this case) is determining how a good compromise can be reached. Melody, counterpoint, bass and main harmonies demand inclusion, and register is important. One may generally assume the original score can't be improved on. However, if the music may sound well on guitar, and the above elements can be incorporated without the playing becoming very difficult, something enjoyable to play and worthwhile listening to should be able to be achieved. Overture; 'A golden time …'Here the Mozart influence, better, inspiration, is wonderfully evident. A gentle waltz time (only the first section of the overture is transcribed) carries the colourful harmonies, strong melodic threads and connecting flourishes that stamp both pieces. The aria is alluded to in the Overture several times, which as you would expect, is intricately woven with the hints themes later to be established in the Opera. It has a kind of 'jazzy' freedom, and it's always miraculous to me that composition so involved can retain its musical line, here done in Strauss's inimitable way. The aria, sung not far into the Opera, has the perfect inevitability of Mozart, but again it is Strauss. As explained, keys have been changed to suit the guitar. Chorus and Aria This selection from the finale has features well worth trying to translate. The device of having a strong chorus, in the style of a Bach chorale, stated and then counterpointed by a solo voice in a restatement, is potent, and that in the opera the chorus (of the three nymphs) isn't immediately followed by the accompanying aria (of Ariadne) means the latter comes as a moment of surprising beauty. Neither parts are complicated, and lovely arpeggios, a feature Strauss's music, often impart the assured progressions. A problem was to capture the distinct register of the sopr.
$7.00
6.34 €
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Guitare
#
Richard Strauss
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Rod Whittle
#
for solo classical guitar
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Overture from Ariadne auf Naxos
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Maggie Creek Music
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SheetMusicPlus
Chorus and Aria from Ariadne auf Naxos
Guitare
Solo Guitar - Level 4 - Digital Download SKU: A0.899109 Composed by Richard Strauss…
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Solo Guitar - Level 4 - Digital Download SKU: A0.899109 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 2 pages. Maggie Creek Music #25787. Published by Maggie Creek Music (A0.899109). 2 pages; for solo classical guitar; published by Maggie Creek MusicRichard Strauss (1864 -1949) Strauss's music amounts to a huge body of symphonic and operatic work written over 60 years. Full of vitality, endlessly melodic, brilliantly orchestrated, it begins and ends in the romantic tradition, but for the most part expresses something more modern and individualistic, not without controversy in its time. Variation of style and structure is drawn from the descriptive (literary) nature of compositions, and an extraordinary inventiveness enlivens the scenes, moods and situations. Strauss said once that he produced music the way cows give milk, and indeed his music rarely seems contrived. The opera Strauss wrote 15 operas on a variety of subjects and across the whole spectrum of drama. He acknowledged being enchanted by the soprano voice, and his writing for it highlights many of the works, including Adriane auf Naxos (composed in 1912). The opera has been described as 'sparkling', which sums it up well, and passages influenced by Bach, Mozart, Puccini, and Wagner add to the interest. The storyline is a play within a play, the second part being the mythological 'Opera' staged in the story. The three pieces transcribed* are from this Opera. The guitar arrangements All classical guitar pieces are compromises. The instrument has only six strings, the left hand four fingers able to be used, and with the right hand its rare to use more than three fingers and the thumb. So, despite the amount of noise possible, it's inevitable that passages occur where either harmony, bass or fragments of counterpoint that would be beneficial are left out. In particular, the higher up the neck music is played the simpler it tends to be, if harder to play, and unless the low bass is an open string there wont be any. So I think the main part of attaining a fair transcription (better to be called an arrangement if the original musical structure is not strictly followed, as in this case) is determining how a good compromise can be reached. Melody, counterpoint, bass and main harmonies demand inclusion, and register is important. One may generally assume the original score can't be improved on. However, if the music may sound well on guitar, and the above elements can be incorporated without the playing becoming very difficult, something enjoyable to play and worthwhile listening to should be able to be achieved. Overture; 'A golden time …' Here the Mozart influence, better, inspiration, is wonderfully evident. A gentle waltz time (only the first section of the overture is transcribed) carries the colourful harmonies, strong melodic threads and connecting flourishes that stamp both pieces. The aria is alluded to in the Overture several times, which as you would expect, is intricately woven with the hints themes later to be established in the Opera. It has a kind of 'jazzy' freedom, and it's always miraculous to me that composition so involved can retain its musical line, here done in Strauss's inimitable way. The aria, sung not far into the Opera, has the perfect inevitability of Mozart, but again it is Strauss. As explained, keys have been changed to suit the guitar. Chorus and Aria This selection from the finale has features well worth trying to translate. The device of having a strong chorus, in the style of a Bach chorale, stated and then counterpointed by a solo voice in a restatement, is potent, and that in the opera the chorus (of the three nymphs) isn't immediately followed by the accompanying aria (of Ariadne) means the latter comes as a moment of surprising beauty. Neither parts are complicated, and lovely arpeggios, a feature Strauss's music, often impart the assured progressions. A problem was to capture the distinct register o.
$7.00
6.34 €
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Guitare
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Richard Strauss
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Rod Whittle
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for solo classical guitar
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Chorus and Aria from Ariadne auf Naxos
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Maggie Creek Music
#
SheetMusicPlus
The Cat's Aria
Piano, Voix
Piano,Vocal,Voice - Level 4 - Digital Download SKU: A0.1486292 Composed by Rachel J…
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Piano,Vocal,Voice - Level 4 - Digital Download SKU: A0.1486292 Composed by Rachel J. Peters. 21st Century,Comedy,Opera. Score. 11 pages. Rachel J Peters #1063353. Published by Rachel J Peters (A0.1486292). Aria for dramatic soprano from the opera Three AmputatorsLibretto by Royce VavrekThree Amputators is an opera-in-progress after the story “The Three Army Surgeons” by the Brothers Grimm. The opera tells of three travelling doctors who seek lodging for a night, offering the establishment’s innkeeper a demonstration of their unbelievable skills: they can cut out parts of their own bodies only to reattach them later with the aid of a proprietary salve. After one removes a hand, another their heart, and the third their eyeballs, an enigmatic cat appears on the scene to dine on the flesh and throw the course of the story into disarray. This is a contemporary interpretation of one of the Grimm’s most eccentric of tales. The character of the insatiable Cat is inspired by our national hero, Fran Lebowitz.The aria premiered in Norway. If you are performing it in any other country, you can claim a national premiere! Full score and parts can also be made available upon request for performances with orchestra. Visit www.racheljpeters.com for more information.DURATION: 4:30WORLD PREMIERE: Oslo Chamber Music Festival, 2023.
$6.00
5.44 €
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Piano, Voix
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Rachel J
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The Cat's Aria
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Rachel J Peters
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SheetMusicPlus
The Master Singers of Nuremberg
Piano, Voix
Opera. Composed by Richard Wagner (1813-1883). This edition: vocal/piano score. Erst…
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Opera. Composed by Richard Wagner (1813-1883). This edition: vocal/piano score. Erstveröffentlichung - Oper - Theater. Wagner Urtext Piano/Vocal Scores. Downloadable, Piano reduction. Duration 235\' 0. Schott Music - Digital #Q17852. Published by Schott Music - Digital
German.<br> <br> An important addition to our newly produced orchestral materials is the first publication of vocal scores of Wagner’s ten great operas, in every important version, based on the Complete Edition. * The score corresponds to the performance materials from the Complete Edition. * For practical use in rehearsal cues and bar numbers throughout. * The publisher has secured the services of renewed musicologists associated with the Richard Wagner Complete Edition who convey detailed information in critical forewords. * The forewords are given in three languages(German, English, French). * Uniform and attractive front cover designs with reproductions of paintings from the Wagner era underline the series design of the edition. DIE MEISTERSINGER VON NÜRNBERG “Die Meistersinger von Nürnberg is today still considered a German festival and national opera: this evaluation is borne out by the opera’s performance history, the history of its reception and customary performance practice. Critical minds will perhaps recall the quotation from Friedrich Nietzsche’s publication \"Jenseits von Gut und Böse\" [Beyond Good and Evil] in which the Vorspiel [Prelude] to Meistersinger is described as ‘magnificent, ornate and ponderous art’ and Wagner’s music in general as being ‘rough and coarse’. This music according to Nietzsche possesses ‘no trace of the fine southern clarity of the sky and nothing of grace’, but instead ‘a cumbersome garb, with a touch of licentious barbarism and solemnity’ and ‘even a certain degree of ungainliness’. Nietzsche’s evaluation is regarded by many as an insight into the essence of the matter, although it is evident that Nietzsche was exaggerating in order to be provocative. What is more important today is however that this characterisation appears to have been the result of an approach to the performance of Meistersinger which had neglected or even gone as far as to misappropriate elements of this work. This is also the conclusion reached in the Meistersinger Edition of the Critical Complete Edition of the Musical Works of Richard Wagner (Richard Wagner, Sämtliche Werke, Vol. 9, I-III, edited by Egon Voss, Mainz 1979-1987). It has in fact been established that the first print of the score published by B. Schott’s Söhne in Mainz in 1868 contained numerous errors and omissions, particularly with regard to dynamic markings and articulation. The difference between staccato dots and dashes which has an influence on the tone was simply ignored. The substantial omission of these staccato markings unambiguously draws attention to the fact that Wagner intended a lighter-weight sound than was produced in adherence the first edition. The same also holds true for the dynamic markings which were submitted to a general levelling process in the first edition, thereby entirely masking their original broad scope of differentiation. […] When the saying ‘the music sets the tone’ is cited, it is in actual fact tempo, dynamics which are implied. If the new findings incorporated into the Meistersinger edition of the Critical Complete Edition are taken seriously, this will inevitably produce a new Meistersinger sound.” (Egon Voss, quoted from the foreword of the new Meistersinger vocal score; translated by Lindsay Chalmers-Gerbracht).
$59.99
54.34 €
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Piano, Voix
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Richard Wagner
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The Master Singers of Nuremberg
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SheetMusicPlus
Air from 'Rinaldo' (arr. for Brass Quintet)
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
Brass Quintet Horn,Trombone,Trumpet,Tuba - Level 2 - Digital Download SKU: A0.1303104
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Brass Quintet Horn,Trombone,Trumpet,Tuba - Level 2 - Digital Download SKU: A0.1303104 By George Frideric Handel. By George Frideric Handel. Arranged by Andrew Lamb. Opera. 19 pages. Andrew Lamb #892694. Published by Andrew Lamb (A0.1303104). Introducing Air from Rinaldo by George Frideric Handel, skillfully arranged for Brass Quintet! 🎺🎶🌟 Instrumentation:2 Trumpets 🎺French Horn 📯Trombone 🎶Tuba 🎵🎶 Level of Difficulty: Medium-Easy🎯 Potential Uses: 🎼 This arrangement is perfect for a wide range of musical settings, including: Concerts 🎤 Recitals 🎻 Educational purposes 📚 📜 About Air from Rinaldo: Air from Rinaldo is a timeless piece from the opera Rinaldo, composed by the legendary George Frideric Handel in 1711. This arrangement captures the essence of Handel's majestic composition and brings it to life with the brilliance and power of a Brass Quintet. The piece's rich history, inspired by Torquato Tasso's epic poem, Gerusalemme liberata, is a tale of love, war, and redemption set during the First Crusade.🎼 Handel's Legacy: George Frideric Handel, a German-British Baroque composer, is celebrated for his operas, oratorios, anthems, concerti grossi, and organ concertos. He was a musical genius who left an indelible mark on the world of classical music. His compositions have influenced countless musicians and composers over the centuries, including giants like Mozart, Beethoven, and Brahms.â Why Choose This Arrangement: This arrangement for Brass Quintet allows you to experience Handel's music in a new and vibrant way. The majestic brass instruments breathe life into the timeless melody, making it suitable for various musical settings and occasions. Whether you're performing on stage or teaching the next generation of musicians, this arrangement will captivate and inspire.📢 Get ready to elevate your musical repertoire with this iconic piece by George Frideric Handel. Add Air from Rinaldo for Brass Quintet to your collection today!🎵 Don't miss out on this opportunity to bring Handel's brilliance to your ensemble. Like and subscribe to stay updated on our latest arrangements and musical offerings. 🎶.
$8.00
7.25 €
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Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
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George Frideric Handel
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Andrew Lamb
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Air from 'Rinaldo'
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Andrew Lamb
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SheetMusicPlus
Rigoletto - Excerpts from the Opera - G Verdi (Brass Quintet)
Quatuor de Cuivres : 2 trompettes, trombone, tuba
Brass Ensemble Horn,Trombone,Trumpet,Tuba - Level 4 - Digital Download SKU: A0.802623
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Brass Ensemble Horn,Trombone,Trumpet,Tuba - Level 4 - Digital Download SKU: A0.802623 Composed by Giuseppe Verdi. Arranged by Peet du Toit. Contemporary. Score and parts. 44 pages. Peet du Toit #6038777. Published by Peet du Toit (A0.802623). Rigoletto is an opera in three acts[a] by Giuseppe Verdi. The Italian libretto was written by Francesco Maria Piave based on the 1832 play Le roi s'amuse by Victor Hugo. Despite serious initial problems with the Austrian censors who had control over northern Italian theatres at the time, the opera had a triumphant premiere at La Fenice in Venice on 11 March 1851.The work, Verdi's sixteenth in the genre, is widely considered to be the first of the operatic masterpieces of Verdi's middle-to-late career. Its tragic story revolves around the licentious Duke of Mantua, his hunch-backed court jester Rigoletto, and Rigoletto's daughter Gilda. The opera's original title, La maledizione (The Curse), refers to a curse placed on both the Duke and Rigoletto by a courtier whose daughter the Duke has seduced with Rigoletto's encouragement. The curse comes to fruition when Gilda falls in love with the Duke and sacrifices her life to save him from the assassin hired by her father.Many famous arias, and the quartet are among the many lovely moments captured in this arrangement. Enjoy!
$32.00
28.99 €
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Quatuor de Cuivres : 2 trompettes, trombone, tuba
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Giuseppe Verdi
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Peet du Toit
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Rigoletto - Excerpts from the Opera - G Verdi
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Peet du Toit
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SheetMusicPlus
Mysteries of the Macabre
Solo-trumpet in C or Koloratursoprano and orchestra - Digital Download SKU: S9.Q3050
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Solo-trumpet in C or Koloratursoprano and orchestra - Digital Download SKU: S9.Q3050 Three arias from the opera Le Grand Macabre. Composed by Gyorgy Ligeti. This edition: study score. Music Of Our Time. Downloadable, study score. Duration 9 minutes. Schott Music - Digital #Q3050. Published by Schott Music - Digital (S9.Q3050). György Ligeti composed one single opera, 'Le Grand Macabre'. The conductor of the world premiere, Elgar Howarth, took three arias which, due to their effusiveness, are highlights of the opera, and arranged them as a single piece for solo trumpet or coloratura soprano and two different accompaniments: with piano and with instrumental ensemble. Together with the present study score of the orchestral version three editions are now available for sale. They provide the inquisitive with an insight 'en miniature' into one of the strangest operas of the 20th century while each one of them is a brilliant concert piece on its own.Picc. · 1 · 3 (3. auch Engl. Hr.) · 2 (2. auch Bassklar.) · 2 (2. auch Kfg.) – 4 · 2 · Kb.-Pos. · Kbtb. – P.S. (Glspl. · Xyl. · gr. Tr. · kl. Tr. · Tomt. · Conga · Schellentr. · Rührtr. · Crot. · 2 Beckenpaare · hg. Beck. · Tamt. · Mar. · 4 Bong. · Kast. · Ratsche · Guero · Woodbl. · 4 Tempelbl. · Trillerpf. · Signalpf. · Lotosfl. · Trgl. · ·· Sandpapier · großer Bogen Papier) (2 Spieler) – Cel. (auch Cemb.) · Klav. (auch elektr. Org.) · Hfe. · Mand. – Str. (3 · 0 · 2 · 6 · 4).
$23.99
21.73 €
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Gyorgy Ligeti
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Mysteries of the Macabre
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Schott Music - Digital
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SheetMusicPlus
Ring of the Nibelung compilation of Excerpts for Low Brass
Large Ensemble Bass Trombone,Trumpet,Tuba - Level 5 - Digital Download SKU: A0.792335
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Large Ensemble Bass Trombone,Trumpet,Tuba - Level 5 - Digital Download SKU: A0.792335 Composed by Richard Wagner. Arranged by Fissel, Stephen. 20th Century,Opera,Romantic Period,Standards. Score and parts. 129 pages. Gordon Cherry #4804647. Published by Gordon Cherry (A0.792335). This collection of orchestral excerpts from Der Ring des Nibelungen by Stephen Fissel represents some of the major portions of this great music that Richard Wagner composed for low brass. The selection of these excerpts comes from Mr. Fissel's own experience in preparing and performing the Ring Cycle with Seattle Opera. In conjunction with Ring performances in Seattle, he and his colleagues would often rehearse these sections and present them in a concert along with commentary to explain their importance, either elucidating a musical aspect or an element of plot narrative, or from the standpoint of the development of the low brass instruments of the orchestra. For the serious orchestral low brass performer, Mr. Fissel's compilation is a wonderful way to experience the highlights of Wagner's operatic genius embodied in the four Ring Cycle operas: Das Rheingold, Die Walkyrie, Siegfried and Gotterdammerung. There are 22 major excerpts from the four operas for Bass Trumpet (part supplied for original keys and transposed version in C or may be played by a Tenor Trombone), 2 Tenor Trombones, Bass Trombone, Contrabass Trombone (can be performed on a Bass Trombone as well), Tuba and a coil bound full score. Included in the 22 excerpt Fissel compilation are the following famous excerpts: Ride of the Walkyrie, Entrance of the Gods into Valhalla, Wotan's Farewell, Dragon Scene from Siegfried, Siegfried's Rhine Journey, Siegfried's Funeral Music and Walhalla, Spear and Immolation Scene (finale).
$40.00
36.24 €
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Richard Wagner
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Fissel, Stephen
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Ring of the Nibelung compilation of Excerpts for Low Brass
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Gordon Cherry
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SheetMusicPlus
Ah, scostati!...Smanie implacabili (Dorabella) from Così fan tutte - Accessible Accompaniments Ed.
Mezzo-Soprano Voice,Vocal Solo - Level 5 - Digital Download SKU: A0.1186002 Compose…
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Mezzo-Soprano Voice,Vocal Solo - Level 5 - Digital Download SKU: A0.1186002 Composed by Wolfgang Amadeus Mozart. Arranged by Nicole Elyse DiPaolo. Classical,Opera. 10 pages. Nicole Elyse DiPaolo #785660. Published by Nicole Elyse DiPaolo (A0.1186002). The first of its kind, this is a much more readable and sight-playable piano/vocal reduction of Ah, scostati!...Smanie implacabili,†Dorabella’s first aria from Mozart’s Così fan tutte (1790). The sextuplets in the right hand found in most standard reductions have been condensed into triplets with a grace note, emphasizing that the gestural shape is what needs to be heard rather than every individual note, and the result is a much clearer and less note-filled score for the audition pianist. Some large spans in the left hand have also been reduced out and redistributed for more ergonomic playing on long audition days. When a grace note has an accidental that is then repeated later in the gesture, I’ve rewritten that accidental on the full-size note containing it for ease of reading (so the cue-size accidental is not the only indication of said accidental in the measure, which would make it too easy to miss). The recitative “Ah, scostati!†is also included with slight alterations and courtesy accidentals in the melodic minor scales.As with any Accessible Accompaniments edition that’s not also an audition/solo cut, I suggest bringing two copies to each audition: one Accessible Accompaniment and one copy of a standard edition. Audition pianists who don’t know the aria will almost always choose the cleaner look of the Accessible Accompaniment, but those who know “Smanie†well might prefer to play from the edition they learned it from. This will provide singers and their audition pianists every chance of a successful collaboration.All Accessible Accompaniments, including this one, boast several unique features:1. No reduction ever requires stretches of over an octave, not including bass notes meant to be held or “fudged†with the pedal (though octaves may also contain chord tones within them). This reduces the amount of rearranging that smaller-handed pianists must already do. Obviously, further reworkings are to be expected and pianists should feel free to add to or modify what I’ve provided.2. I’ve included less essential, but potentially desirable additional voices/passages in cue-size noteheads so that pianists can easily see them, but know that they are not necessary in a “sink or swim†accompanying situation. Presenting less essential material in cue-size noteheads also reduces visual clutter on the page.3. In addition to the composer’s markings, when needed, I have included additional courtesy accidentals.4. All page turns have been carefully selected so as to result in the least possible disruption to the pianist when possible. 5. When known, I’ve noted alternate cuts that singers might like to take within certain arias.6. I’ve also replaced text “cresc.†and “dim.†markings with hairpins, which are easier to see in high-pressure sight-reading situations.About the Arranger:Praised as a sensitive pianist and outstanding accompanist who delivers powerful interpretations, Nicole Elyse DiPaolo enjoys a multifaceted career as a sought-after collaborative pianist, educational composer, arranger, coach, private teacher, and adjunct music professor. Currently based in the Cleveland area, Ms. DiPaolo has appeared as a concerto soloist with the Ambassador Chamber Players on multiple occasions and as a recitalist, collaborator, and presenter worldwide. Currently, Ms. DiPaolo is an online Adjunct Lecturer in Music at Indiana University; the Principal Theory Teacher at Liberty Park Music, an online-only video subscription-based music school; an invited blog contributor and guest instructor at Tonebase; and a sought-after online instructor of piano, music theory, and composition who includes partimento and historical improvisation in her curricula. For more information, please visit http://ndipaolo.musicaneo.com .
$8.95
8.11 €
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Wolfgang Amadeus Mozart
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Nicole Elyse DiPaolo
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Ah, scostati!...Smanie implacabili
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Nicole Elyse DiPaolo
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SheetMusicPlus
Opera Classics for Guitar solo
Guitare notes et tablatures
Guitar, Guitar Tab, Classical Guitar, Fingerstyle Guitar, Guitar Solo - Early Intermedi…
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Guitar, Guitar Tab, Classical Guitar, Fingerstyle Guitar, Guitar Solo - Early Intermediate - Digital Download Composed by Geroges Bizet, Vincenzo Bellini, Ruggero Leoncavallo, Giacomo Puccini, Eduardo di Capua, George Frideric Handel. Arranged by PianoSheetNow. 21st Century, 20th Century, Romantic Period, Classical Period, Opera. Sheet Music Single, Tablature. 16 pages. Published by PianoSheetNow
Seven selected Opera themes for Guitar solo. Romance de Nadir is extract of Act I \'Je crois entendre\' (I Hear as in a Dream) from the opera \'Les pêcheurs de perles\' (The Pearl Fishers), by the French composer Georges Bizet, first premiered on 30 September 1863. Easy to Early intermediate, 1:45\'min. Two (2) pages. Rinaldo is an opera by George Frideric Handel (1685-1759), composed in 1711, and was the first Italian language opera written specifically for the London stage. Here is an arrangement of the popular piece Lascia ch\'io pianga (Almirena act 2) for Classical Guitar. Easy to Early Intermediate, 2:09\' min. Three (3) pages. Casta Diva (Norma - Cavatina) theme by Vincenzo Bellini (1801-1835). Intermediate Guitar, 36 bars. Two (2) pages. Mattinata (morning), is a well-known work by Ruggero Leoncavallo (23 April 1857 ? 9 August 1919, an Italian opera composer. Early Intermediate. 1:30 min. Two (2) pages. O mio babbino caro (\"Oh my dear daddy\") is a soprano aria from the opera Gianni Schicchi by Giacomo Puccini. The aria was first performed on 14 December 1918 at the Metropolitan Opera in New York. Early Intermediate. 1:18 min. Two (2) pages. O Sole Mio is a Neapolitan song written in 1898 by Eduardo di Capua (1865 -1917). O sole mio translates literally as \"my sunshine\". Easy to early Intermediate,1:20 min. Two (2) pages. Habanera by Georges Bizet from opera comique Carmen. Guitar in drop D tuning (low E to D). Intermediate. 1:29 min.Two (2) pages. With Tablature. With downloadable mp3 just for audio help. Total: 15 pages.
$19.99
18.11 €
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Guitare notes et tablatures
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Geroges Bizet, Vincenzo Bellini, Ruggero Leoncavallo, Giacomo Puccini, Eduardo di Capua, George Frideric Handel
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PianoSheetNow
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Opera Classics for Guitar solo
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PianoSheetNow
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SheetMusicPlus
Herodiade: 3 pieces from the opera - Solo Lever Harp
Harpe
Lever Harp - Level 4 - Digital Download SKU: A0.1220721 Composed by Jules Massenet.…
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Lever Harp - Level 4 - Digital Download SKU: A0.1220721 Composed by Jules Massenet. Arranged by Alessandro Palazzani. 19th Century,Classical,Opera,Romantic Period. Score. 30 pages. A work by Alessandro Palazzani #817061. Published by A work by Alessandro Palazzani (A0.1220721). CONTENTS: 1. Aube sur Jerusalem - Sunrise on Jerusalem2. Danse sacrée - Sacred dance3. Prélude: Jean le Baptiste et Salomé - John the Baptist and Salomefrom the opera HERODIADE by MassenetArranged for lever harp by Alessandro Palazzanithis score is part of the collection MUSIC FROM JULES MASSENET’S OPERAS which includes the most famous, captivating and evocative pieces of the Belle Epoque repertoire, arranged for lever harp and published in five volumes: I. music from: Thais – La Navarraise – Griselidis – Therese – Bacchus - II. music from: Werther – Don Cesar de Bazan – Ariane – Jerusalem –Le roy de Lahore – Amadis - III. music from: Manon – Marie Magdalene – Les Erynnies – Roma –Le Mage – Cherubin - IV. music from: Cendrillon – Le Cid – Le jongleur de Notre Dame –Cleopatre – Eve – Sapho - V. music from: Herodiade – Don Quixote – Phedre – La Vierge –Panurge – Esclarmonde.
$10.00
9.06 €
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Harpe
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Jules Massenet
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Alessandro Palazzani
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Herodiade: 3 pieces from the opera - Solo Lever Harp
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A work by Alessandro Palazzani
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SheetMusicPlus
DON QUICHOTTE: 2 interludes from the opera - Solo Lever Harp
Harpe
Lever Harp - Level 3 - Digital Download SKU: A0.1220722 Composed by Jules Massenet.…
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Lever Harp - Level 3 - Digital Download SKU: A0.1220722 Composed by Jules Massenet. Arranged by Alessandro Palazzani. 19th Century,Classical,Historic,Opera,Romantic Period. Score. 24 pages. A work by Alessandro Palazzani #817062. Published by A work by Alessandro Palazzani (A0.1220722). CONTENTS: 2 Interludes from the opera DON QUICHETTE by MassenetArranged for lever harp by Alessandro Palazzanithis score is part of the collection MUSIC FROM JULES MASSENET’S OPERAS which includes the most famous, captivating and evocative pieces of the Belle Epoque repertoire, arranged for lever harp and published in five volumes: I. music from: Thais – La Navarraise – Griselidis – Therese – Bacchus - II. music from: Werther – Don Cesar de Bazan – Ariane – Jerusalem –Le roy de Lahore – Amadis - III. music from: Manon – Marie Magdalene – Les Erynnies – Roma –Le Mage – Cherubin - IV. music from: Cendrillon – Le Cid – Le jongleur de Notre Dame –Cleopatre – Eve – Sapho - V. music from: Herodiade – Don Quixote – Phedre – La Vierge –Panurge – Esclarmonde.
$10.00
9.06 €
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Harpe
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Jules Massenet
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Alessandro Palazzani
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DON QUICHOTTE: 2 interludes from the opera - Solo Lever Harp
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A work by Alessandro Palazzani
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SheetMusicPlus
Mysteries of the Macabre
Trompette, Piano
Trumpet in C and piano - difficult - Digital Download Three arias from the opera Le G…
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Trumpet in C and piano - difficult - Digital Download Three arias from the opera Le Grand Macabre. Composed by Gyorgy Ligeti (1923-2006). This edition: Sheet music. Downloadable. Duration 8 minutes. Schott Music - Digital #Q3034. Published by Schott Music - Digital
I composed my opera Le Grand Macabre from 1974 to 1997. The Mysteries of the Macabre are arrangements of three coloratura arias of the chief of the "Secret Political Police" which have been arranged (beautifully!) for chamber ensemble by Elgar Howarth. My friend Howarth had conducted the world premiere of the opera in Stockholm in 1978 and some of the further productions. The half-nonsense text is an immediate - however more accurate - continuation of the idea of my works Aventures and Nouvelles Aventures, but there is no chromatics in the music any more.
$23.99
21.73 €
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Trompette, Piano
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Gyorgy Ligeti
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Mysteries of the Macabre
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Schott Music - Digital
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SheetMusicPlus
Contemporary Soprano Aria, "They Say You Can Find Love" from the opera "Menkaure"
Voix haute
High Voice,Vocal Solo - Level 5 - Digital Download SKU: A0.730207 Composed by James…
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High Voice,Vocal Solo - Level 5 - Digital Download SKU: A0.730207 Composed by James Nathaniel Holland. Contemporary,Holiday,Opera,Wedding. 9 pages. James Nathaniel Holland #37039. Published by James Nathaniel Holland (A0.730207). They say you can find Love Contemporary Soprano aria in English from 21st Century opera (Duration: 4'30) Music and Libretto by American Costa Rican composer James Nathaniel Holland Composer website: http://lacoronadelossantos.net/jamesnathanielholland.htmlVideo: https://www.youtube.com/watch?v=br_0U00Ck4Q From the American Opera MENKAURE Full opera YouTube: https://www.youtube.com/playlist?list=PLEcbVsA36MCuT1hxkTAyLuChFGJjtj4Ia Lyrics: They say you can find love, but in truth it is love who finds you! No matter how you force things, no matter what you do. You may sit patiently waiting, As months or years pass you by, and then one day it happens, A glance, a smile, you spy. Yes, I want love to find me, To tangle and entwine me, And it will, I know it will in its own sweet time. (Entire Opera duration: 2 hours) BRIEF SYNOPSIS: 6,000 years ago an almighty ruler died in Aksum. But today he lives for one woman, Trista,who falls in love with his statue at the Metropolitan Museum of Art in New York City. She is pulled deep into obsession, and her family is unable to rescue her; she tries to kiss the statue's face, and is arrested. With a quest to find the statue's twin, she flees to the country Joondor, site of the ancient city of Aksum where she is ultimately consumed by her love for Menkaure. Opera Website Page: http://www.lacoronadelossantos.net/menkaureopera.html Composer's website: http://www.lacoronadelossantos.net/jamesnathanielholland.html
$3.95
3.58 €
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Voix haute
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James Nathaniel Holland
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Contemporary Soprano Aria, "They Say You Can Find Love" from the opera "Menkaure"
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James Nathaniel Holland
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SheetMusicPlus
Carson Cooman: Rossini in the Kitchen (2005) for tenor and piano
Voix Tenor
Tenor Voice,Vocal Solo - Level 4 - Digital Download SKU: A0.533605 Composed by Cars…
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Tenor Voice,Vocal Solo - Level 4 - Digital Download SKU: A0.533605 Composed by Carson Cooman. Concert,Contemporary,Opera,Standards. 17 pages. Musik Fabrik Music Publishing #3030523. Published by Musik Fabrik Music Publishing (A0.533605). Rossini in the Kitchen (2005) is a comic staged monodrama for tenor and piano. It wascomposed for and is dedicated to Frank Napolitano.The work imagines the Italian composer Gioacchino Rossini (1792-1868) in his later years inParis. After his rather young retirement at age 37, Rossini wrote no more opera and insteadled a life of leisure and luxury, pursuing his great love of gourmet cooking.Although Rossini was from the northernmost regions of Italy, known for their elegant Frenchinfluencedcuisine, the recipes in this work are familiar Tuscan style Italian fare. It isassumed that Rossini would perhaps have enjoyed these dishes as well and made them as anod to his native country, whose national musical style he had so impacted with hiscompositional work.The musical language of this work is ecletic, drawing upon the common practice language ofRossini's time, distorted and amplified through more contemporary sounds and textures.Some of the contemporary sounds and textures are derived from popular music traditions ofthe second half of the 20th century. Since, like more modern popular music, Rossini's ownwork was some of the most popular and widely known music of its time. His tunes werewhistled by people in the streets, in the same way that today's pop songs are.Thus, the musical language of the work sometimes switches abruptly or transforms from onestyle into another. There are numerous allusions to Rossini's own music as well as that ofother later opera composers who were indebted to him.
$25.95
23.51 €
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Voix Tenor
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Carson Cooman
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Carson Cooman: Rossini in the Kitchen
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Musik Fabrik Music Publishing
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SheetMusicPlus
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