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1653
Piano seul
665
Piano Facile
376
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206
1 Piano, 4 mains
61
Accompagnement Piano
55
Instruments en Do
53
Orgue
44
Piano Trio: piano, violon, violoncelle
33
2 Pianos, 4 mains
13
Piano grosses notes
10
Accordéon
7
Piano Quatuor: piano, violon, alto, violoncelle
6
Piano Quintette: piano, 2 violons, alto, violoncelle
6
2 Pianos, 8 mains
2
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2
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1
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1
1 Piano, 6 mains
1
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Guitare
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17
Ukulele
16
Basse electrique
13
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8
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6
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4
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4
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1
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1
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1
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VOIX
Chorale SATB
217
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116
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97
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90
Voix Baryton, Piano
59
Chorale 2 parties
54
Voix Alto, Piano
53
Voix seule
44
Voix duo, Piano
38
Voix haute
26
Chorale TTBB
26
Voix duo
21
Chorale Unison
21
Voix Baryton
16
Voix moyenne, Piano
16
Chorale SSAA
14
Voix basse, Piano
14
Voix Mezzo-Soprano, Piano
12
Voix Tenor
9
Chorale
9
Voix Soprano
6
Pack Instrumental pour Chorale
5
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4
Voix haute, Piano
4
Voix, Guitare
1
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VENTS
Flûte traversière et Piano
271
Clarinette et Piano
240
Hautbois, Piano (duo)
147
Quatuor de Saxophones: 4 saxophones
146
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
144
Saxophone Alto et Piano
142
Flûte, Hautbois, Clarinette, Basson
104
2 Flûtes traversières (duo)
98
Saxophone Soprano et Piano
94
Quatuor de Clarinettes: 4 clarinettes
89
Clarinette
82
Flûte traversière
74
Saxophone Tenor et Piano
69
Quatuor de Flûtes : 4 flûtes
69
2 Saxophones (duo)
61
Quintette de Saxophone: 5 saxophones
52
Hautbois (partie séparée)
50
Harmonica
50
Ensemble de Clarinettes
48
Saxophone (partie séparée)
47
Saxophone Alto
46
Cor anglais, Piano
42
2 Clarinettes (duo)
40
Saxophone Baryton, Piano
31
Saxophone Tenor
28
Ensemble de saxophones
25
Clarinette Basse, Piano
25
Clarinette (partie séparée)
25
Quintette de Clarinettes: 5 clarinettes
24
3 Saxophones (trio)
23
Ensemble de Flûtes
23
Quatuor de Flûtes à bec
19
2 Flûte à bec (duo)
16
3 Clarinettes (trio)
15
Trio de Flûtes: 3 flûtes
14
Flûte à bec Soprano
12
Flûte et Guitare
12
Flûte, Clarinette (duo)
12
5 Flûtes à bec
11
2 Hautbois (duo)
11
Saxophone, Clarinette (duo)
11
Flûte, Violoncelle, Piano (trio)
11
Flute (partie séparée)
9
Hautbois
9
Clarinette, Violoncelle, Piano (trio)
8
Flûte, Violon, Piano
8
2 Flûtes traversières, Piano
8
Clarinette, Basson (duo)
7
Hautbois, Basson (duo)
7
Clarinette, Violon (duo)
7
Flûte, Clarinette, Piano (trio)
7
Flûte à bec Alto
7
Flûte à bec, Guitare (duo)
6
Flûte, Clarinette, Cor, Basson (Quartet)
6
3 Flûtes à bec (trio)
6
Clarinette, Guitare (duo)
6
Cor Anglais
5
Hautbois, Clarinette (duo)
5
Quintette de Flûte : 5 flûtes
5
Flûte, Violon
5
Flûte, Clarinette et Basson
5
2 Clarinettes, Piano
5
Flûte à Bec
4
Flûte, Saxophone (duo)
4
Clarinette, Trompette (duo)
4
Flûte, Alto (duo)
3
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3
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3
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3
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3
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3
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3
Flûte, Trompette (duo)
3
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2
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2
Clarinette Basse
2
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2
Clarinette et Alto
2
Piccolo
2
Flûte, Violon, Violoncelle et Piano
2
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2
Flûte, Violoncelle
2
Flûte, trombone et piano
2
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1
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1
Flûte de Pan
1
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1
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1
2 Saxophones, Piano
1
Saxophone et violoncelle
1
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1
Flûte, Violon et Violoncelle
1
Flûte traversière, Orgue (duo)
1
2 Flûtes à bec, Guitare
1
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1
Piccolo, Piano
1
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CUIVRES
Trompette, Piano
156
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
132
Cor et Piano
127
Trombone et Piano
112
Cor
82
Trompette
78
Quatuor de Cuivres : 2 trompettes, trombone, tuba
77
Tuba et Piano
71
Trombone
56
2 Trombones (duo)
44
Cor anglais, Piano
42
Tuba
41
Quatuor de cuivres: 4 cors
35
Euphonium, Piano (duo)
33
Quatuor de Cuivres: 2 trompettes, Cor, trombone
30
Trombone (partie séparée)
27
Trompette (partie séparée)
26
Quatuor de cuivres: 4 trombones
26
Ensemble de Trombones
19
Ensemble de Cors
18
2 Trompettes (duo)
18
Quatuor de Cuivres
14
Cor (partie séparée)
11
Quatuor de cuivres: 4 trompettes
11
2 Euphoniums (duo)
11
Trompette, Trombone (duo)
9
2 Cors (duo)
9
Tuba et Orgue
9
Ensemble de Trompettes
7
Tuba (partie séparée)
7
Trompette, Violoncelle et Piano
6
Trompette, Saxophone (duo)
6
Cor Anglais
5
2 Tubas (duo)
4
Euphonium
4
3 Trombones (trio)
4
Euphonium, Tuba (duo)
4
4 Tubas
4
Trio de Cuivres
3
3 Tubas (trio)
3
2 Euphoniums et 2 Tubas
3
3 Cors (trio)
2
Trompette, Cor (duo)
2
Trompette, Trombone, Piano
2
Trombone, Cor (duo)
2
Trombone basse et Piano
2
3 Trompettes (trio)
1
2 Trompettes, Clavier (piano ou orgue)
1
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CORDES
Quatuor à cordes: 2 violons, alto, violoncelle
335
Violon et Piano
315
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262
Alto, Piano
230
Violon
113
Harpe
96
Violoncelle
84
Contrebasse, Piano (duo)
63
Alto seul
60
Trio à Cordes: violon, alto, violoncelle
56
Violon, Violoncelle (duo)
44
Contre Basse
36
Violon (partie séparée)
35
2 Harpes (duo)
32
2 Violons (duo)
25
2 Altos (duo)
23
2 Violoncelles (duo)
23
4 Violoncelles
22
Violon, Alto (duo)
20
Alto (partie séparée)
20
Trio à Cordes: 2 violons, violoncelle
17
Contrebasse (partie séparée)
15
Quintette à cordes: 2 violons, alto, violoncelle, basse
14
Alto, Violoncelle (duo)
11
Trio à cordes: 3 violins
10
Quatuor à cordes: 4 violons
10
Harpe, Flûte (duo)
10
Quatuor à cordes : 4 altos
10
Violoncelle (partie séparée)
10
Trio à Cordes: 3 violoncelles
7
Piano Trio: Violon, Alto, Piano
7
Alto, Guitare (duo)
7
Trio à cordes: 3 altos
6
Violon, Guitare (duo)
6
2 Contrebasses (duo)
5
Quintette à cordes : 2 violons, alto et 2 violoncelles
5
Trio à cordes
3
Violoncelle , Guitare (duo)
3
Harpe, Violon, Violoncelle
2
Harpe, Violon (duo)
2
Flûte, Contrebasse (duo)
2
Harpe et Piano
1
2 Violons et Basse continue
1
Trio à Cordes: 2 violons, alto
1
2 Altos, Piano
1
Violoncelle, Orchestre
1
Alto et Basson
1
Violon, Basson (duo)
1
2 Violons, Piano
1
Harpe et mandoline
1
Violon, Orgue
1
Harpe, Orchestre
1
Ensemble de Violoncelles
1
Violon, Basse continue
1
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PERCUSSIONS & ORCHESTRES
Orchestre d'harmonie
535
Orchestre
265
Orchestre à Cordes
145
Ensemble de cuivres
137
Orchestre de chambre
80
Jazz combo
38
Ensemble Jazz
27
Percussion (partie séparée)
14
Cloches
11
Xylophone, Piano
10
Big band
8
Ensemble de Percussions
7
Fanfare
6
Marimba
6
Timbales (partie séparée)
3
Quatuor à Vent : 4 instruments à vents
3
Batterie
3
Xylophone
2
Batterie (partie séparée)
2
Caisse Claire
1
Percussion
1
Piano et Orchestre
1
Voix et Orchestre
1
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AUTRES
Théorie de la musique
1
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📄 Storia della Musica (Dalle origini al XX secolo)
Ligne De Mélodie, (Paroles) et Accords
C Instrument - Level 3 - Digital Download SKU: A0.1105055 By Andrea Balzani. By And…
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C Instrument - Level 3 - Digital Download SKU: A0.1105055 By Andrea Balzani. By Andrea Balzani. Classical,Early Music,Historic,Medieval,Opera. Lead Sheet / Fake Book. 183 pages. Andrea Balzani #708300. Published by Andrea Balzani (A0.1105055). 👉  Dispensa di Storia della Musica (dispensa didattica)Language: ITALIAN 🇮🇹 ➡ï¸â€ŠLinktree: https://linktr.ee/AndreaBalzani Contenuti:- TESI n. 1 ◾  Origini monogenetiche della musica ed Etnomusicologia- TESI n. 2 ◾  Le Musiche dei popoli antichi e la musica ebraica - TESI n. 3 ◾  L'Antica musica Greca- TESI n. 4 ◾  Il Canto Cristiano e il Gregoriano - TESI n. 5 ◾  La Polifonia medioevale e l'Ars Antiqua- TESI n. 6 ◾  La Notazione musicale  - TESI n. 7 ◾  Guido d'Arezzo e la Teoria Medioevale - TESI n. 8 ◾  Canti sacri e profani, Trovatori, Trovieri e Minnesangers - TESI n. 9 ◾  Il Trecento: L'Ars Nova- TESI n. 10 ◾  Le Scuole fiamminghe del Quattrocento  - TESI n. 11 ◾  La Musica nel Rinascimento e la Polifonia sacra - TESI n. 12 ◾  Le Forme musicali dal XIII sec. al XVI sec.  - TESI n. 13 ◾  I Trattatisti e gli strumenti nel Rinascimento - TESI n. 14 ◾  La Nascita dell'Opera e la Camerata Bardi - TESI n. 15 ◾  L'Oratorio e la Musica sacra- TESI n. 16 ◾  L'Opera Italiana nel Seicento a Roma e Venezia - TESI n. 17 ◾  L'Opera Italiana nel Settecento in Italia e in Europa . - TESI n. 18 ◾  L'Opera seria e l'Opera buffa- TESI n. 19 ◾  Le riforme dell'Opera italiana : Gluck e Calzabigi - TESI n. 20 â—¾  L'Opera in Francia, Germania, Austria ed Inghilterra - TESI n. 21 ◾  L'Opera Italiana in Europa nel Seicento e Settecento- TESI n. 22 ◾  L'Opera nell'Ottocento: Rossini, Donizetti, Bellini, Verdi - TESI n. 23 ◾  Wagner : vita, opere e pensiero  - TESI n. 24 ◾  Musica, forme e strumenti del primo barocco - TESI n. 25 ◾  Il Barocco di mezzo : la Suite, la Sonata, Corelli  - TESI n. 26 ◾  Il Concerto, Vivaldi e Scarlatti   - TESI n. 27 ◾  J.S.Bach, Haendel, le scuole organistiche tedesche- TESI n. 28 ◾  Il Rococò e lÂ’Età Classica: Haydn, Mozart, Beethoven- TESI n. 29 ◾  Il Romanticismo: le forme ed i musicisti romantici   - TESI n. 30 ◾  La musica strumentale nella seconda Ottocento    - TESI n. 31 ◾  Le Scuole Nazionali      - TESI n. 32 ◾  Il Novecento, la Dodecafonia e la Musica elettronica  ✉ï¸â€Šâ€ŠContact: andreabalzani.workinprogress@gmail.com
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Die Walkure
Piano, Voix
Der Ring des Nibelungen. Composed by Richard Wagner (1813-1883). This edition: vocal…
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Der Ring des Nibelungen. Composed by Richard Wagner (1813-1883). This edition: vocal/piano score. Erstveroffentlichung, Festspiel, Oper. Wagner Urtext Piano/Vocal Scores. Downloadable. Schott Music - Digital #Q25919. 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.<br> <br> The score corresponds to the performance materials from the Complete Edition.<br> For practical use in rehearsal cues and bar numbers throughout.<br> The publisher has secured the services of renewed musicologists associated with the Richard Wagner Complete Edition who convey detailed information in critical forewords.<br> The forewords are given in three languages(German, English, French).<br> Uniform and attractive front cover designs with reproductions of paintings from the Wagner era underline the series design of the edition.<br> <br> DIE WALKURE<br> <br> In the tetralogy Der Ring des Nibelungen [The Ring of the Nibelung] which was subtitled by Wagner as A stage festival play for three days and a preliminary evening, Die Walkure [The Valkyrie] forms the first day following Das Rheingold as the preliminary evening. The beginning of the history of the origins of the tetralogy is frequently placed in 1848 when Wagner compiled a prose sketch entitled Die Nibelungensage (Erstschrift) [The Nibelung Saga (first draft)] or Die Sage von den Nibelungen (Reinschrift) [The Saga of the Niblelungs (fair copy)] which would suggest that this was already the text for the Ring des Nibelungen, but the actual concept for the tetralogy did not actually evolve until the autumn of 1851. When Wagner first compiled the libretto for the heroic opera Siegfried's Tod [Siegfried's Death] in November 1848 - during his period of employment as Hofkapellmeister[court music director] in Dresden - he was in fact only planning a single opera and continued to adhere to this concept even after his involvement in the failed Dresden uprising in 1849 and subsequent escape to Switzerland. He began with the composition of Siegfried's Tod in the summer of 1850 in Zurich, but soon laid it aside. He returned to the project almost a year later in May 1851 with the idea of a two-part drama: to lend the plot greater conclusiveness, Siegfried's Tod would be preceded by a second opera entitled Der junge Siegfried [The Young Siegfried], subsequently shortened to Siegfried, but this extension was still insufficient to satisfy Wagner's dramatic-dramaturgic aspirations. In November 1851, he began the first text drafts for Das Rheingold and Die Walkure which were followed by the libretti in 1852: Die Walkure was completed in June 1852.<br> <br> The premiere of Die Walkure was held in Munich on 26 June 1870, but without Wagner's specific permission as he did not wish the operas to be performed separately. He held the opinion that Die Walkure was only logical and comprehendible within the context of the complete tetralogy. Wagner had however not only made a present of the autograph score to King Ludwig II of Bavaria who had been his generous benefactor since 1864, but had also sold him the rights to the tetralogy. The king was eager to experience performances of the already finished parts and Wagner was therefore powerless to prevent him from commanding performances of the individual operas. The premiere of Die Walkure within the context of the tetralogy took place in 1876 at the first Bayreuth Festival.<br> <br> (Egon Voss, quoted from the foreword of the new Die Walkure vocal score. translated by Lindsay Chalmers-Gerbracht)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.<br> <br> The score corresponds to the performance materials from the Complete Edition.<br> For practical use in rehearsal cues and bar numbers throughout.<br> The publisher has secured the services of renewed musicologists associated with the Richard Wagner Complete Edition who convey detailed information in critical forewords.<br> The forewords are given in three languages(German, English, French).<br> Uniform and attractive front cover designs with reproductions of paintings from the Wagner era underline the series design of the edition.<br> <br> DIE WALKURE<br> <br> In the tetralogy Der Ring des Nibelungen [The Ring of the Nibelung] which was subtitled by Wagner as A stage festival play for three days and a preliminary evening, Die Walkure [The Valkyrie] forms the first day following Das Rheingold as the preliminary evening. The beginning of the history of the origins of the tetralogy is frequently placed in 1848 when Wagner compiled a prose sketch entitled Die Nibelungensage (Erstschrift) [The Nibelung Saga (first draft)] or Die Sage von den Nibelungen (Reinschrift) [The Saga of the Niblelungs (fair copy)] which would suggest that this was already the text for the Ring des Nibelungen, but the actual concept for the tetralogy did not actually evolve until the autumn of 1851. When Wagner first compiled the libretto for the heroic opera Siegfried's Tod [Siegfried's Death] in November 1848 - during his period of employment as Hofkapellmeister[court music director] in Dresden - he was in fact only planning a single opera and continued to adhere to this concept even after his involvement in the failed Dresden uprising in 1849 and subsequent escape to Switzerland. He began with the composition of Siegfried's Tod in the summer of 1850 in Zurich, but soon laid it aside. He returned to the project almost a year later in May 1851 with the idea of a two-part drama: to lend the plot greater conclusiveness, Siegfried's Tod would be preceded by a second opera entitled Der junge Siegfried [The Young Siegfried], subsequently shortened to Siegfried, but this extension was still insufficient to satisfy Wagner's dramatic-dramaturgic aspirations. In November 1851, he began the first text drafts for Das Rheingold and Die Walkure which were followed by the libretti in 1852: Die Walkure was completed in June 1852.<br> <br> The premiere of Die Walkure was held in Munich on 26 June 1870, but without Wagner's specific permission as he did not wish the operas to be performed separately. He held the opinion that Die Walkure was only logical and comprehendible within the context of the complete tetralogy. Wagner had however not only made a present of the autograph score to King Ludwig II of Bavaria who had been his generous benefactor since 1864, but had also sold him the rights to the tetralogy. The king was eager to experience performances of the already finished parts and Wagner was therefore powerless to prevent him from commanding performances of the individual operas. The premiere of Die Walkure within the context of the tetralogy took place in 1876 at the first Bayreuth Festival.<br> <br> (Egon Voss, quoted from the foreword of the new Die Walkure vocal score. translated by Lindsay Chalmers-Gerbracht)
$53.99
49.27 €
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Piano, Voix
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Richard Wagner (1813-1883)
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Die Walkure
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Schott Music - Digital
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SheetMusicPlus
The Opera Collection
Quatuor à cordes: 2 violons, alto, violoncelle
String quartet - easy to intermediate - Digital Download 8 Famous Opera Themes Arranged…
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String quartet - easy to intermediate - Digital Download 8 Famous Opera Themes Arranged for String Quartet. This edition: score and parts. The Schott String Quartet Series. Downloadable. Schott Music - Digital #Q25912. Published by Schott Music - Digital
Author and arranger Barrie Carson Turner presents a selection of 8 Famous Opera themes arranged for string quartet. The collection includes: Non piu andrai (Mozart), Intermezzo (Mascagni), Toreador Song (Bizet), Oh! mio babbino caro (Puccini), Lascia ch'io pianga (Handel), Chorus of the Hebrew Slaves (Verdi), Bei Mannern, welche Liebe fuhlen (Mozart), and Per poco fra le tenebre (Donizetti). The collection comes with separate part inserts for each instrument.Author and arranger Barrie Carson Turner presents a selection of 8 Famous Opera themes arranged for string quartet. The collection includes:
Non piu andrai (Mozart), Intermezzo (Mascagni), Toreador Song (Bizet), Oh! mio babbino caro (Puccini), Lascia ch'io pianga (Handel), Chorus of the Hebrew Slaves (Verdi), Bei Mannern, welche Liebe fuhlen (Mozart), and Per poco fra le tenebre (Donizetti).
The collection comes with separate part inserts for each instrument.
$19.99
18.24 €
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Quatuor à cordes: 2 violons, alto, violoncelle
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The Opera Collection
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Schott Music - Digital
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SheetMusicPlus
La donna e mobile
Piano Facile
Piano - very easy to easy - Digital Download 50 famous opera melodies. Arranged by Ha…
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Piano - very easy to easy - Digital Download 50 famous opera melodies. Arranged by Hans-Guenter Heumann. This edition: Sheet music. Opera, Piano, Arrangement. Pianissimo. Downloadable. Schott Music - Digital #Q47390. Published by Schott Music - Digital
The anthology La donna e mobile is the follow-up volume to the best-seller Eine kleine Nachtmusik with masterpieces of classical music (ED 20764). The latest volume in the Pianissimo series contains 50 of the best known opera melodies and 'favourites of the public' by Mozart, Rossini, Puccini, Verdi and others. The arrangements by Hans-Gunter Heumann are easy to play, yet remain as close to the original as possible. A treasure trove for music lessons and playing for pleasure!The anthology La donna e mobile is the follow-up volume to the best-seller Eine kleine Nachtmusik with masterpieces of classical music (ED 20764). The latest volume in the Pianissimo series contains 50 of the best known opera melodies and 'favourites of the public' by Mozart, Rossini, Puccini, Verdi and others. The arrangements by Hans-Gunter Heumann are easy to play, yet remain as close to the original as possible. A treasure trove for music lessons and playing for pleasure!
$17.99
16.42 €
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Piano Facile
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Hans-Guenter Heumann
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La donna e mobile
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Schott Music - Digital
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SheetMusicPlus
Italian Opera Arias
Voix Mezzo-Soprano, Piano
Mezzo-soprano voice and piano - intermediate to difficult - Digital Download This edi…
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Mezzo-soprano voice and piano - intermediate to difficult - Digital Download This edition: Sheet music. Schott VOCAL. Downloadable. Schott Music - Digital #Q11069. Published by Schott Music - Digital
Drama, passion, a good dose of humour and, first and foremost, immortal melodies are the ingredients of the great masterpieces of Italian opera history. This collection of arias contains the most beautiful and popular solo pieces of music theatre in one volume. A cross-section of the art of singing spanning three centuries.Drama, passion, a good dose of humour and, first and foremost, immortal melodies are the ingredients of the great masterpieces of Italian opera history. This collection of arias contains the most beautiful and popular solo pieces of music theatre in one volume. A cross-section of the art of singing spanning three centuries.
$19.99
18.24 €
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Voix Mezzo-Soprano, Piano
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Italian Opera Arias
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Schott Music - Digital
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SheetMusicPlus
Italian Opera Arias
Voix Soprano, Piano
Soprano voice and piano - intermediate to difficult - Digital Download This edition: …
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Soprano voice and piano - intermediate to difficult - Digital Download This edition: Sheet music. Schott VOCAL. Downloadable. Schott Music - Digital #Q11090. Published by Schott Music - Digital
Drama, passion, a good dose of humour and, first and foremost, immortal melodies are the ingredients of the great masterpieces of Italian opera history. This collection of arias contains the most beautiful and popular solo pieces of music theatre in one volume each. A cross-section of the art of singing over three centuries.Drama, passion, a good dose of humour and, first and foremost, immortal melodies are the ingredients of the great masterpieces of Italian opera history. This collection of arias contains the most beautiful and popular solo pieces of music theatre in one volume each. A cross-section of the art of singing over three centuries.
$19.99
18.24 €
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Voix Soprano, Piano
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Italian Opera Arias
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Schott Music - Digital
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SheetMusicPlus
Anthology for Operatic Baritone and Bass Voice
Voix Baryton
Composed by James Nathaniel Holland. Broadway, Contemporary, Musical/Show, Opera, St…
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Composed by James Nathaniel Holland. Broadway, Contemporary, Musical/Show, Opera, Standards. Score. 231 pages. James Nathaniel Holland #695904. Published by James Nathaniel Hollan
Item Number: A0.1091749<br> <br> 39 Operatic selections for Baritone and Bass Operatic Voice, Solo Arias or 2 Baritone Duets and Baritone and Bass Duets in English, taken from the stageworks of 21st Century American composer James Nathaniel Holland. Standalone pieces range from moving to dramatic to comedic, including the complete, popular song cycle "A Collection of Sonnets" in range for Baritone. Selections from the Holland operas of Menkaure, On the Wings of the Scarlet Messenger, The Hero and the Damned, The Imaginary Invalid, Canterbury Tales, The Discontented Housewife, The One Upstairs, A Lucky Star, Germain (Baritone arias), O Holy Art (Baritone and Soprano arias arranged for Baritone) and more! Includes: Menkaure's "Hatred Lives in Joondor" for Bass, Germain's "O Truth Where Are You Now" , Songs from the ballets "The Snow Queen" (Waltz of the Roses as Bass solo and Baritone/Bass Duet or Solo) "The Wind in the Willows," (Carol arranged as Duet, and Forget arranged for 2 Baritones, The Incredible Mr. Toad for Bass and When the Toad Came Home for Bass, "Margaret, Margaret" from The Discontented Housewife, (After all, Isn't True Love But) "A Quiet Thing" from the One Upstairs, On the Wings of the Scarlett Messenger's "Think of Me Now and Then" (arranged for Bass) and The Hero and Damned pieces arranged for Baritones and more!.Item Number: A0.1091749<br> <br> 39 Operatic selections for Baritone and Bass Operatic Voice, Solo Arias or 2 Baritone Duets and Baritone and Bass Duets in English, taken from the stageworks of 21st Century American composer James Nathaniel Holland. Standalone pieces range from moving to dramatic to comedic, including the complete, popular song cycle "A Collection of Sonnets" in range for Baritone. Selections from the Holland operas of Menkaure, On the Wings of the Scarlet Messenger, The Hero and the Damned, The Imaginary Invalid, Canterbury Tales, The Discontented Housewife, The One Upstairs, A Lucky Star, Germain (Baritone arias), O Holy Art (Baritone and Soprano arias arranged for Baritone) and more! Includes: Menkaure's "Hatred Lives in Joondor" for Bass, Germain's "O Truth Where Are You Now" , Songs from the ballets "The Snow Queen" (Waltz of the Roses as Bass solo and Baritone/Bass Duet or Solo) "The Wind in the Willows," (Carol arranged as Duet, and Forget arranged for 2 Baritones, The Incredible Mr. Toad for Bass and When the Toad Came Home for Bass, "Margaret, Margaret" from The Discontented Housewife, (After all, Isn't True Love But) "A Quiet Thing" from the One Upstairs, On the Wings of the Scarlett Messenger's "Think of Me Now and Then" (arranged for Bass) and The Hero and Damned pieces arranged for Baritones and more!.
$22.95
20.95 €
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Voix Baryton
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James Nathaniel Holland
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Anthology for Operatic Baritone and Bass Voice
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James Nathaniel Hollan
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SheetMusicPlus
The Birdcatcher Aria from Mozart's opera The Magic Flute for Solo Piano
Piano seul
Piano Solo - Digital Download SKU: A0.930489 Composed by Wolfgang Amadeus Mozart. A…
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Piano Solo - Digital Download SKU: A0.930489 Composed by Wolfgang Amadeus Mozart. Arranged by Lisa Ruping Cheng. Contemporary. Score. 3 pages. Lisa Ruping Cheng #4747393. Published by Lisa Ruping Cheng (A0.930489). Intermediate level piano solo arrangement of the Aria Der Vogelfänger bin ich ja (The birdcatcher; that's me), from Wolfgang A Mozart's opera The Magic Flute. Suitable for piano teachers to use as supplemental teaching materials for intermediate level. Key signature set in C major to make easier for sight read. A light hearted, classic Mozart operatic aria that is wonderful for piano students to approach a different genre of music - operas. ISMN 979-0-706118-00-0Arrangement by Lisa Ruping Cheng, copy righted 2019.
$3.99
3.64 €
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Piano seul
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Wolfgang Amadeus Mozart
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Lisa Ruping Cheng
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that's me),
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The Birdcatcher Aria from Mozart's opera The Magic Flute for Solo Piano
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Lisa Ruping Cheng
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SheetMusicPlus
Classical Music for Children
Guitare
Guitar - easy - Digital Download 58 Easy Pieces for Guitar. Arranged by Martin Hegel.…
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Guitar - easy - Digital Download 58 Easy Pieces for Guitar. Arranged by Martin Hegel. This edition: Sheet music. Klassik, Renaissance, Barock, Romantik, Gitarre. Classical Music for Children. Downloadable. Schott Music - Digital #Q25984. Published by Schott Music - Digital
This volume contains everything needed for guitar lessons: 58 easy original guitar pieces by Aguado, Mertz, Diabelli, Carulli, Sor or Carcassi, but also easy-to-play arrangements of classical music from the fields of orchestral music, chamber music or opera. Among them are themes from Vivaldi's Four Seasons, from Handel's Music for the Royal Fireworks, Mozart's Magic Flute, Beethoven's Symphony No. 9 or Verdi's Chorus of the Hebrew Slaves. It is this volume's concern to make classical masterpieces of concert literature accessible to children by means of such rather easy arrangements and make them enjoy classical music.This volume contains everything needed for guitar lessons: 58 easy original guitar pieces by Aguado, Mertz, Diabelli, Carulli, Sor or Carcassi, but also easy-to-play arrangements of classical music from the fields of orchestral music, chamber music or opera. Among them are themes from Vivaldi's Four Seasons, from Handel's Music for the Royal Fireworks, Mozart's Magic Flute, Beethoven's Symphony No. 9 or Verdi's Chorus of the Hebrew Slaves. It is this volume's concern to make classical masterpieces of concert literature accessible to children by means of such rather easy arrangements and make them enjoy classical music.
$11.99
10.94 €
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Guitare
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Martin Hegel
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Classical Music for Children
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Schott Music - Digital
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SheetMusicPlus
Classical Music for Children
Guitare
Guitar - easy - Digital Download 58 Easy Pieces for Guitar. Arranged by Martin Hegel. T…
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Guitar - easy - Digital Download 58 Easy Pieces for Guitar. Arranged by Martin Hegel. This edition: Sheet music. Orchestermusik, Kammermusik, Oper. Classical Music for Children. Downloadable. Schott Music - Digital #Q54262. Published by Schott Music - Digital
This volume contains everything needed for guitar lessons: 58 easy original guitar pieces by Aguado, Mertz, Diabelli, Carulli, Sor or Carcassi, but also easy-to-play arrangements of classical music from the fields of orchestral music, chamber music or opera. Among them are themes from Vivaldi's Four Seasons, from Handel's Music for the Royal Fireworks, Mozart's Magic Flute, Beethoven's Symphony No. 9 or Verdi's Chorus of the Hebrew Slaves. It is this volume's concern to make classical masterpieces of concert literature accessible to children by means of such rather easy arrangements and make them enjoy classical music.This volume contains everything needed for guitar lessons: 58 easy original guitar pieces by Aguado, Mertz, Diabelli, Carulli, Sor or Carcassi, but also easy-to-play arrangements of classical music from the fields of orchestral music, chamber music or opera. Among them are themes from Vivaldi's Four Seasons, from Handel's Music for the Royal Fireworks, Mozart's Magic Flute, Beethoven's Symphony No. 9 or Verdi's Chorus of the Hebrew Slaves. It is this volume's concern to make classical masterpieces of concert literature accessible to children by means of such rather easy arrangements and make them enjoy classical music.
$13.99
12.77 €
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Guitare
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Martin Hegel
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Classical Music for Children
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Schott Music - Digital
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SheetMusicPlus
Woodwind Quintet sheet music: Intermezzo (score & parts)
Woodwind Ensemble,Woodwind Quintet Bassoon,Clarinet,Flute,Horn,Oboe - Level 3 - Digital Do…
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Woodwind Ensemble,Woodwind Quintet Bassoon,Clarinet,Flute,Horn,Oboe - Level 3 - Digital Download SKU: A0.1512466 By Francesco Leone. By Pietro Mascagni. Arranged by Francesco Leone. Classical. 22 pages. Glissato Edizioni Musicali #1087487. Published by Glissato Edizioni Musicali (A0.1512466). Dive into the timeless beauty of Pietro Mascagni's Intermezzo from Cavalleria Rusticana, now masterfully arranged for Woodwind Quintet by Francesco Leone. This intermediate-level adaptation brings the lush, emotional depth of Mascagni's operatic masterpiece to the rich and varied palette of the woodwind ensemble, offering a unique opportunity for musicians to explore this beloved piece through a new sonic lens.This comprehensive eBook includes the full score and a complete set of parts for seven instruments: Flute, Oboe, Bb Clarinet, F French Horn, Bassoon, with alternative parts for Bb Bass Clarinet (substituting for Bassoon) and Eb Horn. This thoughtful inclusion ensures versatility and adaptability for different ensemble configurations, allowing groups to tailor the performance to their unique strengths and tonal preferences.An essential addition to any woodwind quintet's repertoire, this arrangement not only challenges intermediate players to refine their technical and ensemble skills but also invites them into the dramatic and emotional world of Mascagni's opera. The arrangement captures the essence of the original Intermezzo while showcasing the distinct colors and textures of each woodwind instrument, creating a rich, immersive listening and playing experience.Accompanying the musical score, the eBook features informative pages in multiple languages: English, French, German, Spanish, Italian, and Portuguese. These resources provide valuable insights into the history of Cavalleria Rusticana, and the significance of the Intermezzo within the operatic canon, making this eBook an invaluable resource for both educational purposes and personal exploration.Whether for performance, study, or sheer enjoyment, this arrangement of Intermezzo for Woodwind Quintet is a must-have for woodwind musicians eager to broaden their repertoire with high-quality, emotionally compelling music that spans the realms of classical opera and chamber music.-Holzblasinstrumente-Noten, partitions pour instruments à vent en bois, partituras para instrumentos de viento-madera, partituras para instrumentos de sopro de madeira, spartiti per strumenti a fiato in legno, tahta nefesli çalgılar için notalar, nuty na instrumenty dęte drewniane, noter for treblåseinstrumenter, noter för träblåsinstrument, 목관악기 악보, 木管楽器の楽譜 -.
$16.99
15.51 €
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Francesco Leone
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Francesco Leone
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Woodwind Quintet sheet music: Intermezzo
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Glissato Edizioni Musicali
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SheetMusicPlus
Flute Quartet sheet music: Intermezzo (score & parts)
Quatuor de Flûtes : 4 flûtes
Woodwind Ensemble,Woodwind Quartet Flute - Level 3 - Digital Download SKU: A0.1509425
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Woodwind Ensemble,Woodwind Quartet Flute - Level 3 - Digital Download SKU: A0.1509425 By Francesco Leone. By Pietro Mascagni. Arranged by Francesco Leone. Opera,Romantic Period. 20 pages. Glissato Edizioni Musicali #1084664. Published by Glissato Edizioni Musicali (A0.1509425). Immerse yourself in the melodic beauty of Pietro Mascagni's Intermezzo from Cavalleria Rusticana, elegantly arranged for Flute Quartet by Francesco Leone. This intermediate-level arrangement invites flutists to experience the profound emotional depth and lyrical charm of this operatic treasure, through the ethereal and expressive voice of the flute.Carefully crafted for a quartet of C Flutes, this edition is thoughtfully inclusive, providing an additional part for the G Alto Flute as an alternative to Flute 4. This offers ensembles the flexibility to experiment with different tonal colors and textures, enhancing the overall musical expression and depth of the arrangement.An audio demo, accessible at www.glissato.it, allows flutists and enthusiasts alike to preview this captivating arrangement. The demo serves as an inspiration and a guide, showcasing the arrangement’s fidelity to Mascagni’s original composition while highlighting the unique qualities that the flute brings to this iconic piece.The eBook is enriched with informative pages available in multiple languages: English, French, German, Spanish, Italian, and Portuguese. These resources offer valuable insights into the arrangement, the original opera, and its historical context, making it a comprehensive tool for both educational and performance purposes.This arrangement of Mascagni's Intermezzo for Flute Quartet is an invitation to flutists seeking to explore new dimensions of musical expression, refine their ensemble playing, and bring a piece of the operatic stage into their repertoire. Whether for study, performance, or personal enjoyment, this eBook is an essential addition for flutists passionate about expanding their musical horizons with timeless operatic literature.- Querflöten-Noten, partitions pour flûte, partituras para flauta, partituras para flauta, spartiti per flauto, flüt notaları, nuty na flet, noter for fløyte, noter för flöjt, 플루트 악보, フルートの楽譜 -.
$16.00
14.6 €
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Quatuor de Flûtes : 4 flûtes
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Francesco Leone
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Francesco Leone
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Flute Quartet sheet music: Intermezzo
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Glissato Edizioni Musicali
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SheetMusicPlus
Elements of Indian Music
Piano seul
Piano and keyboard - Intermediate-Advanced - Digital Download SKU: M0.30603MEB T…
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Piano and keyboard - Intermediate-Advanced - Digital Download SKU: M0.30603MEB The Melakarta System. Composed by Radhika Iyer. Theory and Reference. E-book and online audio. 101 pages. Mel Bay Publications - Digital Sheet Music #30603MEB. Published by Mel Bay Publications - Digital Sheet Music (M0.30603MEB). ISBN 9781619118232. 8.75x11.75 inches.Elements of Indian Music introduces the Indian melodic system in an accessible manner within the realm of Western music theory. It demonstrates a new archetype in music composition for composers of any genre, as well as composition teachers and anyone interested in ethnomusicology. This book contains a set of 12 etudes for piano and transcriptions for classical guitar. Each etude is about one minute in length and utilizes notes from a particular Indian scale. An intermediate to advanced skill level is required to perform each etude. Practicing and performing these studies is an excellent way to expand one’s musical perspective beyond traditional diatonic scales. Indian music has intrigued the West for a long time, but hasn’t always been accessible because of the absence of a systematic approach to theory and repertoire. Just as the Western harmonic system is well developed, the Indian melodic system is very advanced and equally established. The intermingling of these two worlds can inspire new, exceptional sonic landscapes. Useful literature on the evolution of the Indian melodic system is also included, with notes on how it can be used as a modus operandi by Western musicians who wish to apply Indian scales in Western compositions and improvisations. Includes access to online audio
$19.99
18.24 €
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Piano seul
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Radhika Iyer
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Elements of Indian Music
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Mel Bay Publications - Digital Sheet Music
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SheetMusicPlus
Mastering Melodies: Favorite Operas
Piano seul
Piano - Level 2 - Digital Download SKU: LX.70-1281H Simplified Keyboard Selectio…
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Piano - Level 2 - Digital Download SKU: LX.70-1281H Simplified Keyboard Selections Late Beg/Early Int. Arranged by Janet Vogt Zeitler. Piano Collection. Mastering Melodies Series. 16 pages. Heritage Music Press #e70/1281H. Published by Heritage Music Press (LX.70-1281H). UPC: 000308045161.The moment a familiar classical melody falls into the fingers of a beginning pianist is a moment of musical joy for both performer and listener. Mastering Melodies offers such moments of discovery and accomplishment with a collection of repertoire, which is both accessible and delightfully arranged for the late beginner/early intermediate piano student. These melodies set the stage for beginning musicianship - playing with expression, building increasing technical skills and inspiring a nearly love and appreciation of the classics of musical literature adopted from symphonic, chamber, operatic and keyboard repertoire. The fingers and ears alike will begin to know Beethoven, Bach, Mozart and other great composers, who each had their own unique and extraordinary way of shaping the melodies of their masterworks. These carefully edited and arranged selections will provide a lasting foundation for building repertoire and inspire a natural enthusiasm in each student.
$3.95
3.61 €
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Piano seul
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Janet Vogt Zeitler
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Mastering Melodies: Favorite Operas
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Heritage Music Press
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SheetMusicPlus
Candyland - The Musical
Voix duo, Piano
Composed by Jilly Cooke. Arranged by Jilly Cooke. Children, Instructional, Musical/S…
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Composed by Jilly Cooke. Arranged by Jilly Cooke. Children, Instructional, Musical/Show. 18 pages. Jilly Paige Cooke #3519335. Published by Jilly Paige Cooke
Inspired by the beloved Hasbro board game, this fun musical showcases a variety of musical styles, including opera, pop, rock, Broadway, jazz, and more! Featuring a large ensemble cast with many featured roles, this show is perfect for schools, young artist programs, professional and amateur theatre, and seasonal camps for kids.<br> <br> ROLES (in order of appearance):<br> King Kandy - Tenor (Operatic, G3-C5)<br> Cupcake Commons Kids (3+) - Tenors/Altos (Pop, D3-A4)<br> Duke of Swirl - Tenor (\'60s Rock, A3-A4)<br> Swirlettes (2+) - Altos/Mezzo Sopranos (\'60s Rock, F#4-C#5)<br> Milo the Gingerbread Man - High Tenor/Countertenor/Boy Treble (Light Pop, A3-Bb4)<br> Gummy Bears (3+) - Tenors (Light Pop/Character Voices, D3-G4)<br> Gingerbread Kids (3+) - Tenors/Altos/Mezzo Sopranos (Light Pop, A3-Bb4)<br> Gingerbread Mouse - Mute (no solos/lines, must have strong comedic sensibilities)<br> Lord Licorice - Baritone (Operatic, D3-E4)<br> Princess Lolly - Soprano/Mezzo Soprano (Light Operatic, D4-G5)<br> Princess Frostine - Mezzo Soprano/Alto (Light Pop/Swing, C4-C5)<br> Grandma Gooey - Alto/Countertenor (Musical Theatre/Character Voice, C#4-B4).Inspired by the beloved Hasbro board game, this fun musical showcases a variety of musical styles, including opera, pop, rock, Broadway, jazz, and more! Featuring a large ensemble cast with many featured roles, this show is perfect for schools, young artist programs, professional and amateur theatre, and seasonal camps for kids.<br> <br> ROLES (in order of appearance):<br> King Kandy - Tenor (Operatic, G3-C5)<br> Cupcake Commons Kids (3+) - Tenors/Altos (Pop, D3-A4)<br> Duke of Swirl - Tenor (\'60s Rock, A3-A4)<br> Swirlettes (2+) - Altos/Mezzo Sopranos (\'60s Rock, F#4-C#5)<br> Milo the Gingerbread Man - High Tenor/Countertenor/Boy Treble (Light Pop, A3-Bb4)<br> Gummy Bears (3+) - Tenors (Light Pop/Character Voices, D3-G4)<br> Gingerbread Kids (3+) - Tenors/Altos/Mezzo Sopranos (Light Pop, A3-Bb4)<br> Gingerbread Mouse - Mute (no solos/lines, must have strong comedic sensibilities)<br> Lord Licorice - Baritone (Operatic, D3-E4)<br> Princess Lolly - Soprano/Mezzo Soprano (Light Operatic, D4-G5)<br> Princess Frostine - Mezzo Soprano/Alto (Light Pop/Swing, C4-C5)<br> Grandma Gooey - Alto/Countertenor (Musical Theatre/Character Voice, C#4-B4).
$27.99
25.55 €
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Voix duo, Piano
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Jilly Cooke
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Jilly Cooke
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Candyland - The Musical
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Jilly Paige Cooke
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SheetMusicPlus
Das Rheingold
Piano, Voix
Der Ring des Nibelungen. Composed by Richard Wagner (1813-1883). This edition: vocal…
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Der Ring des Nibelungen. Composed by Richard Wagner (1813-1883). This edition: vocal/piano score. Erstveroffentlichung, Oper, Theater. Wagner Urtext Piano/Vocal Scores. Downloadable. Schott Music - Digital #Q17853. 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.<br> <br> The score corresponds to the performance materials from the Complete Edition.<br> <br> For practical use in rehearsal cues and bar numbers throughout.<br> The publisher has secured the services of renewed musicologists associated with the Richard Wagner Complete Edition who convey detailed information in critical forewords.<br> The forewords are given in three languages (German, English, French)<br> Uniform and attractive front cover designs with reproductions of paintings from the Wagner era underline the series design of the edition.<br> DAS RHEINGOLD<br> <br> "This piano score has been compiled on the basis of the edition of Rheingold in the critical complete edition of the musical works of Richard Wagner (Richard Wagner, Samtliche Werke, Vol. 10, I-II, edited by Egon Voss, Mainz 1988f.). The primary source for the edition of Rheingold in the complete edition was the first print of the score (E) which was published by Schott's Sohne, Mainz in 1873. Unfortunately, the source which would have been of greatest significance for revision purposes could not be utilised in the preparation of this edition. Wagner's autograph fair copy of the score which was included in Ludwig II's estate fell into the hands of Adolf Hitler in 1939 and has never been seen again since 1945. For this reason, it was necessary to make frequent reference to both the so-called compositional sketch (KS) and the first draft of the score (PE). For any questionable interpretations of E in the principle text, the variants in KS and PE have been added in small print or footnotes. This also applies to additional markings and alterations undertaken by Wagner during rehearsals for the first performances in 1876 which were recorded by his assistants, principally by Heinrich Porges. These variants are marked with the sign [1876]. Remarks in quotation marks reproduce Wagner's original comments. At certain points, reference has also been made to the records by Felix Mottl who was also present at the rehearsals and performances in 1876. Further relevant information can be found in the volumes of the complete edition." (Egon Voss, quoted from the foreword of the new Rheingold vocal score. translation by Lindsay Chalmers-Gerbracht)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.<br> <br> The score corresponds to the performance materials from the Complete Edition.<br> <br> For practical use in rehearsal cues and bar numbers throughout.<br> The publisher has secured the services of renewed musicologists associated with the Richard Wagner Complete Edition who convey detailed information in critical forewords.<br> The forewords are given in three languages (German, English, French)<br> Uniform and attractive front cover designs with reproductions of paintings from the Wagner era underline the series design of the edition.<br> DAS RHEINGOLD<br> <br> "This piano score has been compiled on the basis of the edition of Rheingold in the critical complete edition of the musical works of Richard Wagner (Richard Wagner, Samtliche Werke, Vol. 10, I-II, edited by Egon Voss, Mainz 1988f.). The primary source for the edition of Rheingold in the complete edition was the first print of the score (E) which was published by Schott's Sohne, Mainz in 1873. Unfortunately, the source which would have been of greatest significance for revision purposes could not be utilised in the preparation of this edition. Wagner's autograph fair copy of the score which was included in Ludwig II's estate fell into the hands of Adolf Hitler in 1939 and has never been seen again since 1945. For this reason, it was necessary to make frequent reference to both the so-called compositional sketch (KS) and the first draft of the score (PE). For any questionable interpretations of E in the principle text, the variants in KS and PE have been added in small print or footnotes. This also applies to additional markings and alterations undertaken by Wagner during rehearsals for the first performances in 1876 which were recorded by his assistants, principally by Heinrich Porges. These variants are marked with the sign [1876]. Remarks in quotation marks reproduce Wagner's original comments. At certain points, reference has also been made to the records by Felix Mottl who was also present at the rehearsals and performances in 1876. Further relevant information can be found in the volumes of the complete edition." (Egon Voss, quoted from the foreword of the new Rheingold vocal score. translation by Lindsay Chalmers-Gerbracht)
$47.99
43.8 €
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Piano, Voix
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Richard Wagner (1813-1883)
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Das Rheingold
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Schott Music - Digital
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SheetMusicPlus
The Vivaldi Album - The most famous arias from Vivaldi's operas - Score Only
Digital Download SKU: A0.1118595 By Arturo Escorza. By Antonio Vivaldi. Arranged by…
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Digital Download SKU: A0.1118595 By Arturo Escorza. By Antonio Vivaldi. Arranged by Arturo Escorza. Baroque,Chamber,Classical,Early Music,Opera. 87 pages. Arturo Escorza #720096. Published by Arturo Escorza (A0.1118595). The Vivaldi Album contains the best arias from Vivaldi's operas, made famous by mezzo-soprano Cecilia Bartoli in her celebrated The Vivaldi Album of 1999. In this collection that I bring you, you will find the full scores of the arias: Dell'aura al sussurrar, from Dorilla in Tempe Dopo un'orrida procella, from Griselda Di due rai languir costante, from Foa 28 Qual favellar? ... Andero, Volero, Gridero, from L'Orlando finto pazzo Zeffiretti, che sussurrate, from Foa 28 Alma oppressa, from La Fida Ninfa Sventurata navicella, from il Giustino Sorte, che m'invitasti ... Ho nel petto un cor si forte, from il Giustino Tra le follie ... Siam navi all'onde algenti, from L'Olimpiade Gelido in ogni vena, from Farnace Anch'il mar par che sommerga, from Bajazet Di trombe guerriere, from Teuzzone.
$159.00
145.11 €
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Arturo Escorza
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Arturo Escorza
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The Vivaldi Album - The most famous arias from Vivaldi's operas - Score Only
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Arturo Escorza
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SheetMusicPlus
Die Frau ohne Schatten - Excerpts from the opera for 8-part Trombone Ensemble
Ensemble de Trombones
Trombone Ensemble Choir - Advanced - Digital Download Composed by Richard Strauss (18…
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Trombone Ensemble Choir - Advanced - Digital Download Composed by Richard Strauss (1864-1949). Arranged by Randall Malmstrom. 20th Century, Romantic Period, Opera. Score, Set of Parts. 12 pages. Published by Cherry Classics Music
Richard Strauss's opera Die Frau ohne Schatten (The Woman Without a Shadow) was written between 1911 and 1917. He regarded it as one of his most important works. After an unenthusiastic opening night, it has now become part of the standard operatic repertoire.<br> <br> Randall Malmstrom has brilliantly arranged some of the most outstanding parts of the opera for an 8-part Trombone Ensemble appropriate for advanced performers.Richard Strauss's opera Die Frau ohne Schatten (The Woman Without a Shadow) was written between 1911 and 1917. He regarded it as one of his most important works. After an unenthusiastic opening night, it has now become part of the standard operatic repertoire.<br> <br> Randall Malmstrom has brilliantly arranged some of the most outstanding parts of the opera for an 8-part Trombone Ensemble appropriate for advanced performers.
$27.50
25.1 €
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Ensemble de Trombones
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Richard Strauss (1864-1949)
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Randall Malmstrom
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Die Frau ohne Schatten - Excerpts from the opera for 8-part Trombone Ensemble
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Cherry Classics Music
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SheetMusicPlus
Three Operatic Highlights
Chorale SATB
SATB choir, Solo voice, Piano - Digital Download SKU: LX.15-3777H Arranged by Russe…
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SATB choir, Solo voice, Piano - Digital Download SKU: LX.15-3777H Arranged by Russell L. Robinson. General. Octavo. 16 pages. Heritage Music Press #e15/3777H. Published by Heritage Music Press (LX.15-3777H). ISBN 9780787770266.This stunning medley effectively joins three of the most loved and recognized classic opera excerpts, faithfully drawn from trusted sources, including La Donna è Mobile from Rigoletto, O Mio Babbino Caro from Gianni Schicchi, and Toréador from Carmen. Italian and French lyrics appear throughout, offering a great opportunity for cross-curricular involvement with the foreign language department. Each section begins with a solo and leads into a full-choir response.
$2.75
2.51 €
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Chorale SATB
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Russell L
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Three Operatic Highlights
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Heritage Music Press
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SheetMusicPlus
A Gershwin Portrait! The Music of George and Ira Gershwin
Chorale SATB
Chorus - Digital Download SKU: AX.00-PO-0003559 A Gershwin Portrait! The Music o…
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Chorus - Digital Download SKU: AX.00-PO-0003559 A Gershwin Portrait! The Music of George and Ira Gershwin - SATB. Composed by George Gershwin and Ira Gershwin. Arranged by Mac Huff. Choral. 16 pages. Alfred Music - Digital Sheet Music #00-PO-0003559. Published by Alfred Music - Digital Sheet Music (AX.00-PO-0003559). ISBN 9780769259901. UPC: 029156098013.Music must reflect the thoughts and aspirations of the people and the time. My people are American. My time is today. This quote from George Gershwin sets the tone for this spectacular 25-minute Feature Medley showcasing the amazing artistic range of George and Ira Gershwin. The six flexible sections of timeless melodies highlight not only their popular songs, but also music for the Broadway and concert stage, the jazz musician and even an opera (Porgy and Bess).Mac Huff's spectacular Gershwin extravaganzahas been designed for all ages with accompaniment options of full combo, rhythm section, piano only or the dynamic ShowTrax CD. A magnificent tribute to two American musical masters!
$8.99
8.2 €
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Chorale SATB
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George Gershwin and Ira Gershwin
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Mac Huff
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A Gershwin Portrait! The Music of George and Ira Gershwin
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
Concerto
Piano et Orchestre
Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by …
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Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by Gyorgy Ligeti (1923-2006). This edition: solo part. Downloadable. Duration 24 minutes. Schott Music - Digital #Q53630. Published by Schott Music - Digital
I composed the Piano Concerto in two stages: the first three movements during the years 1985-86, the next two in 1987, the final autograph of the last movement was ready by January, 1988. The concerto is dedicated to the American conductor Mario di Bonaventura. . The markings of the movements are the following: . 1. Vivace molto ritmico e preciso . 2. Lento e deserto . 3. Vivace cantabile . 4. Allegro risoluto . 5. Presto luminoso. The first performance of the three-movement Concerto was on October 23rd, 1986 in Graz. Mario di Bonaventura conducted while his brother, Anthony di Bonaventura, was the soloist. Two days later the performance was repeated in the Vienna Konzerthaus. After hearing the work twice, I came to the conclusion that the third movement is not an adequate finale. my feeling of form demanded continuation, a supplement. That led to the composing of the next two movements. The premiere of the whole cycle took place on February 29th, 1988, in the Vienna Konzerthaus with the same conductor and the same pianist. . The orchestra consisted of the following: flute, oboe, clarinet, bassoon, horn, trumpet, tenor trombone, percussion and strings. The flautist also plays the piccoIo, the clarinetist, the alto ocarina. The percussion is made up of diverse instruments, which one musician-virtuoso can play. It is more practical, however, if two or three musicians share the instruments. Besides traditional instruments the percussion part calls also for two simple wind instruments: the swanee whistle and the harmonica. The string instrument parts (two violins, viola, cello and doubles bass) can be performed soloistic since they do not contain divisi. For balance, however, the ensemble playing is recommended, for example 6-8 first violins, 6-8 second, 4-6 violas, 4-6 cellos, 3-4 double basses. . In the Piano Concerto I realized new concepts of harmony and rhythm. . The first movement is entirely written in bimetry: simultaneously 12/8 and 4/4 (8/8). This relates to the known triplet on a doule relation and in itself is nothing new. Because, however, I articulate 12 triola and 8 duola pulses, an entangled, up till now unheard kind of polymetry is created. The rhythm is additionally complicated because of asymmetric groupings inside two speed layers, which means accents are asymmetrically distributed. These groups, as in the talea technique, have a fixed, continuously repeating rhythmic structures of varying lengths in speed layers of 12/8 and 4/4. This means that the repeating pattern in the 12/8 level and the pattern in the 4/4 level do not coincide and continuously give a kaleidoscope of renewing combinations. . In our perception we quickly resign from following particular rhythmical successions and that what is going on in time appears for us as something static, resting. This music, if it is played properly, in the right tempo and with the right accents inside particular layers, after a certain time rises, as it were, as a plane after taking off: the rhythmic action, too complex to be able to follow in detail, begins flying. This diffusion of individual structures into a different global structure is one of my basic compositional concepts: from the end of the fifties, from the orchestral works Apparitions and Atmospheres I continuously have been looking for new ways of resolving this basic question. The harmony of the first movement is based on mixtures, hence on the parallel leading of voices. This technique is used here in a rather simple form. later in the fourth movement it will be considerably developed. . The second movement (the only slow one amongst five movements) also has a talea type of structure, it is however much simpler rhythmically, because it contains only one speed layer. The melody is consisted in the development of a rigorous interval mode in which two minor seconds and one major second alternate therefore nine notes inside an octave. This mode is transposed into different degrees and it also determines the harmony of the movement. however, in closing episode in the piano part there is a combination of diatonics (white keys) and pentatonics (black keys) led in brilliant, sparkling quasimixtures, while the orchestra continues to play in the nine tone mode. . In this movement I used isolated sounds and extreme registers (piccolo in a very low register, bassoon in a very high register, canons played by the swanee whistle, the alto ocarina and brass with a harmon-mute' damper, cutting sound combinations of the piccolo, clarinet and oboe in an extremely high register, also alternating of a whistle-siren and xylophone). The third movement also has one speed layer and because of this it appears as simpler than the first, but actually the rhythm is very complicated in a different way here. Above the uninterrupted, fast and regular basic pulse, thanks to the asymmetric distribution of accents, different types of hemiolas and inherent melodical patterns appear (the term was coined by Gerhard Kubik in relation to central African music). If this movement is played with the adequate speed and with very clear accentuation, illusory rhythmic-melodical figures appear. These figures are not played directly. they do not appear in the score, but exist only in our perception as a result of co-operation of different voices. . Already earlier I had experimented with illusory rhythmics, namely in Poeme symphonique for 100 metronomes (1962), in Continuum for harpsichord (1968), in Monument for two pianos (1976), and especially in the first and sixth piano etude Desordre and Automne a Varsovie (1985). . The third movement of the Piano Concerto is up to now the clearest example of illusory rhythmics and illusory melody. In intervallic and chordal structure this movement is based on alternation, and also inter-relation of various modal and quasi-equidistant harmony spaces. The tempered twelve-part division of the octave allows for diatonical and other modal interval successions, which are not equidistant, but are based on the alternation of major and minor seconds in different groups. The tempered system also allows for the use of the anhemitonic pentatonic scale (the black keys of the piano). From equidistant scales, therefore interval formations which are based on the division of an octave in equal distances, the twelve-tone tempered system allows only chromatics (only minor seconds) and the six-tone scale (the whole-tone: only major seconds). . Moreover, the division of the octave into four parts only minor thirds) and three parts (three major thirds) is possible. In several music cultures different equidistant divisions of an octave are accepted, for example, in the Javanese slendro into five parts, in Melanesia into seven parts, popular also in southeastern Asia, and apart from this, in southern Africa. This does not mean an exact equidistance: there is a certain tolerance for the inaccurateness of the interval tuning. . These exotic for us, Europeans, harmony and melody have attracted me for several years. However I did not want to re-tune the piano (microtone deviations appear in the concerto only in a few places in the horn and trombone parts led in natural tones). After the period of experimenting, I got to pseudo- or quasiequidistant intervals, which is neither whole-tone nor chromatic: in the twelve-tone system, two whole-tone scales are possible, shifted a minor second apart from each other. Therefore, I connect these two scales (or sound resources), and for example, places occur where the melodies and figurations in the piano part are created from both whole tone scales. in one band one six-tone sound resource is utilized, and in the other hand, the complementary. In this way whole-tonality and chromaticism mutually reduce themselves: a type of deformed equidistancism is formed, strangely brilliant and at the same time slanting. illusory harmony, indeed being created inside the tempered twelve-tone system, but in sound quality not belonging to it anymore. . The appearance of such slantedequidistant harmony fields alternating with modal fields and based on chords built on fifths (mainly in the piano part), complemented with mixtures built on fifths in the orchestra, gives this movement an individual, soft-metallic colour (a metallic sound resulting from harmonics). . The fourth movement was meant to be the central movement of the Concerto. Its melodc-rhythmic elements (embryos or fragments of motives) in themselves are simple. The movement also begins simply, with a succession of overlapping of these elements in the mixture type structures. Also here a kaleidoscope is created, due to a limited number of these elements - of these pebbles in the kaleidoscope - which continuously return in augmentations and diminutions. . Step by step, however, so that in the beginning we cannot hear it, a compiled rhythmic organization of the talea type gradually comes into daylight, based on the simultaneity of two mutually shifted to each other speed layers (also triplet and duoles, however, with different asymmetric structures than in the first movement). While longer rests are gradually filled in with motive fragments, we slowly come to the conclusion that we have found ourselves inside a rhythmic-melodical whirl: without change in tempo, only through increasing the density of the musical events, a rotation is created in the stream of successive and compiled, augmented and diminished motive fragments, and increasing the density suggests acceleration. . Thanks to the periodical structure of the composition, always new but however of the same (all the motivic cells are similar to earlier ones but none of them are exactly repeated. the general structure is therefore self-similar), an impression is created of a gigantic, indissoluble network. Also, rhythmic structures at first hidden gradually begin to emerge, two independent speed layers with their various internal accentuations. . This great, self-similar whirl in a very indirect way relates to musical associations, which came to my mind while watching the graphic projection of the mathematical sets of Julia and of Mandelbrot made with the help of a computer. I saw these wonderful pictures of fractal creations, made by scientists from Brema, Peitgen and Richter, for the first time in 1984. From that time they have played a great role in my musical concepts. This does not mean, however, that composing the fourth movement I used mathematical methods or iterative calculus. indeed, I did use constructions which, however, are not based on mathematical thinking, but are rather craftman's constructions (in this respect, my attitude towards mathematics is similar to that of the graphic artist Maurits Escher). .I am concerned rather with intuitional, poetic, synesthetic correspondence, not on the scientific, but on the poetic level of thinking. . The fifth, very short Presto movement is harmonically very simple, but all the more complicated in its rhythmic structure: it is based on the further development of ''inherent patterns of the third movement. The quasi-equidistance system dominates harmonically and melodically in this movement, as in the third, alternating with harmonic fields, which are based on the division of the chromatic whole into diatonics and anhemitonic pentatonics. Polyrhythms and harmonic mixtures reach their greatest density, and at the same time this movement is strikingly light, enlightened with very bright colours: at first it seems chaotic, but after listening to it for a few times it is easy to grasp its content: many autonomous but self-similar figures which crossing themselves. . I present my artistic credo in the Piano Concerto: I demonstrate my independence from criteria of the traditional avantgarde, as well as the fashionable postmodernism. Musical illusions which I consider to be also so important are not a goal in itself for me, but a foundation for my aesthetical attitude. I prefer musical forms which have a more object-like than processual character. Music as frozen time, as an object in imaginary space evoked by music in our imagination, as a creation which really develops in time, but in imagination it exists simultaneously in all its moments. The spell of time, the enduring its passing by, closing it in a moment of the present is my main intention as a composer. . (Gyorgy Ligeti)I composed the Piano Concerto in two stages: the first three movements during the years 1985-86, the next two in 1987, the final autograph of the last movement was ready by January, 1988. The concerto is dedicated to the American conductor Mario di Bonaventura. .
The markings of the movements are the following: .
1. Vivace molto ritmico e preciso .
2. Lento e deserto .
3. Vivace cantabile .
4. Allegro risoluto .
5. Presto luminoso.
The first performance of the three-movement Concerto was on October 23rd, 1986 in Graz. Mario di Bonaventura conducted while his brother, Anthony di Bonaventura, was the soloist. Two days later the performance was repeated in the Vienna Konzerthaus. After hearing the work twice, I came to the conclusion that the third movement is not an adequate finale. my feeling of form demanded continuation, a supplement. That led to the composing of the next two movements. The premiere of the whole cycle took place on February 29th, 1988, in the Vienna Konzerthaus with the same conductor and the same pianist. .
The orchestra consisted of the following: flute, oboe, clarinet, bassoon, horn, trumpet, tenor trombone, percussion and strings. The flautist also plays the piccoIo, the clarinetist, the alto ocarina. The percussion is made up of diverse instruments, which one musician-virtuoso can play. It is more practical, however, if two or three musicians share the instruments. Besides traditional instruments the percussion part calls also for two simple wind instruments: the swanee whistle and the harmonica. The string instrument parts (two violins, viola, cello and doubles bass) can be performed soloistic since they do not contain divisi. For balance, however, the ensemble playing is recommended, for example 6-8 first violins, 6-8 second, 4-6 violas, 4-6 cellos, 3-4 double basses. .
In the Piano Concerto I realized new concepts of harmony and rhythm. .
The first movement is entirely written in bimetry: simultaneously 12/8 and 4/4 (8/8). This relates to the known triplet on a doule relation and in itself is nothing new. Because, however, I articulate 12 triola and 8 duola pulses, an entangled, up till now unheard kind of polymetry is created. The rhythm is additionally complicated because of asymmetric groupings inside two speed layers, which means accents are asymmetrically distributed. These groups, as in the talea technique, have a fixed, continuously repeating rhythmic structures of varying lengths in speed layers of 12/8 and 4/4. This means that the repeating pattern in the 12/8 level and the pattern in the 4/4 level do not coincide and continuously give a kaleidoscope of renewing combinations. .
In our perception we quickly resign from following particular rhythmical successions and that what is going on in time appears for us as something static, resting. This music, if it is played properly, in the right tempo and with the right accents inside particular layers, after a certain time rises, as it were, as a plane after taking off: the rhythmic action, too complex to be able to follow in detail, begins flying. This diffusion of individual structures into a different global structure is one of my basic compositional concepts: from the end of the fifties, from the orchestral works Apparitions and Atmospheres I continuously have been looking for new ways of resolving this basic question. The harmony of the first movement is based on mixtures, hence on the parallel leading of voices. This technique is used here in a rather simple form. later in the fourth movement it will be considerably developed. .
The second movement (the only slow one amongst five movements) also has a talea type of structure, it is however much simpler rhythmically, because it contains only one speed layer. The melody is consisted in the development of a rigorous interval mode in which two minor seconds and one major second alternate therefore nine notes inside an octave. This mode is transposed into different degrees and it also determines the harmony of the movement. however, in closing episode in the piano part there is a combination of diatonics (white keys) and pentatonics (black keys) led in brilliant, sparkling quasimixtures, while the orchestra continues to play in the nine tone mode. .
In this movement I used isolated sounds and extreme registers (piccolo in a very low register, bassoon in a very high register, canons played by the swanee whistle, the alto ocarina and brass with a harmon-mute' damper, cutting sound combinations of the piccolo, clarinet and oboe in an extremely high register, also alternating of a whistle-siren and xylophone). The third movement also has one speed layer and because of this it appears as simpler than the first, but actually the rhythm is very complicated in a different way here. Above the uninterrupted, fast and regular basic pulse, thanks to the asymmetric distribution of accents, different types of hemiolas and inherent melodical patterns appear (the term was coined by Gerhard Kubik in relation to central African music). If this movement is played with the adequate speed and with very clear accentuation, illusory rhythmic-melodical figures appear. These figures are not played directly. they do not appear in the score, but exist only in our perception as a result of co-operation of different voices. .
Already earlier I had experimented with illusory rhythmics, namely in Poeme symphonique for 100 metronomes (1962), in Continuum for harpsichord (1968), in Monument for two pianos (1976), and especially in the first and sixth piano etude Desordre and Automne a Varsovie (1985). .
The third movement of the Piano Concerto is up to now the clearest example of illusory rhythmics and illusory melody. In intervallic and chordal structure this movement is based on alternation, and also inter-relation of various modal and quasi-equidistant harmony spaces. The tempered twelve-part division of the octave allows for diatonical and other modal interval successions, which are not equidistant, but are based on the alternation of major and minor seconds in different groups. The tempered system also allows for the use of the anhemitonic pentatonic scale (the black keys of the piano). From equidistant scales, therefore interval formations which are based on the division of an octave in equal distances, the twelve-tone tempered system allows only chromatics (only minor seconds) and the six-tone scale (the whole-tone: only major seconds). .
Moreover, the division of the octave into four parts only minor thirds) and three parts (three major thirds) is possible. In several music cultures different equidistant divisions of an octave are accepted, for example, in the Javanese slendro into five parts, in Melanesia into seven parts, popular also in southeastern Asia, and apart from this, in southern Africa. This does not mean an exact equidistance: there is a certain tolerance for the inaccurateness of the interval tuning. .
These exotic for us, Europeans, harmony and melody have attracted me for several years. However I did not want to re-tune the piano (microtone deviations appear in the concerto only in a few places in the horn and trombone parts led in natural tones). After the period of experimenting, I got to pseudo- or quasiequidistant intervals, which is neither whole-tone nor chromatic: in the twelve-tone system, two whole-tone scales are possible, shifted a minor second apart from each other. Therefore, I connect these two scales (or sound resources), and for example, places occur where the melodies and figurations in the piano part are created from both whole tone scales. in one band one six-tone sound resource is utilized, and in the other hand, the complementary. In this way whole-tonality and chromaticism mutually reduce themselves: a type of deformed equidistancism is formed, strangely brilliant and at the same time slanting. illusory harmony, indeed being created inside the tempered twelve-tone system, but in sound quality not belonging to it anymore. .
The appearance of such slantedequidistant harmony fields alternating with modal fields and based on chords built on fifths (mainly in the piano part), complemented with mixtures built on fifths in the orchestra, gives this movement an individual, soft-metallic colour (a metallic sound resulting from harmonics). .
The fourth movement was meant to be the central movement of the Concerto. Its melodc-rhythmic elements (embryos or fragments of motives) in themselves are simple. The movement also begins simply, with a succession of overlapping of these elements in the mixture type structures. Also here a kaleidoscope is created, due to a limited number of these elements - of these pebbles in the kaleidoscope - which continuously return in augmentations and diminutions. .
Step by step, however, so that in the beginning we cannot hear it, a compiled rhythmic organization of the talea type gradually comes into daylight, based on the simultaneity of two mutually shifted to each other speed layers (also triplet and duoles, however, with different asymmetric structures than in the first movement). While longer rests are gradually filled in with motive fragments, we slowly come to the conclusion that we have found ourselves inside a rhythmic-melodical whirl: without change in tempo, only through increasing the density of the musical events, a rotation is created in the stream of successive and compiled, augmented and diminished motive fragments, and increasing the density suggests acceleration. .
Thanks to the periodical structure of the composition, always new but however of the same (all the motivic cells are similar to earlier ones but none of them are exactly repeated. the general structure is therefore self-similar), an impression is created of a gigantic, indissoluble network. Also, rhythmic structures at first hidden gradually begin to emerge, two independent speed layers with their various internal accentuations. .
This great, self-similar whirl in a very indirect way relates to musical associations, which came to my mind while watching the graphic projection of the mathematical sets of Julia and of Mandelbrot made with the help of a computer. I saw these wonderful pictures of fractal creations, made by scientists from Brema, Peitgen and Richter, for the first time in 1984. From that time they have played a great role in my musical concepts. This does not mean, however, that composing the fourth movement I used mathematical methods or iterative calculus. indeed, I did use constructions which, however, are not based on mathematical thinking, but are rather craftman's constructions (in this respect, my attitude towards mathematics is similar to that of the graphic artist Maurits Escher). .I am concerned rather with intuitional, poetic, synesthetic correspondence, not on the scientific, but on the poetic level of thinking. .
The fifth, very short Presto movement is harmonically very simple, but all the more complicated in its rhythmic structure: it is based on the further development of ''inherent patterns of the third movement. The quasi-equidistance system dominates harmonically and melodically in this movement, as in the third, alternating with harmonic fields, which are based on the division of the chromatic whole into diatonics and anhemitonic pentatonics. Polyrhythms and harmonic mixtures reach their greatest density, and at the same time this movement is strikingly light, enlightened with very bright colours: at first it seems chaotic, but after listening to it for a few times it is easy to grasp its content: many autonomous but self-similar figures which crossing themselves. .
I present my artistic credo in the Piano Concerto: I demonstrate my independence from criteria of the traditional avantgarde, as well as the fashionable postmodernism. Musical illusions which I consider to be also so important are not a goal in itself for me, but a foundation for my aesthetical attitude. I prefer musical forms which have a more object-like than processual character. Music as frozen time, as an object in imaginary space evoked by music in our imagination, as a creation which really develops in time, but in imagination it exists simultaneously in all its moments. The spell of time, the enduring its passing by, closing it in a moment of the present is my main intention as a composer. .
(Gyorgy Ligeti)
$23.99
21.89 €
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Piano et Orchestre
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Gyorgy Ligeti (1923-2006)
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Concerto
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Schott Music - Digital
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SheetMusicPlus
Contemporary Opera, The Hero and the Damned (The story of Perseus and Medusa) Piano Vocal Score
Choral Piano,Vocal,Voice - Level 5 - Digital Download SKU: A0.730205 Composed by Ja…
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Choral Piano,Vocal,Voice - Level 5 - Digital Download SKU: A0.730205 Composed by James Nathaniel Holland. Broadway,Contemporary,Musical/Show,Opera. Score. 204 pages. James Nathaniel Holland #36793. Published by James Nathaniel Holland (A0.730205). REVISED 2019 The Hero and the Damned, Piano Vocal Score (The Greek Myth of Perseus and Medusa) An Opera in 4 Acts Adaptation, Libretto and Music by James Nathaniel Holland Composer Website: https://www.facebook.com/jamesnathanielholland/ (Duration: 2.5 hours) Setting: Ancient Mythological Greece Follow the journey of Perseus as he discovers himself and travels to distant lands and battles the infamous Medusa in order to save his mother from a tyrant. Musically exciting and accessible. Complete vocal score offered here which measure numbers match up to the full orchestral score and individual parts (1 and 2) (All sold separately). Solos, duets, ensembles. Arias for the operatically neglected alto and mezzo-soprano. This opera can also pass as musical theater. Opera YouTube Demo: https://youtu.be/XLbxwQyZPhI First act here (orchestrated) as sound clip.
$23.95
21.86 €
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James Nathaniel Holland
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Contemporary Opera, The Hero and the Damned
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James Nathaniel Holland
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SheetMusicPlus
Goetterdaemmerung
Piano, Voix
Der Ring des Nibelungen. Composed by Richard Wagner (1813-1883). This edition: vocal…
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Der Ring des Nibelungen. Composed by Richard Wagner (1813-1883). This edition: vocal/piano score. Erstveröffentlichung - Oper - Richard Wagner. Wagner Urtext Piano/Vocal Scores. Downloadable, Piano reduction. Schott Music - Digital #Q17774. Published by Schott Music - Digital
German.<br> <br> An important addition to the newly produced orchestral materials by Schott Music is the fi rst publication of vocal scores of Richard Wagner’s ten great operas in every important version. For the first time, we are able to offer theatres and interested opera-lovers vocal scores as urtext editions conceived following uniform editorial criteria: * The score corresponds to the performance materials from the Complete Edition. * For practical use in rehearsal and study, every vocal score includes rehearsal cues and bar numbers throughout. * The publisher has secured the services of renowned 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. GÖTTERDÄMMERUNG This piano reduction corresponds to the edition of the score of Götterdämmerung contained in the complete critical edition of the musical works of Richard Wagner (Richard Wagner, Sämtliche Werke, Vol. 13, I-III, edited by Hartmut Fladt, Mainz 1980ff. [Richard Wagner, Complete Works]). The first printed edition of the score was published by B. Schott’s Söhne, Mainz (plate number 21953) in the summer of 1876, but was supervised by the conductor Hermann Levi and not by Wagner himself. This edition displays deviations from the autograph which cannot be considered as adhering to Wagner’s intentions. For this reason, the critical edition is largely based on Wagner’s autograph score. Individual changes made during the first performances of the work in Bayreuth in 1876 have been identified in the footnotes.<br> <br> 2013 marks Wagner’s bicentenary, making the year largely focused on his music, particularly the dramatic works. An important addition to the newly produced orchestral materials by Schott Music. The score corresponds to the performance materials from the Complete Edition. Schott Music have secured the services of renowned musicologists associated with the Richard Wagner Complete Edition who convey detailed information in critical forewords. For the first time, this work is available to theatres and interested opera-lovers as urtext editions. For practical use in rehearsal and study, every vocal score includes rehearsal cues and bar numbers throughout. The forewords are given in three languages (German, English, and French). Other vocal scores available: Der fliegende Holländer (1841) Der fliegende Holländer (1842-80) Tannhäuser Lohengrin Das Rheingold Die Walküre Siegfried Tristan und Isolde Die Meistersinger von Nürnberg Parsifal<br> <br> Picc. · 3 · 3 · Engl. Hr. · 3 · Bassklar. · 3 - 8 (5. u. 7. auch Tenortb., 6. u. 8. auch Basstb.) · 3 · Basstrp. · 4 (4. auch Kb.-Pos.) · Kbtb. - P. S. (Glsp. · Trgl. · Beckenpaar · Tamt. · Rührtr.) (2 Spieler) - 6 Hfn. - Str. (16 · 16 · 12 · 12 · 8)<br> Auf der Bühne: Horn in f - Hörner in C - Stierhörner in C, Des und D - 4 Hfn.German.<br> <br> An important addition to the newly produced orchestral materials by Schott Music is the fi rst publication of vocal scores of Richard Wagner’s ten great operas in every important version. For the first time, we are able to offer theatres and interested opera-lovers vocal scores as urtext editions conceived following uniform editorial criteria: * The score corresponds to the performance materials from the Complete Edition. * For practical use in rehearsal and study, every vocal score includes rehearsal cues and bar numbers throughout. * The publisher has secured the services of renowned 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. GÖTTERDÄMMERUNG This piano reduction corresponds to the edition of the score of Götterdämmerung contained in the complete critical edition of the musical works of Richard Wagner (Richard Wagner, Sämtliche Werke, Vol. 13, I-III, edited by Hartmut Fladt, Mainz 1980ff. [Richard Wagner, Complete Works]). The first printed edition of the score was published by B. Schott’s Söhne, Mainz (plate number 21953) in the summer of 1876, but was supervised by the conductor Hermann Levi and not by Wagner himself. This edition displays deviations from the autograph which cannot be considered as adhering to Wagner’s intentions. For this reason, the critical edition is largely based on Wagner’s autograph score. Individual changes made during the first performances of the work in Bayreuth in 1876 have been identified in the footnotes.<br> <br> 2013 marks Wagner’s bicentenary, making the year largely focused on his music, particularly the dramatic works. An important addition to the newly produced orchestral materials by Schott Music. The score corresponds to the performance materials from the Complete Edition. Schott Music have secured the services of renowned musicologists associated with the Richard Wagner Complete Edition who convey detailed information in critical forewords. For the first time, this work is available to theatres and interested opera-lovers as urtext editions. For practical use in rehearsal and study, every vocal score includes rehearsal cues and bar numbers throughout. The forewords are given in three languages (German, English, and French). Other vocal scores available: Der fliegende Holländer (1841) Der fliegende Holländer (1842-80) Tannhäuser Lohengrin Das Rheingold Die Walküre Siegfried Tristan und Isolde Die Meistersinger von Nürnberg Parsifal<br> <br> Picc. · 3 · 3 · Engl. Hr. · 3 · Bassklar. · 3 - 8 (5. u. 7. auch Tenortb., 6. u. 8. auch Basstb.) · 3 · Basstrp. · 4 (4. auch Kb.-Pos.) · Kbtb. - P. S. (Glsp. · Trgl. · Beckenpaar · Tamt. · Rührtr.) (2 Spieler) - 6 Hfn. - Str. (16 · 16 · 12 · 12 · 8)<br> Auf der Bühne: Horn in f - Hörner in C - Stierhörner in C, Des und D - 4 Hfn.
$47.99
43.8 €
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Piano, Voix
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Richard Wagner (1813-1883)
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Goetterdaemmerung
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Schott Music - Digital
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SheetMusicPlus
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