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Lundú, for Clarinet, Violin and Piano
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Lundú, for Clarinet, Violin and Piano
Small Ensemble Clarinet,Flute,Piano - Digital Download SKU: A0.1024314 Composed by …
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Small Ensemble Clarinet,Flute,Piano - Digital Download SKU: A0.1024314 Composed by Marcos Cohen. 20th Century. Score and parts. 12 pages. Tritonus #2945691. Published by Tritonus (A0.1024314). Lundú was comissioned by the XVI International Pará Music Festival in Brazil, in 2003. It is a serial composition based on a tradional rhythm from the Amazon region.
$7.00
6.45 €
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Marcos Cohen
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Lundú, for Clarinet, Violin and Piano
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Tritonus
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SheetMusicPlus
3 Romances, Op. 94 for Oboe and Piano - Robert Schumann
Hautbois, Piano (duo)
Oboe,Piano - Level 5 - Digital Download SKU: A0.1276462 Composed by Robert Schumann…
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Oboe,Piano - Level 5 - Digital Download SKU: A0.1276462 Composed by Robert Schumann. Arranged by Zellev. 19th Century,Christmas,Classical,Romantic Period,Wedding. Score and part. 22 pages. Zellev Music #868187. Published by Zellev Music (A0.1276462). The Three Romances for Oboe and Piano, Op. 94 (German: Drei Romanzen) is a composition by Robert Schumann, his only composition for oboe. It was composed in December 1849. The work consists of three short pieces in A-B-A form, and it was written during what was speculated to be one of Schumann's manic episodes.An average full performance lasts roughly 12 minutes.The Romances were written in December 1849, one of the most productive years of Schumann's entire career. Previously that year, Schumann had written two other works for wind instruments and piano: the Adagio and Allegro, op. 70, for French Horn and piano, and the Fantasy Pieces for Clarinet and Piano, op. 73. According to Schumann himself, the pieces were written on December 7, 11, and 12th in Dresden., Unlike many other oboes, works at the time, the pieces were not the result of a commission by a prominent soloist of the day. Schumann gave the pieces to his wife Clara Schumann, whom he once described as his own right hand, as a Christmas present, calling them his hundredth opusculum. Schumann's mental health was quickly deteriorating during the time of the pieces' writing; shortly afterward, he moved from Dresden to Düsseldorf, where he was admitted to and eventually died in an asylum.On November 2, 1850, the pieces were first performed privately as a piano and violin piece with Clara Schumann on piano and François Schubert on violin. The works were first performed several years after Schumann's death, in 1863; the performances took place on January 24 and February 14 in the Gewandhaus, featuring Emilius Lund on oboe and Carl Reinecke on piano.The piece was dedicated to Wilhelm Joseph von Wasielewski. The original edition was published by N. Simrock. The publication date is unknown, but it is estimated to have been anywhere from December 1850 to February 1851. Nikolaus Simrock wrote a letter to Schumann on November 19, 1850, asking whether or not Schumann would agree if we were to print on the title page: 'for oboe and pianoforte' and on this with a violin 'for violin and pianoforte' and on the third 'for clarinet and pianoforte,' since it is not looked upon with favor when several instruments appear on the title page. However, Schumann denied the request, replying, If I had originally written the work for violin or clarinet, it would have become a completely different piece. I regret not being able to comply with your wishes, but I can do no other. Two copies of the original printing exist Schumann's copy and Wasielewski's dedication copy (both either in museums or private collections).Disobeying Schumann's wishes, Simrock published alternate violin and oboe parts in the first edition. In her compilation of Robert's works post-mortem, Clara only included the violin transcription, possibly due to her only playing the piece with violinists. There have been several recordings of the music, including a recent one along with other Schumann oboe works by Oboe Classics. The romances are now a standard part of the oboe repertoire and often considered the best piece of romantic repertoire for the oboe.
$20.00
18.42 €
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Hautbois, Piano (duo)
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Robert Schumann
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Zellev
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3 Romances, Op. 94 for Oboe and Piano - Robert Schumann
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Zellev Music
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SheetMusicPlus
Madrigal Pavane / Timburibá
Guitar - Advanced - Digital Download SKU: ZZ.DZ-4287 Composed by Francisco Braga. A…
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Guitar - Advanced - Digital Download SKU: ZZ.DZ-4287 Composed by Francisco Braga. Arranged by Luciano Lima. Score. 13 pages. Les Productions d'OZ - Digital #DZ 4287. Published by Les Productions d'OZ - Digital (ZZ.DZ-4287). ISBN 9782898522048.Antônio Francisco Braga (1868-1945) belongs to the generation of Brazilian composers of the first republican period, aesthetically tied to romanticism, alongside Henrique Oswald (1852-1931), Leopoldo Miguez (1850-1902), Glauco Velásquez (1884-1914), and Barrozo Neto (1881-1941). Born in Rio de Janeiro, on April 15th, 1868, he began his musical studies at the Asilo dos Meninos Desvalidos, in 1876. In 1883, he enrolled at the Imperial Conservatório de Música where he studied harmony and counterpoint with Carlos de Mesquita – a former student of César Franck, Durand, and Massenet – and clarinet with Antônio Luís de Moura. Braga's first compositions date from this period: Sonho de Dante (1885), Dolce far niente (1886), the first Valse Romantique for piano (1886), among others.In 1887, he premiered his first symphonic work, Fantasia-Abertura. In 1890, being one of the finalists in a competition to choose the new Brazilian national anthem, Braga was awarded a scholarship to study in Europe, where he took classes with Jules Massenet at the Paris Conservatory. During this period, he wrote some of his most important symphonic works, Paysage, Cauchemar, Episódio Sinfônico, and Marabá (which was performed by Richard Strauss and the Vienna Philharmonic in 1920, in Brazil). His opera Jupyra is considered one of the greatest Brazilian compositions of that genre.Back in Brazil, he was appointed professor of counterpoint, fugue, and composition at the Instituto Nacional de Música, in 1902. There, some of the finest Brazilian composers studied with him, like Glauco Velásquez and Lorenzo Fernândez.Braga wrote operas, symphonic works, songs, sacred music, two Masses, music for piano, different chamber formations, band, and choir. He is the author of many patriotic hymns, the most popular of which is Hino à Bandeira (with lyrics by Olavo Bilac). He explored Brazilian nationalist elements in some of his works, as in Variações sobre um Tema Brasileiro and in the Trio for violin, cello and piano, whose third movement is based on a lundu (a musical genre and dance of Afro-Brazilian origin).In addition to being a composer, Braga was one of the most active conductors of his time, having been ahead of three orchestras in Rio de Janeiro: Instituto Nacional de Música, Sociedade de Concertos Sinfônicos, and Theatro Municipal. Braga conducted the Brazilian premiere of major symphonic works such as La Mer (Debussy), Pacific 231 (Honegger) besides other numerous Brazilian compositions.In 1938, he retired from Instituto Nacional de Música. He passed away on March 14th, 1945, in Rio de Janeiro.Unfortunately, Francisco Braga never wrote for the guitar. However, over a century ago his music had already been incorporated to its repertoire. According to information found in newspapers of the time, Spanish guitarist Josefina Robledo included transcriptions of pieces by Braga in her programs when she performed in Brazil: Gavota e Minuete (from the melodrama Contratador de Diamantes), in 1919, in São Paulo, and the waltz-caprice Corrupio, in 1921, in Rio de Janeiro.The piano score of Madrigal Pavane was dedicated to Alexina Leitão and published by Casa Vieira Machado, in 1901. According to the composer’s catalogue, there are two other versions of this piece: strings orchestra (1901) and quartet (which is still in manuscript). Dedicated to Braga’s childhood friend José de Souza Rocha, Timburibá (the name of a Brazilian tree) is a tango for piano from 1886, published by Narciso & Arthur Napoleão.Antônio Francisco Braga (1868-1945) appartient à la génération des compositeurs brésiliens de la première période républicaine, esthétiquement liés au romantisme, aux côtés de Henrique Oswald (1852-1931), Leopoldo Miguez (1850-1902), Glauco Velásquez (1884-1914) , et Barrozo Neto (1881-1941). Né à Rio de Janeiro, le 15 avril 1868, il commence ses études musicales à l'Asilo dos Meninos Desvalidos, en 1876. En 1883, il s'inscrit au Imperial Conservatório de Música où il étudie l'harmonie et le contrepoint avec Carlos de Mesquita – ancien élève de César Franck, Durand et Massenet – et clarinette avec Antônio Luís de Moura. De cette période datent les premières compositions de Braga : « Sonho de Dante » (1885), « Dolce far niente » (1886), la première « Valse Romantique » pour piano (1886), entre autres.En 1887, il crée sa première œuvre symphonique, « Fantasia-Abertura ». En 1890, étant l'un des finalistes d'un concours pour choisir le nouvel hymne national brésilien, Braga obtient une bourse pour étudier en Europe, où il suit les cours de Jules Massenet au Conservatoire de Paris. Durant cette période, il écrit certaines de ses œuvres symphoniques les plus importantes, « Paysage », « Cauchemar », « Episódio Sinfônico » et « Marabá » (interprétée par Richard Strauss et la Philharmonie de Vienne en 1920, au Brésil). Son opéra « Jupyra » est considéré comme l'une des plus grandes compositions brésiliennes de ce genre.De retour au Brésil, il fut nommé professeur de contrepoint, de fugue et de composition à l'Instituto Nacional de Música, en 1902. Là, certains des meilleurs compositeurs brésiliens étudièrent avec lui, comme Glauco Velásquez et Lorenzo Fernândez.Braga a écrit des opéras, des œuvres symphoniques, des chansons, de la musique sacrée, deux messes, de la musique pour piano, différentes formations de chambre, un orchestre et une chorale. Il est l'auteur de nombreux hymnes patriotiques, dont le plus populaire est « Hino à Bandeira » (avec des paroles d'Olavo Bilac). Il a exploré des éléments nationalistes brésiliens dans certaines de ses œuvres, comme dans « Variações sobre um Tema Brasileiro » et dans le Trio pour violon, violoncelle et piano, dont le troisième mouvement est basé sur un « lundu » (un genre musical et une danse afro-américaine). Origine brésilienne).En plus d'être compositeur, Braga a été l'un des chefs d'orchestre les plus actifs de son époque, ayant dirigé trois orchestres à Rio de Janeiro : « Instituto Nacional de Música », « Sociedade de Concertos Sinfônicos » et « Theatro Municipal ». Braga a dirigé la première brésilienne d'œuvres symphoniques majeures telles que « La Mer » (Debussy), « Pacific 231 » (Honegger) ainsi que de nombreuses autres compositions brésiliennes.En 1938, il prend sa retraite de l'Instituto Nacional de Música. Il est décédé le 14 mars 1945 à Rio de Janeiro.Malheureusement, Francisco Braga n’a jamais écrit pour la guitare. Cependant, il y a plus d'un siècle, sa musique était déjà incorporée à son répertoire. Selon des informations trouvées dans les journaux de l'époque, la guitariste espagnole Josefina Robledo incluait des transcriptions de pièces de Braga dans ses programmes lorsqu'elle se produisait au Brésil : « Gavota e Minuete » (du mélodrame « Contratador de Diamantes »), en 1919, à São Paulo, et la valse-caprice « Corrupio », en 1921, à Rio de Janeiro.La partition pour piano de « Madrigal Pavane » a été dédiée à Alexina Leitão et publiée par « Casa Vieira Machado », en 1901. Selon le catalogue du compositeur, il existe deux autres versions de cette pièce : orchestre à cordes (1901) et quatuor (qui est encore manuscrit). Dédié à José de Souza Rocha, ami d'enfance de Braga, « Timburibá » (nom d'un arbre brésilien) est un tango pour piano de 1886, publié par « Narciso & Arthur Napoleão ».Envoyer des commentairesPanneaux latérauxHistoriqueEnregistrées.
$7.95
7.32 €
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Francisco Braga
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Luciano Lima
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Madrigal Pavane / Timburibá
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Les Productions d'OZ - Digital
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SheetMusicPlus
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