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Oblivion - Solo Oboe
Partitions à imprimer
6 partitions trouvées
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Astor Piazzolla : Oblivion (niveau difficile)
Hautbois
Téléchargez la partition Hautbois Oblivion (niveau difficile) de Piazzolla A…
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Téléchargez la partition Hautbois Oblivion (niveau difficile) de Piazzolla Astor. Partition pour Hautbois avec accomp. orchestre -- Classique
5.99 €
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Hautbois
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Astor Piazzolla
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Oblivion
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Tomplay
Astor Piazzolla : Oblivion (niveau intermédiaire)
Hautbois
Téléchargez la partition Hautbois Oblivion (niveau intermédiaire) de …
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Téléchargez la partition Hautbois Oblivion (niveau intermédiaire) de Piazzolla Astor. Partition pour Hautbois avec accomp. orchestre -- Classique
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Hautbois
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Astor Piazzolla
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Oblivion
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Tomplay
Astor Piazzolla : Oblivion (niveau facile)
Hautbois
Téléchargez la partition Hautbois Oblivion (niveau facile) de Piazzolla Asto…
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Téléchargez la partition Hautbois Oblivion (niveau facile) de Piazzolla Astor. Partition pour Hautbois avec accomp. orchestre -- Classique
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Hautbois
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Astor Piazzolla
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Oblivion
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Tomplay
Pachelbel: Canon in D for Oboe d'Amore & Harp
Instrumental Duet Harp,Instrumental Duet,Oboe d'Amore - Level 2 - Digital Download SKU:…
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Instrumental Duet Harp,Instrumental Duet,Oboe d'Amore - Level 2 - Digital Download SKU: A0.1098840 Composed by Johann Pachelbel. Arranged by James M. Guthrie. Baroque,Classical,Standards,Traditional,Wedding. Score and parts. 11 pages. Jmsgu3 #702688. Published by jmsgu3 (A0.1098840). Score: 6 pages. Duration: ca. 2:30 The famous Pachelbel Canon arranged for Oboe d'Amore & Harp. A great choice for weddings & receptions! Pachelbel's Canon Pachelbel's Canon is, in fact, the traditional title for a composition by the German composer Johann Pachelbel. Other names for the work include namely: Canon and Gigue for 3 violins and basso continuo, Canon and Gigue in D, and of course Canon in D. We do not know when or why in particular it was written. The oldest copy is surprisingly from the 19th century. It is important to realize that it was a common routine for organists to practice improvisation on the chord progression underlying the canon. Pachelbel originally scored the Canon notably for three violins and continuo. He also in fact paired the Canon with a gigue. The movements are homotonal, to clarify, both are in the key of D major. History In due time, Pachelbel's Canon went out of style and remained in virtual oblivion for centuries. The Jean-François Paillard chamber orchestra, however, recorded an arrangement of it in 1968. As a result, it gained approval. Many ensembles began likewise to record the piece in the 1970s and by the 1980s became ubiquitous as background music. From the 1970s to the early 2000s, pop songs correspondingly used elements of the piece. The chord progression, in particular, was used this way. Also, since the 1980s, it has been not only wildly popular for weddings, but also for funeral ceremonies in the USA and Europe. Pachelbel Background Johann Pachelbel (1653 –1706) was a German composer, as well as an organist. He was furthermore instrumental in bringing the south German organ school to its apex. He wrote a large body of music, both sacred and, equally important, secular. In particular, he uniquely helped develop the chorale prelude and fugue. For this, he has, in fact, earned a rightful place in the company of the most significant composers of the mid-Baroque period. Works Pachelbel's music was certainly popular. With this in mind, he also consequently had many pupils. His music expressly developed into a model for south German composers. Nowadays, Pachelbel is most famous, particularly for the Canon in D, as well as the F minor Chaconne, the Toccata in E minor, and of course the Hexachordum Apollinis, a set of variations for the keyboard. Influences Johann Jakob Froberger and Johann Caspar Kerll were south German composers who significantly influenced Pachelbel. Furthermore, he was especially influenced by Italians such as Frescobaldi and Poglietti. He frequently preferred an articulate, simple contrapuntal style that highlighted clarity. His music is markedly less extravagant and harmonically adventurous than that of Dieterich Buxtehude. However, as a point often overlooked, like Buxtehude, Pachelbel experimented with different instrumental combinations in his chamber music. Legacy All in all, Pachelbel was most famous as a composer for the keyboard. He composed over two hundred pieces specifically for the instrument. Pachelbel was also surprisingly a prolific composer of vocal music. All in all, about a hundred vocal works survive, including 40 or so large-scale works.
$34.95
31.3 €
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Johann Pachelbel
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James M
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Pachelbel: Canon in D for Oboe d'Amore & Harp
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jmsgu3
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SheetMusicPlus
Oblivion - Oboe
Hautbois
By Astor Piazzolla. Arranged by Robert Longfield. Concert. Individual instrument part. 1 p…
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By Astor Piazzolla. Arranged by Robert Longfield. Concert. Individual instrument part. 1 pages. Published by Hal Leonard - Digital Sheet Music (HX.272509). - individual instrument part - Concert - Hal Leonard - Digital Sheet Music
$6.00
5.37 €
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Hautbois
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Astor Piazzolla
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Robert Longfield
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Oblivion - Oboe
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Hal Leonard - Digital Sheet Music
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SheetMusicPlus
Lithuanian Nonet for winds & strings
A Clarinet,Bassoon,Cello,Double Bass,Flute,Horn,Oboe,Viola,Violin - Level 4 - Digital Down…
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A Clarinet,Bassoon,Cello,Double Bass,Flute,Horn,Oboe,Viola,Violin - Level 4 - Digital Download SKU: A0.1358397 Composed by Juozas ŽileviÄius. Arranged by Kazys DaugÄ—la. 20th Century,Classical. 162 pages. Kazys Daugela #942837. Published by Kazys Daugela (A0.1358397). Juozas ŽileviÄius (1891–1985) was an organist, composer, educator, and researcher in the history of music. In 1919, when graduating from the Petrograd Conservatory, he composed Symphony in F minor, the first Lithuanian composition in this genre. Upon his return to Lithuania in 1920, ŽileviÄius worked in various musical life spheres of the young republic: he took part in the activities of the Society of Lithuanian Art Creators, contributed to the establishment of Kaunas Opera House, worked for several years as the head of the Art Department at the Ministry of Education, prepared the first music curricula for secondary schools and progymnasiums, conducted courses for music teachers, taught at music schools in Kaunas and KlaipÄ—da, published a musical periodical, and initiated the first Lithuanian Song Festival. Musicologist DanutÄ— PetrauskaitÄ— managed to bring copies of three-movement Nonet for strings and wind instruments from Chicago to Lithuania. ŽileviÄius started writing it in December 1924. The composition was apparently inspired by the Czech Nonet members, working at KlaipÄ—da School of Music, who had been invited by its director Stasys Å imkus from Prague. This was a lively and youthful group that gave concerts all over Lithuania. It amazed audiences with its high artistic level and set an example for students, encouraging them to form various ensembles. The repertoire of the Czech Nonet consisted mainly of works from the Classical and Romantic eras. There were few contemporary compositions, and therefore the Czech Nonet performers turned to composers with a request to write new works for them. They might have discussed the matter with ŽileviÄius with whom they maintained a close relationship, as they did later with Lithuanian composer Jeronimas KaÄinskas.ŽileviÄius finished writing Nonet on 15 November 1926. All three movements were based on the intonations of Lithuanian folk melodies. The first movement (Andante. Allegro moderato) imitatively developed the motifs of the song “Autumn will Comeâ€, while the second one (Andante cantabile) featured fragments of the song I Rode through the Woodâ€, and the third one (Allegro) of the song “Oh, you Bird Cherryâ€. The composition was written professionally, it should have been attractive and interesting for the performers, but, unfortunately, it was never performed. The reasons for this could have been various: disagreements between the director of  KlaipÄ—da Music School, Å imkus, and his deputy, ŽileviÄius, as well a the Czech teachers’ falling into disgrace and starting to resign from their teaching positions in the autumn of 1926. A few years later, ŽileviÄius also resigned from the school: in January 1929 he left for the USA and settled in Elizabeth, New Jersey, where he worked as a church organist. He also brought his Nonet from KlaipÄ—da, hoping that this work would be heard in America. To this end, he found transcribers who made instrumental parts from the score. As it turned out, there were few Lithuanian instrumentalists in the USA, and ŽileviÄius did not have close relations with Americans. Thus Nonet, which the composer regarded as one of his most successful compositions after his Symphony in F minor, sank into oblivion. Thanks to Kazys DaugÄ—la, an opportunity appeared to edit and digitise it after the sheet music of Nonet had arrived in Lithuania. This work reveals the origins of the Lithuanian musical culture, enriches the repertoire of chamber-instrumental ensembles, broadens music education curricula, inks the name of ŽileviÄius, the author of both the first Lithuanian symphony and of the first nonet, in the history of music, and contributes to the preservation and fostering of the Lithuanian musical heritage.by Prof. Dr. DanutÄ— PetrauskaitÄ—.
$59.99
53.73 €
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Juozas ŽileviÄius
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Kazys DaugÄ—la
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Lithuanian Nonet for winds & strings
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Kazys Daugela
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SheetMusicPlus
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