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--INSTRUMENTS--
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into her own music and poetry
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into her own music and poetry
Partitions à imprimer
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Her Little Child - Rehearsal CD
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Ruth Elaine Schram
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into her own music and poetry
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Her Little Child - Rehearsal C
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Fred Bock Music Company
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SheetMusicPlus
Choral, Flute (rehearsal CD) SKU: HL.8747201 Composed by Ruth Elaine Schram. Fred Bock Publications. Christmas, Sacred. Fred Bock Music Company #BGRD2507...
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Choral, Flute (rehearsal CD) SKU: HL.8747201 Composed by Ruth Elaine Schram. Fred Bock Publications. Christmas, Sacred. Fred Bock Music Company #BGRD2507. Published by Fred Bock Music Company (HL.8747201). UPC: 884088152017. 5.5x5 inches.Ruth Elaine Schram requires no introduction due to her steady output of useful choral music. This Christmas selection weaves the well-known “Once in Royal David's City” into her own music and poetry. In serene fashion she brings freshness and warmth together to celebrate the birth of Mary's child. Rehearsal CD and Rehearsal CD 10-Pak available.
$19.95
A Promise to Stand By:
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Orchestre d'harmonie
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Contemporain
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Benjamin Ayotte
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A Promise to Stand By:
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Ayotte Custom Musical Engravings
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SheetMusicPlus
Concert Band - SKU: A0.733009 Composed by Benjamin Ayotte. Contemporary. Score and parts. 30 pages. Ayotte Custom Musical Engravings #2075851. Published...
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Concert Band - SKU: A0.733009 Composed by Benjamin Ayotte. Contemporary. Score and parts. 30 pages. Ayotte Custom Musical Engravings #2075851. Published by Ayotte Custom Musical Engravings (A0.733009). A promise to stand by... this phrase indicate loyalty, steadfastness, being a man of one's word, knowing that integrity and honor are the enduring qualities by which we will be judged; not fame, fortune, influence, or other worldly measures. It is no surprise, therefore, that this phrase was incorporated by Lou Fortunate and Msgr Herman Kucyk, of blessed memory, into the alma mater of Divine Child High School. When I was approached by Mr. Bush and the Divine Child Band Boosters about the possibility of writing a piece to celebrate the fiftieth anniversary of the band program I was excited, flattered, and--most of all--humbled that I should be chosen out of many worthier candidates, in my estimation. Divine Child has had, for the longest time--since the beginning, it seems--a vibrant and thriving fine arts program involving music (both vocal and instrumental), theatre, and the visual arts as well as literature and poetry. I began to conceive of a work that would pay homage to each of these arts musically and be a celebration of all that Divine Child has to offer. One of my favourite composers, Gustav Mahler, famously said, a symphony must be like the world; it must contain everything. In the 1988 vice-presidential debate, Lloyd Bentsen famously said to Dan Quayle, Senator, you're no Jack Kennedy. A voice in my head said, Benjamin, you're no Gus Mahler. As the discarded drafts in the recycle bin took on a life of their own, I eventually dismissed the idea as impractical, and even vainglorious. I settled upon a more general idea to make the music about the band program. Most every student in the band program goes through the rigors of marching band and performs at the Falcon football games where they become intimate with the Three School Songs: the Falcon Fanfare, the Fight Song, and the Alma Mater. Taking the latter piece as my inspiration, I meditated upon the mission of the school: a promise to educate us in body, mind, and spirit. Divine Child High School stands by her promise, recruiting some of the best teachers in the area to guide us through the tumultuous adolescent years. We students, too, have a promise: to strive to be worthy of this gift, and to accept it and use it for the betterment of society. In band class, under Leo Tallieu, I learned to listen; to contribute to the group; to consider my part in relation to the whole ensemble; to show leadership when needed; and to be a role player when needed. And so, my conception of the piece changed. I wanted to use melodic, harmonic, and rhythmic devices that would be familiar to all DCHS band students, but to use them in a new and different way; to recontextualize them. As time went on, Bob Bush asked me if I would be able to work in a tribute to two band students who had tragically died in the last few years: Blaise H.
$19.99
Robe Yourself with Joy and Gladness (4-part hymn-style)
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Chorale SATB
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INTERMÉDIAIRE/AVANCÉ
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Musique Sacrée
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Words: Johann Franck, tr
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Lyndell Leatherman
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some were not
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Robe Yourself with Joy and Gla
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Leatherman Music Services
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SheetMusicPlus
Choral Choir (SATB) - Level 4 - SKU: A0.1245807 Composed by Words: Johann Franck, tr. Catherine Winkworth / Music: Lyndell Leatherman. Arranged by Lynde...
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Choral Choir (SATB) - Level 4 - SKU: A0.1245807 Composed by Words: Johann Franck, tr. Catherine Winkworth / Music: Lyndell Leatherman. Arranged by Lyndell Leatherman. Advent,Christian,Religious,Sacred. Octavo. 1 pages. Leatherman Music Services #840637. Published by Leatherman Music Services (A0.1245807). This is the four-part hymn-style edition of this Eucharistic hymn, to facilitate congregational singing. As far as I am concerned, you may purchase the minimum amount of copies that SheetMusicPlus will allow, and then freely duplicate the song sheet for inclusion in worship bulletins. Other editions are available:A FESTIVAL CHOIR arrangement of this hymn is available here: https://www.arrangeme.com/title/436143A PIANO/ORGAN Duet of the hymn is available here: https://www.arrangeme.com/title/436144Here are some program notes: Johann Franck (1618-1677) was born in Guben, Germany, the son of a lawyer. Like his father, Johann studied law at the University of Konigsburg, where–in addition to his studies–he developed a warm friendship with a group of hymnists and poets. Returning home, he began his law practice and eventually became mayor of Guben. As an avocation, the Lutheran politician wrote poems–and soonbecame known as one of the leading hymnists of his time, ranked only behind Gerhard. He is credited for the creation of a group of so-called Jesus hymns, building the foundation for the pietistic hymn movement that would later sweep through Europe. Franck once wrote that poetry should be the nurse of piety, the herald of immortality, the promoter of cheerfulness, the conqueror of sadness, and a foretaste of heavenly glory. Indeed, his hymns echoed his own spirit of encouragement.Lyndell Leatherman (b. 1953) was born into a Nazarene parsonage in southeast Kansas. After studying church music and composition at Olivet Nazarene University (Kankakee, Illinois) and Illinois State University (Bloomington-Normal, Illinois), he launched into a life of music ministry. Since 1977 he has enjoyed a diverse career as church musician, editor, accompanist, composer, and arranger. In 1998 he became aware of Franck’s eucharistic / Advent hymn, translated either Deck Thyself with Joy and Gladness (Mattes) or Deck Thyself, My Soul, with Gladness (Winkworth). Because the text was unique in its unusually exultant treatment of the sacrament of holy communion, Lyndell felt that the hymn was worthy of renewed consideration in the third millennium of Christian worship. So he updated the language and gave it the new musical setting used here. ************It has long been my passion and privilege to create customized arrangements for the churches and schools with whom I have been associated. Many were published; some were not. During the 2020 slowdown caused by Covid-19, I finally had the time to start posting the unpublished resources on Sheet Music Plus. If you are curious about what else is available, please navigate to my publisher page here on SMP < https://www.sheetmusicplus.com/publishers/leatherman-music-services/16718 >  or slip over to Facebook < https://www.facebook.com/leathermanmusicservices >, where you can see and hear many of my published works. Thanks for your interest!   God bless!Lyndell Leatherman, ASCAP.
$1.99
David W. Solomons: Five Poems by Melissanthi for medium voice and guitar
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David Warin Solomons
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David W. Solomons: Five Poems
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Musik Fabrik Music Publishing
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SheetMusicPlus
Small Ensemble Guitar,Low Voice,Medium Voice - Level 5 - SKU: A0.534408 Composed by David Warin Solomons. 20th Century,Concert,Contemporary,Standards. S...
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Small Ensemble Guitar,Low Voice,Medium Voice - Level 5 - SKU: A0.534408 Composed by David Warin Solomons. 20th Century,Concert,Contemporary,Standards. Score and parts. 19 pages. Musik Fabrik Music Publishing #3466270. Published by Musik Fabrik Music Publishing (A0.534408). Concert Note:The Five Poems of Melissanthi, in the English translation of Diana Maynard, comprise a complete vocal cycle of five poems set to music as a posthumous tribute by the composer to the Athenian poet Melissanthi (1910-1991), in the manner of the old tombeaux of the Baroque era, a tradition also used by many composers of the first half of the 20th century. This composer confirms, with reference to his own experience of Melissanthi's poetry these five from among her many poems have made a such a great impact on my composing that I felt the need to dedicate these musical pages to her.The evocative poetic expressions of Melissanthi, whose real name was Eve Chougia-Skandalaki, and the mysterious atmospheres invoked by David Solomons' music introduce the listener to an ethereal and metaphysical dimension, allowing us a glimpse into the unknown and the intangible. A recurring theme, which unites the five lyrics by an invisible thread, is an incessant fluctuation between the real and the unreal, between the known and the unknown and between reality and unreality. The inevitable abandonment of the mind to the seductive charms of the surreal creates an extraordinary parallelism with lines from a great poet of the past…così tra questa/immensità s'annega il pensier mio:/e il naufragar m'è dolcein questo mare[…so in this/immensity my thoughts drown:/ and to be shipwrecked is sweetfor me in this sea.](Giacomo Leopardi, L'Infinito, 1819).Both the performance and the enjoyment of the Five Poems therefore require particular emotional involvement, in an overall picture where every single note is a tiny but essential constituent of a larger and more complex musical architecture. The harmonic structure of the five compositions presents a substantial homogenity of formulation even within the various rhythmicalsolutions selected, with their repeated returns to themes and chords. This creates an indissoluble unity, such that it would spoil the completeness of the whole cycle of compositions if it were broken.1. The Capital 19802. The Houses Where We Have Lived3. We Have Cast Anchor4. Outside and Inside5. Hour Zero
$19.95
David Warin Solomons: Five Poems by Melissanthi for medium voice and guitar
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David Warin Solomons
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David Warin Solomons: Five Poe
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Musik Fabrik Music Publishing
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SheetMusicPlus
Small Ensemble Guitar,Low Voice,Medium Voice - Level 4 - SKU: A0.533911 Composed by David Warin Solomons. Concert,Contemporary,Standards. Score and part...
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Small Ensemble Guitar,Low Voice,Medium Voice - Level 4 - SKU: A0.533911 Composed by David Warin Solomons. Concert,Contemporary,Standards. Score and parts. 19 pages. Musik Fabrik Music Publishing #3066951. Published by Musik Fabrik Music Publishing (A0.533911). Concert Note:The Five Poems of Melissanthi, in the English translation of Diana Maynard,comprise a complete vocal cycle of five poems set to music as a posthumoustribute by the composer to the Athenian poet Melissanthi (1910-1991),in the manner of the old tombeaux of the Baroque era, atradition also used by many composers of the first half of the 20th century.This composer confirms, with reference to his own experience of Melissanthi'spoetry these five from among her many poems have made a such a great impacton my composing that I felt the need to dedicate these musical pages to her.The evocative poetic expressions of Melissanthi, whose real name wasEve Chougia-Skandalaki, and the mysterious atmospheres invokedby David Solomons' music introduce the listener to an ethereal andmetaphysical dimension, allowing us a glimpse into the unknown and the intangible.A recurring theme, which unites the five lyrics by an invisible thread, isan incessant fluctuation between the real and the unreal, between the knownand the unknown and between reality and unreality.The inevitable abandonment of the mind to the seductive charms of thesurreal creates an extraordinary parallelism with lines from a great poet of the past…così tra questa/immensità s'annega il pensier mio:/e il naufragar m'è dolcein questo mare[…so in this/immensity my thoughts drown:/ and to be shipwrecked is sweetfor me in this sea.](Giacomo Leopardi, L'Infinito, 1819).Both the performance and the enjoyment of the Five Poems thereforerequire particular emotional involvement, in an overall picture where everysingle note is a tiny but essential constituent of a larger and more complexmusical architecture. The harmonic structure of the five compositions presentsa substantial homogenity of formulation even within the various rhythmicalsolutions selected, with their repeated returns to themes and chords.This creates an indissoluble unity, such that it would spoil the completenessof the whole cycle of compositions if it were broken.Alessandro BalsiminiTranslation by David W. Solomons
$19.95
Op. 45, No. 12: Cherchez, mes tristes yeux from Songs of Gouvy, V2 (Downloadable)
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Piano, Voix
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INTERMÉDIAIRE
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MeeAe Cecilia Nam and Theodore
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Op. 45, No. 12: Cherchez, mes
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E. C. Schirmer Music Company - Digital
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SheetMusicPlus
Voice and piano - Medium - SKU: MQ.8492-12E Composed by MeeAe Cecilia Nam and Theodore Gouvy. Instrument part. 7 pages. E. C. Schirmer Music Company - D...
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Voice and piano - Medium - SKU: MQ.8492-12E Composed by MeeAe Cecilia Nam and Theodore Gouvy. Instrument part. 7 pages. E. C. Schirmer Music Company - Digital #8492-12E. Published by E. C. Schirmer Music Company - Digital (MQ.8492-12E). French.Gouvy was known for writing some of the most beautiful melodies of the Romantic period. His style is a combination of German forms and an early French romantic harmonic structure. His writing for the piano in the songs is totally unified in mood and description with the voice, just as the piano is in Schubert’s songs. The equal partnership of the vocal line and piano interact closely to bring the poetry vividly into life with unimaginable artistic heights and unbridled passion.This volume includes Gouvy songs set to 18 poems of Philippe Desportes (1546–1606), and 18 poems of Moritz Hartmann (1821–1872). The elements of Romantic love poetry, such as enchanting love and its pain, and the personifying of nature, are fluently described with a great sensitivity in both voice and piano. Gouvy’s melody stir up the imagination because of his special treatment of words through a distinguishable and melodious vocal line, and his story telling and poetic treatment and development of the piano accompaniment. His compositional artistry places him in the upper echelons of art-song composers. One should note that Gouvy had a special fondness for the 16th Century poetry of La Pléiade (a group of Renaissance French poets, led by Pièrre de Ronsard (1524–1585). Desportes was truly the heir to Ronsard; however his work, when compared to that of Ronsard, is filled with greater abstraction and greater fluidity. Desportes seems to avoid any of the passionate anger that is occasionally characteristic of La Pléiade. This may be an indication that Desportes lived in a less distressed time. It also seems necessary to point out that he learned much in his early career by copying and studying the earlier works of La Pléiade. This has led some scholars to label him as a plagiarist, but it is important to realize that all the members of La Pléiade copied from each other when they wished to learn something new, and truly understand the style of the other poets in the group. Gouvy’s only choice of poems from his contemporaries, were the works of Moritz Hartmann (1821–1872), a good friend of Gouvy’s. Much of his poetry was strongly political in support of freedom of the individual. He traveled to Leipzig in 1845, but when the authorities discovered a volume of patriotic poems entitled Kelch und Schwert (Chalice and Sword), he fled to Belgium and France. It is at this time that he possibly met Théodore Gouvy. Eighteen poems of Hartmann were translated from German to French by the French poet, Adolph Larmande, of whom very little is known. Pierre Toussaint Adolphe Larmande seems to have been a rather obscure poet and musician. We know that he taught music theory at the Paris Conservatory at the same time Anton Reicha and Michele Carafa were on the faculty. We also know that in 1847 he married an English woman by the name of Marie Caroline Bradley. There are random documents, such as a Certificate of Arrival in London, England, in 1837, but there are no birth and death dates given, and that includes his obituary notice. Contents:18 Sonnets et Chansons de Desportes pour ténor ou soprano et piano, Op. 45 Six poésies allemandes de Moritz Hartmann pour baryton et piano, Op. 21 Douze poésies allemandes de Moritz Hartmann pour ténor et piano, Op. 26 (Poésies françaises d’Adolphe Larmande).
$3.00
Op. 1, No. 1: Tu demandes pourquoi from Songs of Gouvy, V2 (Downloadable)
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Piano, Voix
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INTERMÉDIAIRE
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MeeAe Cecilia Nam and Theodore
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Op. 1, No. 1: Tu demandes pour
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E. C. Schirmer Music Company - Digital
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SheetMusicPlus
Voice and piano - Medium - SKU: MQ.8492-25E Composed by MeeAe Cecilia Nam and Theodore Gouvy. Instrument part. 6 pages. E. C. Schirmer Music Company - D...
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Voice and piano - Medium - SKU: MQ.8492-25E Composed by MeeAe Cecilia Nam and Theodore Gouvy. Instrument part. 6 pages. E. C. Schirmer Music Company - Digital #8492-25E. Published by E. C. Schirmer Music Company - Digital (MQ.8492-25E). French.Gouvy was known for writing some of the most beautiful melodies of the Romantic period. His style is a combination of German forms and an early French romantic harmonic structure. His writing for the piano in the songs is totally unified in mood and description with the voice, just as the piano is in Schubert’s songs. The equal partnership of the vocal line and piano interact closely to bring the poetry vividly into life with unimaginable artistic heights and unbridled passion.This volume includes Gouvy songs set to 18 poems of Philippe Desportes (1546–1606), and 18 poems of Moritz Hartmann (1821–1872). The elements of Romantic love poetry, such as enchanting love and its pain, and the personifying of nature, are fluently described with a great sensitivity in both voice and piano. Gouvy’s melody stir up the imagination because of his special treatment of words through a distinguishable and melodious vocal line, and his story telling and poetic treatment and development of the piano accompaniment. His compositional artistry places him in the upper echelons of art-song composers. One should note that Gouvy had a special fondness for the 16th Century poetry of La Pléiade (a group of Renaissance French poets, led by Pièrre de Ronsard (1524–1585). Desportes was truly the heir to Ronsard; however his work, when compared to that of Ronsard, is filled with greater abstraction and greater fluidity. Desportes seems to avoid any of the passionate anger that is occasionally characteristic of La Pléiade. This may be an indication that Desportes lived in a less distressed time. It also seems necessary to point out that he learned much in his early career by copying and studying the earlier works of La Pléiade. This has led some scholars to label him as a plagiarist, but it is important to realize that all the members of La Pléiade copied from each other when they wished to learn something new, and truly understand the style of the other poets in the group. Gouvy’s only choice of poems from his contemporaries, were the works of Moritz Hartmann (1821–1872), a good friend of Gouvy’s. Much of his poetry was strongly political in support of freedom of the individual. He traveled to Leipzig in 1845, but when the authorities discovered a volume of patriotic poems entitled Kelch und Schwert (Chalice and Sword), he fled to Belgium and France. It is at this time that he possibly met Théodore Gouvy. Eighteen poems of Hartmann were translated from German to French by the French poet, Adolph Larmande, of whom very little is known. Pierre Toussaint Adolphe Larmande seems to have been a rather obscure poet and musician. We know that he taught music theory at the Paris Conservatory at the same time Anton Reicha and Michele Carafa were on the faculty. We also know that in 1847 he married an English woman by the name of Marie Caroline Bradley. There are random documents, such as a Certificate of Arrival in London, England, in 1837, but there are no birth and death dates given, and that includes his obituary notice. Contents:18 Sonnets et Chansons de Desportes pour ténor ou soprano et piano, Op. 45 Six poésies allemandes de Moritz Hartmann pour baryton et piano, Op. 21 Douze poésies allemandes de Moritz Hartmann pour ténor et piano, Op. 26 (Poésies françaises d’Adolphe Larmande).
$3.00
Op. 45, No. 1: Ô songe heureux et doux from Songs of Gouvy, V2 (Downloadable)
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Piano, Voix
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INTERMÉDIAIRE
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MeeAe Cecilia Nam and Theodore
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Op. 45, No. 1: Ô songe h
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E. C. Schirmer Music Company - Digital
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SheetMusicPlus
Voice and piano - Medium - SKU: MQ.8492-01E Composed by MeeAe Cecilia Nam and Theodore Gouvy. Instrument part. 6 pages. E. C. Schirmer Music Company - D...
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Voice and piano - Medium - SKU: MQ.8492-01E Composed by MeeAe Cecilia Nam and Theodore Gouvy. Instrument part. 6 pages. E. C. Schirmer Music Company - Digital #8492-01E. Published by E. C. Schirmer Music Company - Digital (MQ.8492-01E). French.Gouvy was known for writing some of the most beautiful melodies of the Romantic period. His style is a combination of German forms and an early French romantic harmonic structure. His writing for the piano in the songs is totally unified in mood and description with the voice, just as the piano is in Schubert’s songs. The equal partnership of the vocal line and piano interact closely to bring the poetry vividly into life with unimaginable artistic heights and unbridled passion.This volume includes Gouvy songs set to 18 poems of Philippe Desportes (1546–1606), and 18 poems of Moritz Hartmann (1821–1872). The elements of Romantic love poetry, such as enchanting love and its pain, and the personifying of nature, are fluently described with a great sensitivity in both voice and piano. Gouvy’s melody stir up the imagination because of his special treatment of words through a distinguishable and melodious vocal line, and his story telling and poetic treatment and development of the piano accompaniment. His compositional artistry places him in the upper echelons of art-song composers. One should note that Gouvy had a special fondness for the 16th Century poetry of La Pléiade (a group of Renaissance French poets, led by Pièrre de Ronsard (1524–1585). Desportes was truly the heir to Ronsard; however his work, when compared to that of Ronsard, is filled with greater abstraction and greater fluidity. Desportes seems to avoid any of the passionate anger that is occasionally characteristic of La Pléiade. This may be an indication that Desportes lived in a less distressed time. It also seems necessary to point out that he learned much in his early career by copying and studying the earlier works of La Pléiade. This has led some scholars to label him as a plagiarist, but it is important to realize that all the members of La Pléiade copied from each other when they wished to learn something new, and truly understand the style of the other poets in the group. Gouvy’s only choice of poems from his contemporaries, were the works of Moritz Hartmann (1821–1872), a good friend of Gouvy’s. Much of his poetry was strongly political in support of freedom of the individual. He traveled to Leipzig in 1845, but when the authorities discovered a volume of patriotic poems entitled Kelch und Schwert (Chalice and Sword), he fled to Belgium and France. It is at this time that he possibly met Théodore Gouvy. Eighteen poems of Hartmann were translated from German to French by the French poet, Adolph Larmande, of whom very little is known. Pierre Toussaint Adolphe Larmande seems to have been a rather obscure poet and musician. We know that he taught music theory at the Paris Conservatory at the same time Anton Reicha and Michele Carafa were on the faculty. We also know that in 1847 he married an English woman by the name of Marie Caroline Bradley. There are random documents, such as a Certificate of Arrival in London, England, in 1837, but there are no birth and death dates given, and that includes his obituary notice. Contents:18 Sonnets et Chansons de Desportes pour ténor ou soprano et piano, Op. 45 Six poésies allemandes de Moritz Hartmann pour baryton et piano, Op. 21 Douze poésies allemandes de Moritz Hartmann pour ténor et piano, Op. 26 (Poésies françaises d’Adolphe Larmande).
$3.00
Op. 45, No. 5: Si vous m’aimez from Songs of Gouvy, V2 (Downloadable)
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Piano, Voix
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INTERMÉDIAIRE
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MeeAe Cecilia Nam and Theodore
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Op. 45, No. 5: Si vous m&rsquo
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E. C. Schirmer Music Company - Digital
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SheetMusicPlus
Voice and piano - Medium - SKU: MQ.8492-05E Composed by MeeAe Cecilia Nam and Theodore Gouvy. Instrument part. 6 pages. E. C. Schirmer Music Company - D...
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Voice and piano - Medium - SKU: MQ.8492-05E Composed by MeeAe Cecilia Nam and Theodore Gouvy. Instrument part. 6 pages. E. C. Schirmer Music Company - Digital #8492-05E. Published by E. C. Schirmer Music Company - Digital (MQ.8492-05E). French.Gouvy was known for writing some of the most beautiful melodies of the Romantic period. His style is a combination of German forms and an early French romantic harmonic structure. His writing for the piano in the songs is totally unified in mood and description with the voice, just as the piano is in Schubert’s songs. The equal partnership of the vocal line and piano interact closely to bring the poetry vividly into life with unimaginable artistic heights and unbridled passion.This volume includes Gouvy songs set to 18 poems of Philippe Desportes (1546–1606), and 18 poems of Moritz Hartmann (1821–1872). The elements of Romantic love poetry, such as enchanting love and its pain, and the personifying of nature, are fluently described with a great sensitivity in both voice and piano. Gouvy’s melody stir up the imagination because of his special treatment of words through a distinguishable and melodious vocal line, and his story telling and poetic treatment and development of the piano accompaniment. His compositional artistry places him in the upper echelons of art-song composers. One should note that Gouvy had a special fondness for the 16th Century poetry of La Pléiade (a group of Renaissance French poets, led by Pièrre de Ronsard (1524–1585). Desportes was truly the heir to Ronsard; however his work, when compared to that of Ronsard, is filled with greater abstraction and greater fluidity. Desportes seems to avoid any of the passionate anger that is occasionally characteristic of La Pléiade. This may be an indication that Desportes lived in a less distressed time. It also seems necessary to point out that he learned much in his early career by copying and studying the earlier works of La Pléiade. This has led some scholars to label him as a plagiarist, but it is important to realize that all the members of La Pléiade copied from each other when they wished to learn something new, and truly understand the style of the other poets in the group. Gouvy’s only choice of poems from his contemporaries, were the works of Moritz Hartmann (1821–1872), a good friend of Gouvy’s. Much of his poetry was strongly political in support of freedom of the individual. He traveled to Leipzig in 1845, but when the authorities discovered a volume of patriotic poems entitled Kelch und Schwert (Chalice and Sword), he fled to Belgium and France. It is at this time that he possibly met Théodore Gouvy. Eighteen poems of Hartmann were translated from German to French by the French poet, Adolph Larmande, of whom very little is known. Pierre Toussaint Adolphe Larmande seems to have been a rather obscure poet and musician. We know that he taught music theory at the Paris Conservatory at the same time Anton Reicha and Michele Carafa were on the faculty. We also know that in 1847 he married an English woman by the name of Marie Caroline Bradley. There are random documents, such as a Certificate of Arrival in London, England, in 1837, but there are no birth and death dates given, and that includes his obituary notice. Contents:18 Sonnets et Chansons de Desportes pour ténor ou soprano et piano, Op. 45 Six poésies allemandes de Moritz Hartmann pour baryton et piano, Op. 21 Douze poésies allemandes de Moritz Hartmann pour ténor et piano, Op. 26 (Poésies françaises d’Adolphe Larmande).
$3.00
Op. 21, No. 3: Le Matin au bord de la mer from Songs of Gouvy, V2 (Downloadable)
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Piano, Voix
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INTERMÉDIAIRE
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MeeAe Cecilia Nam and Theodore
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Op. 21, No. 3: Le Matin au bor
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E. C. Schirmer Music Company - Digital
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SheetMusicPlus
Voice and piano - Medium - SKU: MQ.8492-21E Composed by MeeAe Cecilia Nam and Theodore Gouvy. Instrument part. 5 pages. E. C. Schirmer Music Company - D...
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Voice and piano - Medium - SKU: MQ.8492-21E Composed by MeeAe Cecilia Nam and Theodore Gouvy. Instrument part. 5 pages. E. C. Schirmer Music Company - Digital #8492-21E. Published by E. C. Schirmer Music Company - Digital (MQ.8492-21E). French.Gouvy was known for writing some of the most beautiful melodies of the Romantic period. His style is a combination of German forms and an early French romantic harmonic structure. His writing for the piano in the songs is totally unified in mood and description with the voice, just as the piano is in Schubert’s songs. The equal partnership of the vocal line and piano interact closely to bring the poetry vividly into life with unimaginable artistic heights and unbridled passion.This volume includes Gouvy songs set to 18 poems of Philippe Desportes (1546–1606), and 18 poems of Moritz Hartmann (1821–1872). The elements of Romantic love poetry, such as enchanting love and its pain, and the personifying of nature, are fluently described with a great sensitivity in both voice and piano. Gouvy’s melody stir up the imagination because of his special treatment of words through a distinguishable and melodious vocal line, and his story telling and poetic treatment and development of the piano accompaniment. His compositional artistry places him in the upper echelons of art-song composers. One should note that Gouvy had a special fondness for the 16th Century poetry of La Pléiade (a group of Renaissance French poets, led by Pièrre de Ronsard (1524–1585). Desportes was truly the heir to Ronsard; however his work, when compared to that of Ronsard, is filled with greater abstraction and greater fluidity. Desportes seems to avoid any of the passionate anger that is occasionally characteristic of La Pléiade. This may be an indication that Desportes lived in a less distressed time. It also seems necessary to point out that he learned much in his early career by copying and studying the earlier works of La Pléiade. This has led some scholars to label him as a plagiarist, but it is important to realize that all the members of La Pléiade copied from each other when they wished to learn something new, and truly understand the style of the other poets in the group. Gouvy’s only choice of poems from his contemporaries, were the works of Moritz Hartmann (1821–1872), a good friend of Gouvy’s. Much of his poetry was strongly political in support of freedom of the individual. He traveled to Leipzig in 1845, but when the authorities discovered a volume of patriotic poems entitled Kelch und Schwert (Chalice and Sword), he fled to Belgium and France. It is at this time that he possibly met Théodore Gouvy. Eighteen poems of Hartmann were translated from German to French by the French poet, Adolph Larmande, of whom very little is known. Pierre Toussaint Adolphe Larmande seems to have been a rather obscure poet and musician. We know that he taught music theory at the Paris Conservatory at the same time Anton Reicha and Michele Carafa were on the faculty. We also know that in 1847 he married an English woman by the name of Marie Caroline Bradley. There are random documents, such as a Certificate of Arrival in London, England, in 1837, but there are no birth and death dates given, and that includes his obituary notice. Contents:18 Sonnets et Chansons de Desportes pour ténor ou soprano et piano, Op. 45 Six poésies allemandes de Moritz Hartmann pour baryton et piano, Op. 21 Douze poésies allemandes de Moritz Hartmann pour ténor et piano, Op. 26 (Poésies françaises d’Adolphe Larmande).
$3.00
Op. 45, No. 4: Prière au sommeil from Songs of Gouvy, V2 (Downloadable)
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Piano, Voix
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INTERMÉDIAIRE
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MeeAe Cecilia Nam and Theodore
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Op. 45, No. 4: Prière a
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E. C. Schirmer Music Company - Digital
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SheetMusicPlus
Voice and piano - Medium - SKU: MQ.8492-04E Composed by MeeAe Cecilia Nam and Theodore Gouvy. Instrument part. 5 pages. E. C. Schirmer Music Company - D...
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Voice and piano - Medium - SKU: MQ.8492-04E Composed by MeeAe Cecilia Nam and Theodore Gouvy. Instrument part. 5 pages. E. C. Schirmer Music Company - Digital #8492-04E. Published by E. C. Schirmer Music Company - Digital (MQ.8492-04E). French.Gouvy was known for writing some of the most beautiful melodies of the Romantic period. His style is a combination of German forms and an early French romantic harmonic structure. His writing for the piano in the songs is totally unified in mood and description with the voice, just as the piano is in Schubert’s songs. The equal partnership of the vocal line and piano interact closely to bring the poetry vividly into life with unimaginable artistic heights and unbridled passion.This volume includes Gouvy songs set to 18 poems of Philippe Desportes (1546–1606), and 18 poems of Moritz Hartmann (1821–1872). The elements of Romantic love poetry, such as enchanting love and its pain, and the personifying of nature, are fluently described with a great sensitivity in both voice and piano. Gouvy’s melody stir up the imagination because of his special treatment of words through a distinguishable and melodious vocal line, and his story telling and poetic treatment and development of the piano accompaniment. His compositional artistry places him in the upper echelons of art-song composers. One should note that Gouvy had a special fondness for the 16th Century poetry of La Pléiade (a group of Renaissance French poets, led by Pièrre de Ronsard (1524–1585). Desportes was truly the heir to Ronsard; however his work, when compared to that of Ronsard, is filled with greater abstraction and greater fluidity. Desportes seems to avoid any of the passionate anger that is occasionally characteristic of La Pléiade. This may be an indication that Desportes lived in a less distressed time. It also seems necessary to point out that he learned much in his early career by copying and studying the earlier works of La Pléiade. This has led some scholars to label him as a plagiarist, but it is important to realize that all the members of La Pléiade copied from each other when they wished to learn something new, and truly understand the style of the other poets in the group. Gouvy’s only choice of poems from his contemporaries, were the works of Moritz Hartmann (1821–1872), a good friend of Gouvy’s. Much of his poetry was strongly political in support of freedom of the individual. He traveled to Leipzig in 1845, but when the authorities discovered a volume of patriotic poems entitled Kelch und Schwert (Chalice and Sword), he fled to Belgium and France. It is at this time that he possibly met Théodore Gouvy. Eighteen poems of Hartmann were translated from German to French by the French poet, Adolph Larmande, of whom very little is known. Pierre Toussaint Adolphe Larmande seems to have been a rather obscure poet and musician. We know that he taught music theory at the Paris Conservatory at the same time Anton Reicha and Michele Carafa were on the faculty. We also know that in 1847 he married an English woman by the name of Marie Caroline Bradley. There are random documents, such as a Certificate of Arrival in London, England, in 1837, but there are no birth and death dates given, and that includes his obituary notice. Contents:18 Sonnets et Chansons de Desportes pour ténor ou soprano et piano, Op. 45 Six poésies allemandes de Moritz Hartmann pour baryton et piano, Op. 21 Douze poésies allemandes de Moritz Hartmann pour ténor et piano, Op. 26 (Poésies françaises d’Adolphe Larmande).
$3.00
Op. 45, No. 3: Vous ne voulez pas from Songs of Gouvy, V2 (Downloadable)
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Piano, Voix
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INTERMÉDIAIRE
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MeeAe Cecilia Nam and Theodore
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Op. 45, No. 3: Vous ne voulez
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E. C. Schirmer Music Company - Digital
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SheetMusicPlus
Voice and piano - Medium - SKU: MQ.8492-03E Composed by MeeAe Cecilia Nam and Theodore Gouvy. Instrument part. 6 pages. E. C. Schirmer Music Company - D...
(+)
Voice and piano - Medium - SKU: MQ.8492-03E Composed by MeeAe Cecilia Nam and Theodore Gouvy. Instrument part. 6 pages. E. C. Schirmer Music Company - Digital #8492-03E. Published by E. C. Schirmer Music Company - Digital (MQ.8492-03E). French.Gouvy was known for writing some of the most beautiful melodies of the Romantic period. His style is a combination of German forms and an early French romantic harmonic structure. His writing for the piano in the songs is totally unified in mood and description with the voice, just as the piano is in Schubert’s songs. The equal partnership of the vocal line and piano interact closely to bring the poetry vividly into life with unimaginable artistic heights and unbridled passion.This volume includes Gouvy songs set to 18 poems of Philippe Desportes (1546–1606), and 18 poems of Moritz Hartmann (1821–1872). The elements of Romantic love poetry, such as enchanting love and its pain, and the personifying of nature, are fluently described with a great sensitivity in both voice and piano. Gouvy’s melody stir up the imagination because of his special treatment of words through a distinguishable and melodious vocal line, and his story telling and poetic treatment and development of the piano accompaniment. His compositional artistry places him in the upper echelons of art-song composers. One should note that Gouvy had a special fondness for the 16th Century poetry of La Pléiade (a group of Renaissance French poets, led by Pièrre de Ronsard (1524–1585). Desportes was truly the heir to Ronsard; however his work, when compared to that of Ronsard, is filled with greater abstraction and greater fluidity. Desportes seems to avoid any of the passionate anger that is occasionally characteristic of La Pléiade. This may be an indication that Desportes lived in a less distressed time. It also seems necessary to point out that he learned much in his early career by copying and studying the earlier works of La Pléiade. This has led some scholars to label him as a plagiarist, but it is important to realize that all the members of La Pléiade copied from each other when they wished to learn something new, and truly understand the style of the other poets in the group. Gouvy’s only choice of poems from his contemporaries, were the works of Moritz Hartmann (1821–1872), a good friend of Gouvy’s. Much of his poetry was strongly political in support of freedom of the individual. He traveled to Leipzig in 1845, but when the authorities discovered a volume of patriotic poems entitled Kelch und Schwert (Chalice and Sword), he fled to Belgium and France. It is at this time that he possibly met Théodore Gouvy. Eighteen poems of Hartmann were translated from German to French by the French poet, Adolph Larmande, of whom very little is known. Pierre Toussaint Adolphe Larmande seems to have been a rather obscure poet and musician. We know that he taught music theory at the Paris Conservatory at the same time Anton Reicha and Michele Carafa were on the faculty. We also know that in 1847 he married an English woman by the name of Marie Caroline Bradley. There are random documents, such as a Certificate of Arrival in London, England, in 1837, but there are no birth and death dates given, and that includes his obituary notice. Contents:18 Sonnets et Chansons de Desportes pour ténor ou soprano et piano, Op. 45 Six poésies allemandes de Moritz Hartmann pour baryton et piano, Op. 21 Douze poésies allemandes de Moritz Hartmann pour ténor et piano, Op. 26 (Poésies françaises d’Adolphe Larmande).
$3.00
Op. 1, No. 2: Barque légère, mon coeur from Songs of Gouvy, V2 (Downloadable)
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Piano, Voix
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INTERMÉDIAIRE
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MeeAe Cecilia Nam and Theodore
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Op. 1, No. 2: Barque lé
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E. C. Schirmer Music Company - Digital
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SheetMusicPlus
Voice and piano - Medium - SKU: MQ.8492-26E Composed by MeeAe Cecilia Nam and Theodore Gouvy. Instrument part. 7 pages. E. C. Schirmer Music Company - D...
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Voice and piano - Medium - SKU: MQ.8492-26E Composed by MeeAe Cecilia Nam and Theodore Gouvy. Instrument part. 7 pages. E. C. Schirmer Music Company - Digital #8492-26E. Published by E. C. Schirmer Music Company - Digital (MQ.8492-26E). French.Gouvy was known for writing some of the most beautiful melodies of the Romantic period. His style is a combination of German forms and an early French romantic harmonic structure. His writing for the piano in the songs is totally unified in mood and description with the voice, just as the piano is in Schubert’s songs. The equal partnership of the vocal line and piano interact closely to bring the poetry vividly into life with unimaginable artistic heights and unbridled passion.This volume includes Gouvy songs set to 18 poems of Philippe Desportes (1546–1606), and 18 poems of Moritz Hartmann (1821–1872). The elements of Romantic love poetry, such as enchanting love and its pain, and the personifying of nature, are fluently described with a great sensitivity in both voice and piano. Gouvy’s melody stir up the imagination because of his special treatment of words through a distinguishable and melodious vocal line, and his story telling and poetic treatment and development of the piano accompaniment. His compositional artistry places him in the upper echelons of art-song composers. One should note that Gouvy had a special fondness for the 16th Century poetry of La Pléiade (a group of Renaissance French poets, led by Pièrre de Ronsard (1524–1585). Desportes was truly the heir to Ronsard; however his work, when compared to that of Ronsard, is filled with greater abstraction and greater fluidity. Desportes seems to avoid any of the passionate anger that is occasionally characteristic of La Pléiade. This may be an indication that Desportes lived in a less distressed time. It also seems necessary to point out that he learned much in his early career by copying and studying the earlier works of La Pléiade. This has led some scholars to label him as a plagiarist, but it is important to realize that all the members of La Pléiade copied from each other when they wished to learn something new, and truly understand the style of the other poets in the group. Gouvy’s only choice of poems from his contemporaries, were the works of Moritz Hartmann (1821–1872), a good friend of Gouvy’s. Much of his poetry was strongly political in support of freedom of the individual. He traveled to Leipzig in 1845, but when the authorities discovered a volume of patriotic poems entitled Kelch und Schwert (Chalice and Sword), he fled to Belgium and France. It is at this time that he possibly met Théodore Gouvy. Eighteen poems of Hartmann were translated from German to French by the French poet, Adolph Larmande, of whom very little is known. Pierre Toussaint Adolphe Larmande seems to have been a rather obscure poet and musician. We know that he taught music theory at the Paris Conservatory at the same time Anton Reicha and Michele Carafa were on the faculty. We also know that in 1847 he married an English woman by the name of Marie Caroline Bradley. There are random documents, such as a Certificate of Arrival in London, England, in 1837, but there are no birth and death dates given, and that includes his obituary notice. Contents:18 Sonnets et Chansons de Desportes pour ténor ou soprano et piano, Op. 45 Six poésies allemandes de Moritz Hartmann pour baryton et piano, Op. 21 Douze poésies allemandes de Moritz Hartmann pour ténor et piano, Op. 26 (Poésies françaises d’Adolphe Larmande).
$3.00
Op. 1, No. 7: Dans un songe enchanté from Songs of Gouvy, V2 (Downloadable)
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Piano, Voix
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INTERMÉDIAIRE
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MeeAe Cecilia Nam and Theodore
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Op. 1, No. 7: Dans un songe en
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E. C. Schirmer Music Company - Digital
#
SheetMusicPlus
Voice and piano - Medium - SKU: MQ.8492-31E Composed by MeeAe Cecilia Nam and Theodore Gouvy. Instrument part. 7 pages. E. C. Schirmer Music Company - D...
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Voice and piano - Medium - SKU: MQ.8492-31E Composed by MeeAe Cecilia Nam and Theodore Gouvy. Instrument part. 7 pages. E. C. Schirmer Music Company - Digital #8492-31E. Published by E. C. Schirmer Music Company - Digital (MQ.8492-31E). French.Gouvy was known for writing some of the most beautiful melodies of the Romantic period. His style is a combination of German forms and an early French romantic harmonic structure. His writing for the piano in the songs is totally unified in mood and description with the voice, just as the piano is in Schubert’s songs. The equal partnership of the vocal line and piano interact closely to bring the poetry vividly into life with unimaginable artistic heights and unbridled passion.This volume includes Gouvy songs set to 18 poems of Philippe Desportes (1546–1606), and 18 poems of Moritz Hartmann (1821–1872). The elements of Romantic love poetry, such as enchanting love and its pain, and the personifying of nature, are fluently described with a great sensitivity in both voice and piano. Gouvy’s melody stir up the imagination because of his special treatment of words through a distinguishable and melodious vocal line, and his story telling and poetic treatment and development of the piano accompaniment. His compositional artistry places him in the upper echelons of art-song composers. One should note that Gouvy had a special fondness for the 16th Century poetry of La Pléiade (a group of Renaissance French poets, led by Pièrre de Ronsard (1524–1585). Desportes was truly the heir to Ronsard; however his work, when compared to that of Ronsard, is filled with greater abstraction and greater fluidity. Desportes seems to avoid any of the passionate anger that is occasionally characteristic of La Pléiade. This may be an indication that Desportes lived in a less distressed time. It also seems necessary to point out that he learned much in his early career by copying and studying the earlier works of La Pléiade. This has led some scholars to label him as a plagiarist, but it is important to realize that all the members of La Pléiade copied from each other when they wished to learn something new, and truly understand the style of the other poets in the group. Gouvy’s only choice of poems from his contemporaries, were the works of Moritz Hartmann (1821–1872), a good friend of Gouvy’s. Much of his poetry was strongly political in support of freedom of the individual. He traveled to Leipzig in 1845, but when the authorities discovered a volume of patriotic poems entitled Kelch und Schwert (Chalice and Sword), he fled to Belgium and France. It is at this time that he possibly met Théodore Gouvy. Eighteen poems of Hartmann were translated from German to French by the French poet, Adolph Larmande, of whom very little is known. Pierre Toussaint Adolphe Larmande seems to have been a rather obscure poet and musician. We know that he taught music theory at the Paris Conservatory at the same time Anton Reicha and Michele Carafa were on the faculty. We also know that in 1847 he married an English woman by the name of Marie Caroline Bradley. There are random documents, such as a Certificate of Arrival in London, England, in 1837, but there are no birth and death dates given, and that includes his obituary notice. Contents:18 Sonnets et Chansons de Desportes pour ténor ou soprano et piano, Op. 45 Six poésies allemandes de Moritz Hartmann pour baryton et piano, Op. 21 Douze poésies allemandes de Moritz Hartmann pour ténor et piano, Op. 26 (Poésies françaises d’Adolphe Larmande).
$3.00
Op. 45, No. 14: Lettres, le seul repos from Songs of Gouvy, V2 (Downloadable)
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Piano, Voix
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INTERMÉDIAIRE
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MeeAe Cecilia Nam and Theodore
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Op. 45, No. 14: Lettres, le se
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E. C. Schirmer Music Company - Digital
#
SheetMusicPlus
Voice and piano - Medium - SKU: MQ.8492-14E Composed by MeeAe Cecilia Nam and Theodore Gouvy. Instrument part. 7 pages. E. C. Schirmer Music Company - D...
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Voice and piano - Medium - SKU: MQ.8492-14E Composed by MeeAe Cecilia Nam and Theodore Gouvy. Instrument part. 7 pages. E. C. Schirmer Music Company - Digital #8492-14E. Published by E. C. Schirmer Music Company - Digital (MQ.8492-14E). French.Gouvy was known for writing some of the most beautiful melodies of the Romantic period. His style is a combination of German forms and an early French romantic harmonic structure. His writing for the piano in the songs is totally unified in mood and description with the voice, just as the piano is in Schubert’s songs. The equal partnership of the vocal line and piano interact closely to bring the poetry vividly into life with unimaginable artistic heights and unbridled passion.This volume includes Gouvy songs set to 18 poems of Philippe Desportes (1546–1606), and 18 poems of Moritz Hartmann (1821–1872). The elements of Romantic love poetry, such as enchanting love and its pain, and the personifying of nature, are fluently described with a great sensitivity in both voice and piano. Gouvy’s melody stir up the imagination because of his special treatment of words through a distinguishable and melodious vocal line, and his story telling and poetic treatment and development of the piano accompaniment. His compositional artistry places him in the upper echelons of art-song composers. One should note that Gouvy had a special fondness for the 16th Century poetry of La Pléiade (a group of Renaissance French poets, led by Pièrre de Ronsard (1524–1585). Desportes was truly the heir to Ronsard; however his work, when compared to that of Ronsard, is filled with greater abstraction and greater fluidity. Desportes seems to avoid any of the passionate anger that is occasionally characteristic of La Pléiade. This may be an indication that Desportes lived in a less distressed time. It also seems necessary to point out that he learned much in his early career by copying and studying the earlier works of La Pléiade. This has led some scholars to label him as a plagiarist, but it is important to realize that all the members of La Pléiade copied from each other when they wished to learn something new, and truly understand the style of the other poets in the group. Gouvy’s only choice of poems from his contemporaries, were the works of Moritz Hartmann (1821–1872), a good friend of Gouvy’s. Much of his poetry was strongly political in support of freedom of the individual. He traveled to Leipzig in 1845, but when the authorities discovered a volume of patriotic poems entitled Kelch und Schwert (Chalice and Sword), he fled to Belgium and France. It is at this time that he possibly met Théodore Gouvy. Eighteen poems of Hartmann were translated from German to French by the French poet, Adolph Larmande, of whom very little is known. Pierre Toussaint Adolphe Larmande seems to have been a rather obscure poet and musician. We know that he taught music theory at the Paris Conservatory at the same time Anton Reicha and Michele Carafa were on the faculty. We also know that in 1847 he married an English woman by the name of Marie Caroline Bradley. There are random documents, such as a Certificate of Arrival in London, England, in 1837, but there are no birth and death dates given, and that includes his obituary notice. Contents:18 Sonnets et Chansons de Desportes pour ténor ou soprano et piano, Op. 45 Six poésies allemandes de Moritz Hartmann pour baryton et piano, Op. 21 Douze poésies allemandes de Moritz Hartmann pour ténor et piano, Op. 26 (Poésies françaises d’Adolphe Larmande).
$3.00
Op. 45, No. 10: Le calme de mes jours from Songs of Gouvy, V2 (Downloadable)
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Piano, Voix
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INTERMÉDIAIRE
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MeeAe Cecilia Nam and Theodore
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Op. 45, No. 10: Le calme de me
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E. C. Schirmer Music Company - Digital
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SheetMusicPlus
Voice and piano - Medium - SKU: MQ.8492-10E Composed by MeeAe Cecilia Nam and Theodore Gouvy. Instrument part. 7 pages. E. C. Schirmer Music Company - D...
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Voice and piano - Medium - SKU: MQ.8492-10E Composed by MeeAe Cecilia Nam and Theodore Gouvy. Instrument part. 7 pages. E. C. Schirmer Music Company - Digital #8492-10E. Published by E. C. Schirmer Music Company - Digital (MQ.8492-10E). French.Gouvy was known for writing some of the most beautiful melodies of the Romantic period. His style is a combination of German forms and an early French romantic harmonic structure. His writing for the piano in the songs is totally unified in mood and description with the voice, just as the piano is in Schubert’s songs. The equal partnership of the vocal line and piano interact closely to bring the poetry vividly into life with unimaginable artistic heights and unbridled passion.This volume includes Gouvy songs set to 18 poems of Philippe Desportes (1546–1606), and 18 poems of Moritz Hartmann (1821–1872). The elements of Romantic love poetry, such as enchanting love and its pain, and the personifying of nature, are fluently described with a great sensitivity in both voice and piano. Gouvy’s melody stir up the imagination because of his special treatment of words through a distinguishable and melodious vocal line, and his story telling and poetic treatment and development of the piano accompaniment. His compositional artistry places him in the upper echelons of art-song composers. One should note that Gouvy had a special fondness for the 16th Century poetry of La Pléiade (a group of Renaissance French poets, led by Pièrre de Ronsard (1524–1585). Desportes was truly the heir to Ronsard; however his work, when compared to that of Ronsard, is filled with greater abstraction and greater fluidity. Desportes seems to avoid any of the passionate anger that is occasionally characteristic of La Pléiade. This may be an indication that Desportes lived in a less distressed time. It also seems necessary to point out that he learned much in his early career by copying and studying the earlier works of La Pléiade. This has led some scholars to label him as a plagiarist, but it is important to realize that all the members of La Pléiade copied from each other when they wished to learn something new, and truly understand the style of the other poets in the group. Gouvy’s only choice of poems from his contemporaries, were the works of Moritz Hartmann (1821–1872), a good friend of Gouvy’s. Much of his poetry was strongly political in support of freedom of the individual. He traveled to Leipzig in 1845, but when the authorities discovered a volume of patriotic poems entitled Kelch und Schwert (Chalice and Sword), he fled to Belgium and France. It is at this time that he possibly met Théodore Gouvy. Eighteen poems of Hartmann were translated from German to French by the French poet, Adolph Larmande, of whom very little is known. Pierre Toussaint Adolphe Larmande seems to have been a rather obscure poet and musician. We know that he taught music theory at the Paris Conservatory at the same time Anton Reicha and Michele Carafa were on the faculty. We also know that in 1847 he married an English woman by the name of Marie Caroline Bradley. There are random documents, such as a Certificate of Arrival in London, England, in 1837, but there are no birth and death dates given, and that includes his obituary notice. Contents:18 Sonnets et Chansons de Desportes pour ténor ou soprano et piano, Op. 45 Six poésies allemandes de Moritz Hartmann pour baryton et piano, Op. 21 Douze poésies allemandes de Moritz Hartmann pour ténor et piano, Op. 26 (Poésies françaises d’Adolphe Larmande).
$3.00
Op. 1, No. 5: La chanson du printemps from Songs of Gouvy, V2 (Downloadable)
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Piano, Voix
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INTERMÉDIAIRE
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MeeAe Cecilia Nam and Theodore
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Op. 1, No. 5: La chanson du pr
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E. C. Schirmer Music Company - Digital
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SheetMusicPlus
Voice and piano - Medium - SKU: MQ.8492-29E Composed by MeeAe Cecilia Nam and Theodore Gouvy. Instrument part. 5 pages. E. C. Schirmer Music Company - D...
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Voice and piano - Medium - SKU: MQ.8492-29E Composed by MeeAe Cecilia Nam and Theodore Gouvy. Instrument part. 5 pages. E. C. Schirmer Music Company - Digital #8492-29E. Published by E. C. Schirmer Music Company - Digital (MQ.8492-29E). French.Gouvy was known for writing some of the most beautiful melodies of the Romantic period. His style is a combination of German forms and an early French romantic harmonic structure. His writing for the piano in the songs is totally unified in mood and description with the voice, just as the piano is in Schubert’s songs. The equal partnership of the vocal line and piano interact closely to bring the poetry vividly into life with unimaginable artistic heights and unbridled passion.This volume includes Gouvy songs set to 18 poems of Philippe Desportes (1546–1606), and 18 poems of Moritz Hartmann (1821–1872). The elements of Romantic love poetry, such as enchanting love and its pain, and the personifying of nature, are fluently described with a great sensitivity in both voice and piano. Gouvy’s melody stir up the imagination because of his special treatment of words through a distinguishable and melodious vocal line, and his story telling and poetic treatment and development of the piano accompaniment. His compositional artistry places him in the upper echelons of art-song composers. One should note that Gouvy had a special fondness for the 16th Century poetry of La Pléiade (a group of Renaissance French poets, led by Pièrre de Ronsard (1524–1585). Desportes was truly the heir to Ronsard; however his work, when compared to that of Ronsard, is filled with greater abstraction and greater fluidity. Desportes seems to avoid any of the passionate anger that is occasionally characteristic of La Pléiade. This may be an indication that Desportes lived in a less distressed time. It also seems necessary to point out that he learned much in his early career by copying and studying the earlier works of La Pléiade. This has led some scholars to label him as a plagiarist, but it is important to realize that all the members of La Pléiade copied from each other when they wished to learn something new, and truly understand the style of the other poets in the group. Gouvy’s only choice of poems from his contemporaries, were the works of Moritz Hartmann (1821–1872), a good friend of Gouvy’s. Much of his poetry was strongly political in support of freedom of the individual. He traveled to Leipzig in 1845, but when the authorities discovered a volume of patriotic poems entitled Kelch und Schwert (Chalice and Sword), he fled to Belgium and France. It is at this time that he possibly met Théodore Gouvy. Eighteen poems of Hartmann were translated from German to French by the French poet, Adolph Larmande, of whom very little is known. Pierre Toussaint Adolphe Larmande seems to have been a rather obscure poet and musician. We know that he taught music theory at the Paris Conservatory at the same time Anton Reicha and Michele Carafa were on the faculty. We also know that in 1847 he married an English woman by the name of Marie Caroline Bradley. There are random documents, such as a Certificate of Arrival in London, England, in 1837, but there are no birth and death dates given, and that includes his obituary notice. Contents:18 Sonnets et Chansons de Desportes pour ténor ou soprano et piano, Op. 45 Six poésies allemandes de Moritz Hartmann pour baryton et piano, Op. 21 Douze poésies allemandes de Moritz Hartmann pour ténor et piano, Op. 26 (Poésies françaises d’Adolphe Larmande).
$3.00
Op. 21, No. 5: Feuilles qui chuchotez from Songs of Gouvy, V2 (Downloadable)
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Piano, Voix
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INTERMÉDIAIRE
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MeeAe Cecilia Nam and Theodore
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Op. 21, No. 5: Feuilles qui ch
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E. C. Schirmer Music Company - Digital
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SheetMusicPlus
Voice and piano - Medium - SKU: MQ.8492-23E Composed by MeeAe Cecilia Nam and Theodore Gouvy. Instrument part. 9 pages. E. C. Schirmer Music Company - D...
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Voice and piano - Medium - SKU: MQ.8492-23E Composed by MeeAe Cecilia Nam and Theodore Gouvy. Instrument part. 9 pages. E. C. Schirmer Music Company - Digital #8492-23E. Published by E. C. Schirmer Music Company - Digital (MQ.8492-23E). French.Gouvy was known for writing some of the most beautiful melodies of the Romantic period. His style is a combination of German forms and an early French romantic harmonic structure. His writing for the piano in the songs is totally unified in mood and description with the voice, just as the piano is in Schubert’s songs. The equal partnership of the vocal line and piano interact closely to bring the poetry vividly into life with unimaginable artistic heights and unbridled passion.This volume includes Gouvy songs set to 18 poems of Philippe Desportes (1546–1606), and 18 poems of Moritz Hartmann (1821–1872). The elements of Romantic love poetry, such as enchanting love and its pain, and the personifying of nature, are fluently described with a great sensitivity in both voice and piano. Gouvy’s melody stir up the imagination because of his special treatment of words through a distinguishable and melodious vocal line, and his story telling and poetic treatment and development of the piano accompaniment. His compositional artistry places him in the upper echelons of art-song composers. One should note that Gouvy had a special fondness for the 16th Century poetry of La Pléiade (a group of Renaissance French poets, led by Pièrre de Ronsard (1524–1585). Desportes was truly the heir to Ronsard; however his work, when compared to that of Ronsard, is filled with greater abstraction and greater fluidity. Desportes seems to avoid any of the passionate anger that is occasionally characteristic of La Pléiade. This may be an indication that Desportes lived in a less distressed time. It also seems necessary to point out that he learned much in his early career by copying and studying the earlier works of La Pléiade. This has led some scholars to label him as a plagiarist, but it is important to realize that all the members of La Pléiade copied from each other when they wished to learn something new, and truly understand the style of the other poets in the group. Gouvy’s only choice of poems from his contemporaries, were the works of Moritz Hartmann (1821–1872), a good friend of Gouvy’s. Much of his poetry was strongly political in support of freedom of the individual. He traveled to Leipzig in 1845, but when the authorities discovered a volume of patriotic poems entitled Kelch und Schwert (Chalice and Sword), he fled to Belgium and France. It is at this time that he possibly met Théodore Gouvy. Eighteen poems of Hartmann were translated from German to French by the French poet, Adolph Larmande, of whom very little is known. Pierre Toussaint Adolphe Larmande seems to have been a rather obscure poet and musician. We know that he taught music theory at the Paris Conservatory at the same time Anton Reicha and Michele Carafa were on the faculty. We also know that in 1847 he married an English woman by the name of Marie Caroline Bradley. There are random documents, such as a Certificate of Arrival in London, England, in 1837, but there are no birth and death dates given, and that includes his obituary notice. Contents:18 Sonnets et Chansons de Desportes pour ténor ou soprano et piano, Op. 45 Six poésies allemandes de Moritz Hartmann pour baryton et piano, Op. 21 Douze poésies allemandes de Moritz Hartmann pour ténor et piano, Op. 26 (Poésies françaises d’Adolphe Larmande).
$3.00
Op. 45, No. 16: Je sens fleurir les plaisirs… from Songs of Gouvy, V2 (Downloadable)
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Piano, Voix
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INTERMÉDIAIRE
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MeeAe Cecilia Nam and Theodore
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Op. 45, No. 16: Je sens fleuri
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E. C. Schirmer Music Company - Digital
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SheetMusicPlus
Voice and piano - Medium - SKU: MQ.8492-16E Composed by MeeAe Cecilia Nam and Theodore Gouvy. Instrument part. 8 pages. E. C. Schirmer Music Company - D...
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Voice and piano - Medium - SKU: MQ.8492-16E Composed by MeeAe Cecilia Nam and Theodore Gouvy. Instrument part. 8 pages. E. C. Schirmer Music Company - Digital #8492-16E. Published by E. C. Schirmer Music Company - Digital (MQ.8492-16E). French.Gouvy was known for writing some of the most beautiful melodies of the Romantic period. His style is a combination of German forms and an early French romantic harmonic structure. His writing for the piano in the songs is totally unified in mood and description with the voice, just as the piano is in Schubert’s songs. The equal partnership of the vocal line and piano interact closely to bring the poetry vividly into life with unimaginable artistic heights and unbridled passion.This volume includes Gouvy songs set to 18 poems of Philippe Desportes (1546–1606), and 18 poems of Moritz Hartmann (1821–1872). The elements of Romantic love poetry, such as enchanting love and its pain, and the personifying of nature, are fluently described with a great sensitivity in both voice and piano. Gouvy’s melody stir up the imagination because of his special treatment of words through a distinguishable and melodious vocal line, and his story telling and poetic treatment and development of the piano accompaniment. His compositional artistry places him in the upper echelons of art-song composers. One should note that Gouvy had a special fondness for the 16th Century poetry of La Pléiade (a group of Renaissance French poets, led by Pièrre de Ronsard (1524–1585). Desportes was truly the heir to Ronsard; however his work, when compared to that of Ronsard, is filled with greater abstraction and greater fluidity. Desportes seems to avoid any of the passionate anger that is occasionally characteristic of La Pléiade. This may be an indication that Desportes lived in a less distressed time. It also seems necessary to point out that he learned much in his early career by copying and studying the earlier works of La Pléiade. This has led some scholars to label him as a plagiarist, but it is important to realize that all the members of La Pléiade copied from each other when they wished to learn something new, and truly understand the style of the other poets in the group. Gouvy’s only choice of poems from his contemporaries, were the works of Moritz Hartmann (1821–1872), a good friend of Gouvy’s. Much of his poetry was strongly political in support of freedom of the individual. He traveled to Leipzig in 1845, but when the authorities discovered a volume of patriotic poems entitled Kelch und Schwert (Chalice and Sword), he fled to Belgium and France. It is at this time that he possibly met Théodore Gouvy. Eighteen poems of Hartmann were translated from German to French by the French poet, Adolph Larmande, of whom very little is known. Pierre Toussaint Adolphe Larmande seems to have been a rather obscure poet and musician. We know that he taught music theory at the Paris Conservatory at the same time Anton Reicha and Michele Carafa were on the faculty. We also know that in 1847 he married an English woman by the name of Marie Caroline Bradley. There are random documents, such as a Certificate of Arrival in London, England, in 1837, but there are no birth and death dates given, and that includes his obituary notice. Contents:18 Sonnets et Chansons de Desportes pour ténor ou soprano et piano, Op. 45 Six poésies allemandes de Moritz Hartmann pour baryton et piano, Op. 21 Douze poésies allemandes de Moritz Hartmann pour ténor et piano, Op. 26 (Poésies françaises d’Adolphe Larmande).
$3.00
Op. 21, No. 4: Dans les bois from Songs of Gouvy, V2 (Downloadable)
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Piano, Voix
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INTERMÉDIAIRE
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MeeAe Cecilia Nam and Theodore
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Op. 21, No. 4: Dans les bois f
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E. C. Schirmer Music Company - Digital
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SheetMusicPlus
Voice and piano - Medium - SKU: MQ.8492-22E Composed by MeeAe Cecilia Nam and Theodore Gouvy. Instrument part. 5 pages. E. C. Schirmer Music Company - D...
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Voice and piano - Medium - SKU: MQ.8492-22E Composed by MeeAe Cecilia Nam and Theodore Gouvy. Instrument part. 5 pages. E. C. Schirmer Music Company - Digital #8492-22E. Published by E. C. Schirmer Music Company - Digital (MQ.8492-22E). French.Gouvy was known for writing some of the most beautiful melodies of the Romantic period. His style is a combination of German forms and an early French romantic harmonic structure. His writing for the piano in the songs is totally unified in mood and description with the voice, just as the piano is in Schubert’s songs. The equal partnership of the vocal line and piano interact closely to bring the poetry vividly into life with unimaginable artistic heights and unbridled passion.This volume includes Gouvy songs set to 18 poems of Philippe Desportes (1546–1606), and 18 poems of Moritz Hartmann (1821–1872). The elements of Romantic love poetry, such as enchanting love and its pain, and the personifying of nature, are fluently described with a great sensitivity in both voice and piano. Gouvy’s melody stir up the imagination because of his special treatment of words through a distinguishable and melodious vocal line, and his story telling and poetic treatment and development of the piano accompaniment. His compositional artistry places him in the upper echelons of art-song composers. One should note that Gouvy had a special fondness for the 16th Century poetry of La Pléiade (a group of Renaissance French poets, led by Pièrre de Ronsard (1524–1585). Desportes was truly the heir to Ronsard; however his work, when compared to that of Ronsard, is filled with greater abstraction and greater fluidity. Desportes seems to avoid any of the passionate anger that is occasionally characteristic of La Pléiade. This may be an indication that Desportes lived in a less distressed time. It also seems necessary to point out that he learned much in his early career by copying and studying the earlier works of La Pléiade. This has led some scholars to label him as a plagiarist, but it is important to realize that all the members of La Pléiade copied from each other when they wished to learn something new, and truly understand the style of the other poets in the group. Gouvy’s only choice of poems from his contemporaries, were the works of Moritz Hartmann (1821–1872), a good friend of Gouvy’s. Much of his poetry was strongly political in support of freedom of the individual. He traveled to Leipzig in 1845, but when the authorities discovered a volume of patriotic poems entitled Kelch und Schwert (Chalice and Sword), he fled to Belgium and France. It is at this time that he possibly met Théodore Gouvy. Eighteen poems of Hartmann were translated from German to French by the French poet, Adolph Larmande, of whom very little is known. Pierre Toussaint Adolphe Larmande seems to have been a rather obscure poet and musician. We know that he taught music theory at the Paris Conservatory at the same time Anton Reicha and Michele Carafa were on the faculty. We also know that in 1847 he married an English woman by the name of Marie Caroline Bradley. There are random documents, such as a Certificate of Arrival in London, England, in 1837, but there are no birth and death dates given, and that includes his obituary notice. Contents:18 Sonnets et Chansons de Desportes pour ténor ou soprano et piano, Op. 45 Six poésies allemandes de Moritz Hartmann pour baryton et piano, Op. 21 Douze poésies allemandes de Moritz Hartmann pour ténor et piano, Op. 26 (Poésies françaises d’Adolphe Larmande).
$3.00
Op. 45, No. 17: On verra défaillir tous les astres aux cieu from Songs of Gouvy, V2 (Downloadable)
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Piano, Voix
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INTERMÉDIAIRE
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MeeAe Cecilia Nam and Theodore
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Op. 45, No. 17: On verra d&eac
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E. C. Schirmer Music Company - Digital
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SheetMusicPlus
Voice and piano - Medium - SKU: MQ.8492-17E Composed by MeeAe Cecilia Nam and Theodore Gouvy. Instrument part. 6 pages. E. C. Schirmer Music Company - D...
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Voice and piano - Medium - SKU: MQ.8492-17E Composed by MeeAe Cecilia Nam and Theodore Gouvy. Instrument part. 6 pages. E. C. Schirmer Music Company - Digital #8492-17E. Published by E. C. Schirmer Music Company - Digital (MQ.8492-17E). French.Gouvy was known for writing some of the most beautiful melodies of the Romantic period. His style is a combination of German forms and an early French romantic harmonic structure. His writing for the piano in the songs is totally unified in mood and description with the voice, just as the piano is in Schubert’s songs. The equal partnership of the vocal line and piano interact closely to bring the poetry vividly into life with unimaginable artistic heights and unbridled passion.This volume includes Gouvy songs set to 18 poems of Philippe Desportes (1546–1606), and 18 poems of Moritz Hartmann (1821–1872). The elements of Romantic love poetry, such as enchanting love and its pain, and the personifying of nature, are fluently described with a great sensitivity in both voice and piano. Gouvy’s melody stir up the imagination because of his special treatment of words through a distinguishable and melodious vocal line, and his story telling and poetic treatment and development of the piano accompaniment. His compositional artistry places him in the upper echelons of art-song composers. One should note that Gouvy had a special fondness for the 16th Century poetry of La Pléiade (a group of Renaissance French poets, led by Pièrre de Ronsard (1524–1585). Desportes was truly the heir to Ronsard; however his work, when compared to that of Ronsard, is filled with greater abstraction and greater fluidity. Desportes seems to avoid any of the passionate anger that is occasionally characteristic of La Pléiade. This may be an indication that Desportes lived in a less distressed time. It also seems necessary to point out that he learned much in his early career by copying and studying the earlier works of La Pléiade. This has led some scholars to label him as a plagiarist, but it is important to realize that all the members of La Pléiade copied from each other when they wished to learn something new, and truly understand the style of the other poets in the group. Gouvy’s only choice of poems from his contemporaries, were the works of Moritz Hartmann (1821–1872), a good friend of Gouvy’s. Much of his poetry was strongly political in support of freedom of the individual. He traveled to Leipzig in 1845, but when the authorities discovered a volume of patriotic poems entitled Kelch und Schwert (Chalice and Sword), he fled to Belgium and France. It is at this time that he possibly met Théodore Gouvy. Eighteen poems of Hartmann were translated from German to French by the French poet, Adolph Larmande, of whom very little is known. Pierre Toussaint Adolphe Larmande seems to have been a rather obscure poet and musician. We know that he taught music theory at the Paris Conservatory at the same time Anton Reicha and Michele Carafa were on the faculty. We also know that in 1847 he married an English woman by the name of Marie Caroline Bradley. There are random documents, such as a Certificate of Arrival in London, England, in 1837, but there are no birth and death dates given, and that includes his obituary notice. Contents:18 Sonnets et Chansons de Desportes pour ténor ou soprano et piano, Op. 45 Six poésies allemandes de Moritz Hartmann pour baryton et piano, Op. 21 Douze poésies allemandes de Moritz Hartmann pour ténor et piano, Op. 26 (Poésies françaises d’Adolphe Larmande).
$3.00
Op. 1, No. 3: Adieu from Songs of Gouvy, V2 (Downloadable)
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Piano, Voix
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INTERMÉDIAIRE
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MeeAe Cecilia Nam and Theodore
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Op. 1, No. 3: Adieu from Songs
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E. C. Schirmer Music Company - Digital
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SheetMusicPlus
Voice and piano - Medium - SKU: MQ.8492-27E Composed by MeeAe Cecilia Nam and Theodore Gouvy. Instrument part. 7 pages. E. C. Schirmer Music Company - D...
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Voice and piano - Medium - SKU: MQ.8492-27E Composed by MeeAe Cecilia Nam and Theodore Gouvy. Instrument part. 7 pages. E. C. Schirmer Music Company - Digital #8492-27E. Published by E. C. Schirmer Music Company - Digital (MQ.8492-27E). French.Gouvy was known for writing some of the most beautiful melodies of the Romantic period. His style is a combination of German forms and an early French romantic harmonic structure. His writing for the piano in the songs is totally unified in mood and description with the voice, just as the piano is in Schubert’s songs. The equal partnership of the vocal line and piano interact closely to bring the poetry vividly into life with unimaginable artistic heights and unbridled passion.This volume includes Gouvy songs set to 18 poems of Philippe Desportes (1546–1606), and 18 poems of Moritz Hartmann (1821–1872). The elements of Romantic love poetry, such as enchanting love and its pain, and the personifying of nature, are fluently described with a great sensitivity in both voice and piano. Gouvy’s melody stir up the imagination because of his special treatment of words through a distinguishable and melodious vocal line, and his story telling and poetic treatment and development of the piano accompaniment. His compositional artistry places him in the upper echelons of art-song composers. One should note that Gouvy had a special fondness for the 16th Century poetry of La Pléiade (a group of Renaissance French poets, led by Pièrre de Ronsard (1524–1585). Desportes was truly the heir to Ronsard; however his work, when compared to that of Ronsard, is filled with greater abstraction and greater fluidity. Desportes seems to avoid any of the passionate anger that is occasionally characteristic of La Pléiade. This may be an indication that Desportes lived in a less distressed time. It also seems necessary to point out that he learned much in his early career by copying and studying the earlier works of La Pléiade. This has led some scholars to label him as a plagiarist, but it is important to realize that all the members of La Pléiade copied from each other when they wished to learn something new, and truly understand the style of the other poets in the group. Gouvy’s only choice of poems from his contemporaries, were the works of Moritz Hartmann (1821–1872), a good friend of Gouvy’s. Much of his poetry was strongly political in support of freedom of the individual. He traveled to Leipzig in 1845, but when the authorities discovered a volume of patriotic poems entitled Kelch und Schwert (Chalice and Sword), he fled to Belgium and France. It is at this time that he possibly met Théodore Gouvy. Eighteen poems of Hartmann were translated from German to French by the French poet, Adolph Larmande, of whom very little is known. Pierre Toussaint Adolphe Larmande seems to have been a rather obscure poet and musician. We know that he taught music theory at the Paris Conservatory at the same time Anton Reicha and Michele Carafa were on the faculty. We also know that in 1847 he married an English woman by the name of Marie Caroline Bradley. There are random documents, such as a Certificate of Arrival in London, England, in 1837, but there are no birth and death dates given, and that includes his obituary notice. Contents:18 Sonnets et Chansons de Desportes pour ténor ou soprano et piano, Op. 45 Six poésies allemandes de Moritz Hartmann pour baryton et piano, Op. 21 Douze poésies allemandes de Moritz Hartmann pour ténor et piano, Op. 26 (Poésies françaises d’Adolphe Larmande).
$3.00
Op. 45, No. 18: La vie est une fleur from Songs of Gouvy, V2 (Downloadable)
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Piano, Voix
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INTERMÉDIAIRE
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MeeAe Cecilia Nam and Theodore
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Op. 45, No. 18: La vie est une
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E. C. Schirmer Music Company - Digital
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SheetMusicPlus
Voice and piano - Medium - SKU: MQ.8492-18E Composed by MeeAe Cecilia Nam and Theodore Gouvy. Instrument part. 6 pages. E. C. Schirmer Music Company - D...
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Voice and piano - Medium - SKU: MQ.8492-18E Composed by MeeAe Cecilia Nam and Theodore Gouvy. Instrument part. 6 pages. E. C. Schirmer Music Company - Digital #8492-18E. Published by E. C. Schirmer Music Company - Digital (MQ.8492-18E). French.Gouvy was known for writing some of the most beautiful melodies of the Romantic period. His style is a combination of German forms and an early French romantic harmonic structure. His writing for the piano in the songs is totally unified in mood and description with the voice, just as the piano is in Schubert’s songs. The equal partnership of the vocal line and piano interact closely to bring the poetry vividly into life with unimaginable artistic heights and unbridled passion.This volume includes Gouvy songs set to 18 poems of Philippe Desportes (1546–1606), and 18 poems of Moritz Hartmann (1821–1872). The elements of Romantic love poetry, such as enchanting love and its pain, and the personifying of nature, are fluently described with a great sensitivity in both voice and piano. Gouvy’s melody stir up the imagination because of his special treatment of words through a distinguishable and melodious vocal line, and his story telling and poetic treatment and development of the piano accompaniment. His compositional artistry places him in the upper echelons of art-song composers. One should note that Gouvy had a special fondness for the 16th Century poetry of La Pléiade (a group of Renaissance French poets, led by Pièrre de Ronsard (1524–1585). Desportes was truly the heir to Ronsard; however his work, when compared to that of Ronsard, is filled with greater abstraction and greater fluidity. Desportes seems to avoid any of the passionate anger that is occasionally characteristic of La Pléiade. This may be an indication that Desportes lived in a less distressed time. It also seems necessary to point out that he learned much in his early career by copying and studying the earlier works of La Pléiade. This has led some scholars to label him as a plagiarist, but it is important to realize that all the members of La Pléiade copied from each other when they wished to learn something new, and truly understand the style of the other poets in the group. Gouvy’s only choice of poems from his contemporaries, were the works of Moritz Hartmann (1821–1872), a good friend of Gouvy’s. Much of his poetry was strongly political in support of freedom of the individual. He traveled to Leipzig in 1845, but when the authorities discovered a volume of patriotic poems entitled Kelch und Schwert (Chalice and Sword), he fled to Belgium and France. It is at this time that he possibly met Théodore Gouvy. Eighteen poems of Hartmann were translated from German to French by the French poet, Adolph Larmande, of whom very little is known. Pierre Toussaint Adolphe Larmande seems to have been a rather obscure poet and musician. We know that he taught music theory at the Paris Conservatory at the same time Anton Reicha and Michele Carafa were on the faculty. We also know that in 1847 he married an English woman by the name of Marie Caroline Bradley. There are random documents, such as a Certificate of Arrival in London, England, in 1837, but there are no birth and death dates given, and that includes his obituary notice. Contents:18 Sonnets et Chansons de Desportes pour ténor ou soprano et piano, Op. 45 Six poésies allemandes de Moritz Hartmann pour baryton et piano, Op. 21 Douze poésies allemandes de Moritz Hartmann pour ténor et piano, Op. 26 (Poésies françaises d’Adolphe Larmande).
$3.00
Op. 21, No. 6: Amour brisé from Songs of Gouvy, V2 (Downloadable)
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Piano, Voix
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INTERMÉDIAIRE
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MeeAe Cecilia Nam and Theodore
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Op. 21, No. 6: Amour bris&eacu
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E. C. Schirmer Music Company - Digital
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SheetMusicPlus
Voice and piano - Medium - SKU: MQ.8492-24E Composed by MeeAe Cecilia Nam and Theodore Gouvy. Instrument part. 5 pages. E. C. Schirmer Music Company - D...
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Voice and piano - Medium - SKU: MQ.8492-24E Composed by MeeAe Cecilia Nam and Theodore Gouvy. Instrument part. 5 pages. E. C. Schirmer Music Company - Digital #8492-24E. Published by E. C. Schirmer Music Company - Digital (MQ.8492-24E). French.Gouvy was known for writing some of the most beautiful melodies of the Romantic period. His style is a combination of German forms and an early French romantic harmonic structure. His writing for the piano in the songs is totally unified in mood and description with the voice, just as the piano is in Schubert’s songs. The equal partnership of the vocal line and piano interact closely to bring the poetry vividly into life with unimaginable artistic heights and unbridled passion.This volume includes Gouvy songs set to 18 poems of Philippe Desportes (1546–1606), and 18 poems of Moritz Hartmann (1821–1872). The elements of Romantic love poetry, such as enchanting love and its pain, and the personifying of nature, are fluently described with a great sensitivity in both voice and piano. Gouvy’s melody stir up the imagination because of his special treatment of words through a distinguishable and melodious vocal line, and his story telling and poetic treatment and development of the piano accompaniment. His compositional artistry places him in the upper echelons of art-song composers. One should note that Gouvy had a special fondness for the 16th Century poetry of La Pléiade (a group of Renaissance French poets, led by Pièrre de Ronsard (1524–1585). Desportes was truly the heir to Ronsard; however his work, when compared to that of Ronsard, is filled with greater abstraction and greater fluidity. Desportes seems to avoid any of the passionate anger that is occasionally characteristic of La Pléiade. This may be an indication that Desportes lived in a less distressed time. It also seems necessary to point out that he learned much in his early career by copying and studying the earlier works of La Pléiade. This has led some scholars to label him as a plagiarist, but it is important to realize that all the members of La Pléiade copied from each other when they wished to learn something new, and truly understand the style of the other poets in the group. Gouvy’s only choice of poems from his contemporaries, were the works of Moritz Hartmann (1821–1872), a good friend of Gouvy’s. Much of his poetry was strongly political in support of freedom of the individual. He traveled to Leipzig in 1845, but when the authorities discovered a volume of patriotic poems entitled Kelch und Schwert (Chalice and Sword), he fled to Belgium and France. It is at this time that he possibly met Théodore Gouvy. Eighteen poems of Hartmann were translated from German to French by the French poet, Adolph Larmande, of whom very little is known. Pierre Toussaint Adolphe Larmande seems to have been a rather obscure poet and musician. We know that he taught music theory at the Paris Conservatory at the same time Anton Reicha and Michele Carafa were on the faculty. We also know that in 1847 he married an English woman by the name of Marie Caroline Bradley. There are random documents, such as a Certificate of Arrival in London, England, in 1837, but there are no birth and death dates given, and that includes his obituary notice. Contents:18 Sonnets et Chansons de Desportes pour ténor ou soprano et piano, Op. 45 Six poésies allemandes de Moritz Hartmann pour baryton et piano, Op. 21 Douze poésies allemandes de Moritz Hartmann pour ténor et piano, Op. 26 (Poésies françaises d’Adolphe Larmande).
$3.00
Op. 1, No. 12: La nuit après l’orage from Songs of Gouvy, V2 (Downloadable)
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Piano, Voix
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INTERMÉDIAIRE
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MeeAe Cecilia Nam and Theodore
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Op. 1, No. 12: La nuit apr&egr
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E. C. Schirmer Music Company - Digital
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SheetMusicPlus
Voice and piano - Medium - SKU: MQ.8492-36E Composed by MeeAe Cecilia Nam and Theodore Gouvy. Instrument part. 5 pages. E. C. Schirmer Music Company - D...
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Voice and piano - Medium - SKU: MQ.8492-36E Composed by MeeAe Cecilia Nam and Theodore Gouvy. Instrument part. 5 pages. E. C. Schirmer Music Company - Digital #8492-36E. Published by E. C. Schirmer Music Company - Digital (MQ.8492-36E). French.Gouvy was known for writing some of the most beautiful melodies of the Romantic period. His style is a combination of German forms and an early French romantic harmonic structure. His writing for the piano in the songs is totally unified in mood and description with the voice, just as the piano is in Schubert’s songs. The equal partnership of the vocal line and piano interact closely to bring the poetry vividly into life with unimaginable artistic heights and unbridled passion.This volume includes Gouvy songs set to 18 poems of Philippe Desportes (1546–1606), and 18 poems of Moritz Hartmann (1821–1872). The elements of Romantic love poetry, such as enchanting love and its pain, and the personifying of nature, are fluently described with a great sensitivity in both voice and piano. Gouvy’s melody stir up the imagination because of his special treatment of words through a distinguishable and melodious vocal line, and his story telling and poetic treatment and development of the piano accompaniment. His compositional artistry places him in the upper echelons of art-song composers. One should note that Gouvy had a special fondness for the 16th Century poetry of La Pléiade (a group of Renaissance French poets, led by Pièrre de Ronsard (1524–1585). Desportes was truly the heir to Ronsard; however his work, when compared to that of Ronsard, is filled with greater abstraction and greater fluidity. Desportes seems to avoid any of the passionate anger that is occasionally characteristic of La Pléiade. This may be an indication that Desportes lived in a less distressed time. It also seems necessary to point out that he learned much in his early career by copying and studying the earlier works of La Pléiade. This has led some scholars to label him as a plagiarist, but it is important to realize that all the members of La Pléiade copied from each other when they wished to learn something new, and truly understand the style of the other poets in the group. Gouvy’s only choice of poems from his contemporaries, were the works of Moritz Hartmann (1821–1872), a good friend of Gouvy’s. Much of his poetry was strongly political in support of freedom of the individual. He traveled to Leipzig in 1845, but when the authorities discovered a volume of patriotic poems entitled Kelch und Schwert (Chalice and Sword), he fled to Belgium and France. It is at this time that he possibly met Théodore Gouvy. Eighteen poems of Hartmann were translated from German to French by the French poet, Adolph Larmande, of whom very little is known. Pierre Toussaint Adolphe Larmande seems to have been a rather obscure poet and musician. We know that he taught music theory at the Paris Conservatory at the same time Anton Reicha and Michele Carafa were on the faculty. We also know that in 1847 he married an English woman by the name of Marie Caroline Bradley. There are random documents, such as a Certificate of Arrival in London, England, in 1837, but there are no birth and death dates given, and that includes his obituary notice. Contents:18 Sonnets et Chansons de Desportes pour ténor ou soprano et piano, Op. 45 Six poésies allemandes de Moritz Hartmann pour baryton et piano, Op. 21 Douze poésies allemandes de Moritz Hartmann pour ténor et piano, Op. 26 (Poésies françaises d’Adolphe Larmande).
$3.00
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