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Vous avez sélectionné:
Til Death Us Do Part
Partitions à imprimer
15 partitions trouvées
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1
Til Death Us Do Part
Piano Trio: piano, violon, violoncelle
Piano Trio,String Ensemble Cello,Piano,Violin - Digital Download SKU: A0.899742 Com…
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Piano Trio,String Ensemble Cello,Piano,Violin - Digital Download SKU: A0.899742 Composed by Christopher Ittoku. 20th Century,Contemporary,New Age. Score and parts. 11 pages. Christopher Ittoku #2964311. Published by Christopher Ittoku (A0.899742). Title:
$6.89
6.33 €
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Piano Trio: piano, violon, violoncelle
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Christopher Ittoku
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Til Death Us Do Part
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Christopher Ittoku
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SheetMusicPlus
Till Death Do Us Part
Small Ensemble Drum Set,Flute,Hand Percussion - Level 4 - Digital Download SKU: A0.9420…
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Small Ensemble Drum Set,Flute,Hand Percussion - Level 4 - Digital Download SKU: A0.942066 Composed by Apostolos Paraskevas. 20th Century,Contemporary. Score and parts. 9 pages. Silver Sickle Publications #4755273. Published by Silver Sickle Publications (A0.942066). The last words of a dying soldier, his last 5 minutes. A lament full of love, of beautiful memories and theeminent shadow of Death. His simple melody unfolds through variations of agony and ecstasy. The endcomes closer and closer as his heart beat ascends and descends until with its last beat says ...I love you...Lamentations are a eulogy to love not to death and we lament because we love life. Death needs life toexist but not vice versa.
$8.99
8.26 €
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Apostolos Paraskevas
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Till Death Do Us Part
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Silver Sickle Publications
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SheetMusicPlus
Till Death Do Us Part (solo flute version)
Flûte traversière
Flute Solo - Digital Download SKU: A0.942069 Composed by Apostolos Paraskevas. 20th…
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Flute Solo - Digital Download SKU: A0.942069 Composed by Apostolos Paraskevas. 20th Century,Contemporary,World. Individual part. 6 pages. Silver Sickle Publications #4762671. Published by Silver Sickle Publications (A0.942069). The last words of a dying soldier, his last 5 minutes. A lament full of love, of beautiful memories and the eminent shadow of Death. His simple melody unfolds through variations of agony and ecstasy. The end comes closer and closer as his heart beat ascends and descends until with its last beat says ...I love you...
$7.88
7.24 €
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Flûte traversière
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Apostolos Paraskevas
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Till Death Do Us Part
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Silver Sickle Publications
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SheetMusicPlus
'Til Death
Piano, Voix et Guitare
Guitar,Piano,Vocal,Voice - Level 4 - Digital Download SKU: A0.1312083 By Andrew McD…
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Guitar,Piano,Vocal,Voice - Level 4 - Digital Download SKU: A0.1312083 By Andrew McDonald. By Andrew McDonald. Arranged by Andrew McDonald. Christian,Traditional,Wedding. Score. 5 pages. Andrew Mc Donald (Macka Records) #900980. Published by Andrew Mc Donald (Macka Records) (A0.1312083). 'Til Death is a song about vows which are sung at a wedding. I take thee to be my wedded husband for better of worse...'til death do us part. For as long as we both shall live I will support you in all you do, is her promise to her new man. This song is written for female vocals and piano score.
$4.99
4.58 €
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Piano, Voix et Guitare
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Andrew McDonald
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Andrew McDonald
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'Til Death
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Andrew Mc Donald
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SheetMusicPlus
TILL DEATH DO US PART
Piano, Voix
Piano,Vocal,Voice - Digital Download SKU: A0.947636 Composed by J.D. MEGLEN. Arrang…
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Piano,Vocal,Voice - Digital Download SKU: A0.947636 Composed by J.D. MEGLEN. Arranged by J.D. MEGLEN. Country,Pop,Rock. Score. 3 pages. J. D. Meglen #6188767. Published by J. D. Meglen (A0.947636). Love at first sight followed by life together.
$4.99
4.58 €
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Piano, Voix
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J
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J
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TILL DEATH DO US PART
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J. D. Meglen
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SheetMusicPlus
Bist Du Bei Mir for Tuba & Piano
Tuba et Piano
Piano,Tuba - Level 3 - Digital Download SKU: A0.870741 Composed by Johann Sebastian…
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Piano,Tuba - Level 3 - Digital Download SKU: A0.870741 Composed by Johann Sebastian Bach. Arranged by Daniel Leeman. Baroque,Sacred,Wedding. Score and part. 5 pages. Daniel Leeman #2998839. Published by Daniel Leeman (A0.870741). Bist Du Bei Mir, though popularly attributed to Johann Sebastian Bach, was an aria from Stölzel's opera Diomedes.It is a favorite selection for weddings, commonly chosen as an offertory or communion piece. Despite its traditional Baroque architecture, there is a romantic yearning between the solo and continuo parts. The text translation is also appropriate for weddings, If you are with me, then I will go gladly unto [my] death and to my rest, reflecting upon the traditional Til death do us part commitment of many wedding vows.This piece is rated for intermediate level players. Though range and rhythms are not difficult in this piece, the greatest challenge is proper tonal control to achieve beautiful lyricism. .
$4.99
4.58 €
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Tuba et Piano
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Johann Sebastian Bach
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Daniel Leeman
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Bist Du Bei Mir for Tuba & Piano
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Daniel Leeman
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SheetMusicPlus
Bist Du Bei Mir for Bassoon & Piano
Basson, Piano (duo)
Bassoon,Piano - Level 3 - Digital Download SKU: A0.870734 Composed by Johann Sebast…
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Bassoon,Piano - Level 3 - Digital Download SKU: A0.870734 Composed by Johann Sebastian Bach. Arranged by Daniel Leeman. Baroque,Sacred,Wedding. Score and part. 5 pages. Daniel Leeman #2998825. Published by Daniel Leeman (A0.870734). Bist Du Bei Mir, though popularly attributed to Johann Sebastian Bach, was an aria from Stölzel's opera Diomedes.It is a favorite selection for weddings, commonly chosen as an offertory or communion piece. Despite its traditional Baroque architecture, there is a romantic yearning between the solo and continuo parts. The text translation is also appropriate for weddings, If you are with me, then I will go gladly unto [my] death and to my rest, reflecting upon the traditional Til death do us part commitment of many wedding vows.This piece is rated for intermediate level players. Though range and rhythms are not difficult in this piece, the greatest challenge is proper tonal control to achieve beautiful lyricism. .
$4.99
4.58 €
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Basson, Piano (duo)
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Johann Sebastian Bach
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Daniel Leeman
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Bist Du Bei Mir for Bassoon & Piano
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Daniel Leeman
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SheetMusicPlus
Bist Du Bei Mir for Double Bass & Piano
Contrebasse, Piano (duo)
Double Bass,Piano,String Bass - Level 3 - Digital Download SKU: A0.870745 Composed …
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Double Bass,Piano,String Bass - Level 3 - Digital Download SKU: A0.870745 Composed by Johann Sebastian Bach. Arranged by Daniel Leeman. Baroque,Sacred,Wedding. Score and part. 5 pages. Daniel Leeman #2998847. Published by Daniel Leeman (A0.870745). Bist Du Bei Mir, though popularly attributed to Johann Sebastian Bach, was an aria from Stölzel's opera Diomedes.It is a favorite selection for weddings, commonly chosen as an offertory or communion piece. Despite its traditional Baroque architecture, there is a romantic yearning between the solo and continuo parts. The text translation is also appropriate for weddings, If you are with me, then I will go gladly unto [my] death and to my rest, reflecting upon the traditional Til death do us part commitment of many wedding vows.This piece is rated for intermediate level players. Though range and rhythms are not difficult in this piece, the greatest challenge is proper tonal control to achieve beautiful lyricism. .
$4.99
4.58 €
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Contrebasse, Piano (duo)
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Johann Sebastian Bach
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Daniel Leeman
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Bist Du Bei Mir for Double Bass & Piano
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Daniel Leeman
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SheetMusicPlus
Just Tonight
Piano seul
Piano Solo - Level 4 - Digital Download SKU: A0.1023832 Composed by Jeff Scott. Bro…
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Piano Solo - Level 4 - Digital Download SKU: A0.1023832 Composed by Jeff Scott. Broadway,Romantic Period. Score. 12 pages. Jeff Scott #2003197. Published by Jeff Scott (A0.1023832). From the ghostly musical Til Death Do Us Start, comes this haunting love duet (between the two main characters, Chip & Madeline). This song happens just as Madeline is about to throw herself off Chip's roof (because he's engaged, and she's to be sacrificed)...it's all quite mad! As this song starts, Chip has stopped Madeline from jumping, and they sing their true feelings for each other. True love will save the day. SYNOPSIS: It is the summer of 1919 in Nantucket. At the engagement party for blue blood Chip Chatamborough and the pushy (though socially desirable) Bitsy Claypoole, Chip meets the exotic Madeline Mojeaux. It is love at first site, but Chip is to be married, and Madeline is scheduled to be sacrificed to the Ruler of the Netherworld at the next full moon. It is something of a dilemma. While the two are trying to find a solution, Madeline accidentally dances off the roof to an untimely death. With the help of Madeline's mother, the mystical Diabolique Mojeaux, Chip fakes his own death to follow Madeline beyond the grave, hoping to reclaim the one true love of his life.
$4.99
4.58 €
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Piano seul
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Jeff Scott
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Just Tonight
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Jeff Scott
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SheetMusicPlus
Uma Thurman
Basse electrique
Bass Guitar - Level 3 - Digital Download SKU: A0.941977 By Fall Out Boy. By Andrew …
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Bass Guitar - Level 3 - Digital Download SKU: A0.941977 By Fall Out Boy. By Andrew Hurley, Bob Mosher, Jack Marshall, Jacob Scott Sinclair, Jarrell Young, Joseph Trohman, Liam O'Donnell, Patrick Stump, Peter Wentz, and Waqaas Hashmi. Arranged by Daniel Roberts. Pop,Rock. Score. 4 pages. Daniel P Roberts #6356167. Published by Daniel P Roberts (A0.941977). Uma Thurman by Fall Out Boy. Bass line with TAB. Guitar and Key parts arranged for Bass. I can move mountainsI can work a miracle, work a miracleOoh, oh, oh, I'll keep you like an oathMay nothing but death do us apart[Chorus]She wants to dance like Uma ThurmanBury me 'til I confessShe wants to dance like Uma ThurmanAnd I can't get you out of my head[Verse 1]The stench, the stench of summer sexAnd CK Eternity - oh Hell yesDivide me down to the smallest I can bePut your, put your v-v-v-venom in me[Pre-Chorus]I can move mountainsI can work a miracle, work a miracleOoh, oh, oh, I'll keep you like an oathMay nothing but death do us apart[Chorus]She wants to dance like Uma ThurmanBury me 'til I confessShe wants to dance like Uma ThurmanAnd I can't get you out of my head
$4.99
4.58 €
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Basse electrique
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Fall Out Boy
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Daniel Roberts
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Uma Thurman
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Daniel P Roberts
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SheetMusicPlus
Requiem
Orchestre de chambre
Soprano, tenor, Knabensoprano, flugelhorn, mixed choir and chamber orchestra - Digital Dow…
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Soprano, tenor, Knabensoprano, flugelhorn, mixed choir and chamber orchestra - Digital Download SKU: S9.Q7038 Teil I: Schwarz vor Augen... · Teil II: ...und es ward Licht!. Composed by Harald Weiss. This edition: study score. Music Of Our Time. Downloadable, Study score. Duration 100' 0. Schott Music - Digital #Q7038. Published by Schott Music - Digital (S9.Q7038). Latin • German.On letting go(Concerning the selection of the texts) In the selection of the texts, I have allowed myself to be motivated and inspired by the concept of “letting goâ€. This appears to me to be one of the essential aspects of dying, but also of life itself. We humans cling far too strongly to successful achievements, whether they have to do with material or ideal values, or relationships of all kinds. We cannot and do not want to let go, almost as if our life depended on it. As we will have to practise the art of letting go at the latest during our hour of death, perhaps we could already make a start on this while we are still alive. Tagore describes this farewell with very simple but strikingly vivid imagery: “I will return the key of my doorâ€. I have set this text for tenor solo. Here I imagine, and have correspondingly noted in a certain passage of the score, that the protagonist finds himself as though “in an ocean†of voices in which he is however not drowning, but immersing himself in complete relaxation. The phenomenon of letting go is described even more simply and tersely in Psalm 90, verse 12: “So teach us to number our days, that we may apply our hearts unto wisdomâ€. This cannot be expressed more plainly.I have begun the requiem with a solo boy’s voice singing the beginning of this psalm on a single note, the note A. This in effect says it all. The work comes full circle at the culmination with a repeat of the psalm which subsequently leads into a resplendent “lux aeternaâ€. The intermediate texts of the Requiem which highlight the phenomenon of letting go in the widest spectrum of colours originate on the one hand from the Latin liturgy of the Messa da Requiem (In Paradisum, Libera me, Requiem aeternam, Mors stupebit) and on the other hand from poems by Joseph von Eichendorff, Hermann Hesse, Rabindranath Tagore and Rainer Maria Rilke.All texts have a distinctive positive element in common and view death as being an organic process within the great system of the universe, for example when Hermann Hesse writes: “Entreiß dich, Seele, nun der Zeit, entreiß dich deinen Sorgen und mache dich zum Flug bereit in den ersehnten Morgen†[“Tear yourself way , o soul, from time, tear yourself away from your sorrows and prepare yourself to fly away into the long-awaited morningâ€] and later: “Und die Seele unbewacht will in freien Flügen schweben, um im Zauberkreis der Nacht tief und tausendfach zu leben†[“And the unfettered soul strives to soar in free flight to live in the magic sphere of the night, deep and thousandfoldâ€]. Or Joseph von Eichendorff whose text evokes a distant song in his lines: “Und meine Seele spannte weit ihre Flügel aus. Flog durch die stillen Lande, als flöge sie nach Haus†[“And my soul spread its wings wide. Flew through the still country as if homeward bound.â€]Here a strong romantically tinged occidental resonance can be detected which is however also accompanied by a universal spirit going far beyond all cultures and religions. In the beginning was the sound Long before any sort of word or meaningful phrase was uttered by vocal chords, sounds, vibrations and tones already existed. This brings us back to the music. Both during my years of study and at subsequent periods, I had been an active participant in the world of contemporary music, both as percussionist and also as conductor and composer. My early scores had a somewhat adventurous appearance, filled with an abundance of small black dots: no rhythm could be too complicated, no register too extreme and no harmony too dissonant. I devoted myself intensely to the handling of different parameters which in serial music coexist in total equality: I also studied aleatory principles and so-called minimal music.I subsequently emigrated and took up residence in Spain from where I embarked on numerous travels over the years to India, Africa and South America. I spent repeated periods during this time as a resident in non-European countries. This meant that the currents of contemporary music swept past me vaguely and at a great distance. What I instead absorbed during this period were other completely new cultures in which I attempted to immerse myself as intensively as possible.I learned foreign languages and came into contact with musicians of all classes and styles who had a different cultural heritage than my own: I was intoxicated with the diversity of artistic potential.Nevertheless, the further I distanced myself from my own Western musical heritage, the more this returned insistently in my consciousness.The scene can be imagined of sitting somewhere in the middle of the Brazilian jungle surrounded by the wailing of Indians and out of the blue being provided with the opportunity to hear Beethoven’s late string quartets: this can be a heart-wrenching experience, akin to an identity crisis. This type of experience can also be described as cathartic. Whatever the circumstances, my “renewed†occupation with the “old†country would not permit me to return to the point at which I as an audacious young student had maltreated the musical parameters of so-called contemporary music. A completely different approach would be necessary: an extremely careful approach, inching my way gradually back into the Western world: an approach which would welcome tradition back into the fold, attempt to unfurl the petals and gently infuse this tradition with a breath of contemporary life.Although I am aware that I will not unleash a revolution or scandal with this approach, I am nevertheless confident as, with the musical vocabulary of this Requiem, I am travelling in an orbit in which no ballast or complex structures will be transported or intimated: on the contrary, I have attempted to form the message of the texts in music with the naivety of a “homecomerâ€. Harald WeissColonia de San PedroMarch 20091 (auch Altfl.) · 2 (2. auch Engl. Hr.) · 1 (auch Bassklar.) · 0 - 2 · Flhr. · 0 · 0 - P. S. (Glsp. · Röhrengl. · Gongs · Trgl. · Beck. · Tamt. · 2 Holzschlitztr. (oder Woodbl.) · Woodbl. · gr. Tr.) (3 Spieler) - Org. (Positiv) - Str. (4 · 4 · 4 · 4 · 2).
$55.99
51.41 €
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Orchestre de chambre
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Harald Weiss
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Requiem
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Schott Music - Digital
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SheetMusicPlus
Jacques Leguerney: Trio for violin, violoncello and piano
Piano Trio: piano, violon, violoncelle
Piano Trio,String Ensemble Cello,Piano,Violin - Level 4 - Digital Download SKU: A0.5333…
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Piano Trio,String Ensemble Cello,Piano,Violin - Level 4 - Digital Download SKU: A0.533315 Composed by Jacques Leguerney. 20th Century,Standards. Score and parts. 48 pages. Musik Fabrik Music Publishing #2343071. Published by Musik Fabrik Music Publishing (A0.533315). French composer Jacques Leguerney (1906-1997) has been recognized for hisoutstanding oeuvre of songs for voice and piano, mostly composed upon poems of theFrench poets of the Pleiade. After his death, the Leguerney Estate decided to allow thepublication of his instrumental chamber music. These works, many of which werewritten in his early years, are valuable contributions to the French chamber musicrepertoire, representing the 20th century from its early years through World War II.This Trio was composed in 1928, but not performed until December 3, 1932. Therespected French musicians Hortense de Sampigny (violinist) and Jacques Serres(cellist) gave its first and, as far as we know, only performance along withLeguerney’s friend and mentor, Thérèse Cahen, at the piano. The concert includingthis work was organized by the Société Musicale Indépendante at the concert hall ofthe Ecole Normale de Musique in Paris. A review, in the Journal des débâts, reads:“We do not know this composer. Judging from his composition, whose variegatedstyle reminds us of [Cesar] Franck, of Maurice Ravel and of Spanish dances, he mustbe quite young.â€The same month as this performance, Leguerney’s father, Marcel Leguerney, died. Atthis point, he interrupted his musical activity in order to take over his father’s businessto support his mother and sister. He was not able to resume musical composition until1940, when the outbreak of the war led him to close the business.This edition is based upon two autograph manuscript sources of the full score, as wellas copyist’s parts for the violin and ‘cello. His first completed sketch as well as hisfinal copy are in the Leguerney archives. The parts, made by a copyist, were obviouslyused for a performance, and contain suggested phrasing, as well as bowings (whichwe have not reproduced). We surmise that the violin and ’cello parts were used for thefirst performance. We also think that Thérèse Cahen must have kept her piano score,as the copyist's score of it was not found with the other parts.We have added rehearsal numbers, and corrected a few notational mistakes in themanuscript.We would like to thank Jean Libermann, cellist, and Marion Larigaudrie, violinist,for their advice in the preparation of this edition.
$25.95
23.83 €
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Piano Trio: piano, violon, violoncelle
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Jacques Leguerney
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Jacques Leguerney: Trio for violin, violoncello and piano
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Musik Fabrik Music Publishing
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SheetMusicPlus
Three Shakespeare Nocturnes
Chorale SATB
Piano Accompaniment, Choir, SATB - Advanced Intermediate - Digital Download Composed …
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Piano Accompaniment, Choir, SATB - Advanced Intermediate - Digital Download Composed by Mikael Carlsson. 21st Century, Contemporary Classical, Post-Romantic, Funeral. 28 pages. Published by Carlssons Kluster
Composed by Mikael Carlsson, lyrics by Sir William Shakespeare. Composition year: 2015. Secular. <br> <br> An expressive three movement work for SATB choir with divisi and piano accompaniment exploring Shakespeare text s with a nocturnal setting. Beautiful harmony and forward movement leads the way of 'Over Hill, Over Dale' ('Midsummer Night's Dream'), ominous piano glissandi and misterioso chords dominate 'Heavily, Heavily' ('Much Ado About Nothing') and shimmering light and a dazzling ending with the effect of whistling and sea waves makes the final 'Night of Our Solemnities' ('Midsummer Night's Dream) particularly memorable.<br> <br> <br> 1. Over Hill, Over Dale (Midsummer Night's Dream)<br> <br> Over hill, over dale,<br> Thorough bush, thorough brier,<br> Over park, over pale,<br> Thorough flood, thorough fire.<br> I do wander everywhere<br> Swifter than the moon’s sphere.<br> And I serve the fairy queen<br> To dew her orbs upon the green.<br> The cowslips tall her pensioners be.<br> In their gold coats spots you see.<br> Those be rubies, fairy favors.<br> In those freckles live their savors.<br> I must go seek some dewdrops here<br> And hang a pearl in every cowslip’s ear.<br> Farewell, thou lob of spirits. I’ll be gone.<br> Our queen and all our elves come here anon.<br> <br> 2. Heavily, Heavily (Much Ado About Nothing)<br> <br> Pardon, goddess of the night,<br> Those that slew thy virgin knight,<br> For the which with songs of woe<br> Round about her tomb they go.<br> Midnight, assist our moan.<br> Help us to sigh and groan<br> Heavily, heavily.<br> Graves, yawn and yield your dead,<br> Till death be utterèd,<br> Heavily, heavily.<br> <br> 3. Night of Our Solemnities (Midsummer Night's Dream)<br> <br> Four days will quickly steep themselves in night.<br> Four nights will quickly dream away the time.<br> And then the moon, like to a silver bow<br> New bent in heaven, shall behold the night<br> Of our solemnities.<br> <br> Choral score including piano part. 28 pages.<br> Total duration: 15:30.<br> Movement 1: 4:30<br> Movement 2: 5:00<br> Movement 3: 6:00<br> <br> Suitable for concert programs concerning themes such as Shakespeare, night, evening, love, sorrow, evening, forgiving.<br> <br> Discover more music by Mikael Carlsson at http://www.mikaelcarlsson.com
$6.99
6.42 €
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Chorale SATB
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Mikael Carlsson
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Three Shakespeare Nocturnes
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SheetMusicPlus
Claude Debussy/Robert Orledge: Prélude à L'Histoire de Tristan for orchestra, score only
Orchestre
Full Orchestra - Advanced Intermediate - Digital Download Composed by Claude Debuss…
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Full Orchestra - Advanced Intermediate - Digital Download Composed by Claude Debussy/Robert Orledge. 20th Century, Impressionistic. Score. 19 pages. Published by Musik Fabrik Music Publishing
Scored for 21EH22/2200/timp/1perc/hp/strings Parts on rental.<br> <br> Debussy’s friendship with the versatile poet and playwright Gabriel Mourey began in 1899, and in July 1907, Mourey offered Debussy a libretto based on Le roman de Tristan - Joesph Bédier’s adaptation of a twelfth-century Breton romance by the Anglo-Norman poet known as Tomas - which had recently been published in Paris. Debussy enthusiastically outline the four-act plot to Victor Segalen that October, and the main differences from Wagner’s Tristan und Isolde are that none of the action takes place in Cornwal and that “Isolde of the white hands” is found guilty of cuckolding King Marc with Tristan, who has to rescue her from the leper colony in which she is abandoned in Act 1. She also betrays hi when he goes mad at the end.<br> <br> The idea of a Tristan that restorced its ‘legendary character’ and had no connections with Wagner, appealed to Debussy, who was extremely moved by the circumstances of Tristan’s death. Even if he thought that Mourey’s poetry was “not very lyrical and many passages do not exactly “invite” music”, he did work on the libretto and the music that summer and sent his pubisher Jacques Durand, ‘one of the 363 themes for the “Roman de Tristan”’ in a letter sent from Pourville on 23 August, 1907. The present prelude grows from this theme, together with the poignant Breton folksong “Le Faucon”. After a short atmospheric introduction, Debussy’s dance-like theme (which is definitely not a leitmotif) gradually gains momentum and after it reaches it ecstatic climas, representing the transient happiness of the lovers, it dissolves into an expressive coda and an elegiac close (all growing from Debussy’s opennning, off-stage trumpet calls), leaving us with the ultimate tragedy of their ill-fated advice.<br> <br> Unforunately, Mourey’s actual libretto has been lost and the project eventually foundered because Bédier’s cousin, Louis Artus, wanted Debussy to use the scenario he had prepared and copyrights for the stage, and would not allow him to proceed with Mourey’s version. Debussy, it need hardly be said, would never have dreamed of collaborating with the author of the vaudeville hit La culotte (The pants)!<br>
$19.95
18.32 €
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Orchestre
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Claude Debussy/Robert Orledge
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Claude Debussy/Robert Orledge: Prélude à L'Histoire de Tristan for orchestra, score only
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Musik Fabrik Music Publishing
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SheetMusicPlus
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