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| RUSSIAN COLLECTION 41
CLASSIC COMPOSITIONS SOLO
PIANO
Piano solo [Sheet music]
Chester
160 Pages de Musique russe pour Piano Solo.
<br>
<br>Inclus, biograp...(+)
160 Pages de Musique russe pour Piano Solo.
<br>
<br>Inclus, biographies, contexte historique... / [The Russian Collection] / Classique / Partition /
Pre-shipment lead time: 3-10 days - In Stock Supplier |
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| Wolfgang Amadeus Mozart:
Finale from Symphony No.
40: Concert Band: Score &
Concert band
Curnow Music
Excerpts from Movement 4-Developing an intimate understanding of the world?s gre...(+)
Excerpts from Movement 4-Developing an intimate understanding of the world?s greatest musical accomplishments is an important part of a music education. Every musician should have the joy of playing the music of Mozart and the G-minor Symphony (Number 40) is one of Mozart?s signature works and one of the greatest musical achievements of all time. Stephen Bulla has carefully and effectively brought the themes of the G-minor Symphony finale to the concert band stage with this delightful transcription/arrangement. Your band won?t be playing a ?band arrangement?- they?ll be playing MOZART! Don?t forget the opportunity for a music history lesson built into this piece.Masterful!
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| Hector Berlioz: Lelio (Le
retour a la vie): Mixed
Choir: Vocal Score
Récitant, Soli, Choeur Mixte Et
Orchestre
Barenreiter
Musikalisches Monodram-Lélio (The Return to Life) Hol.55: A Lyric Monodrama Lé...(+)
Musikalisches Monodram-Lélio (The Return to Life) Hol.55: A Lyric Monodrama Lélio was composed during Berlioz's stay in Italy in 1831. He conceived the idea of a semi-theatrical work that combined music and monologues to express the idea of returning to life after a profound traumatic experience. Originally entitled Le Retour a la Vie' it consists of six separate compositions interspersed with dramatic monologues. The monologues are to be recited by an actor in front of a curtain which conceals the Orchestra and they reflect Berlioz's most passionate concerns in 1831 especially friendship love Shakespeare and thehealing power of music. 'The work is to be played immediately after the 'Symphonie fantastique' to which it forms the conclusion and the complement. The orchestra chorus and soloists should be out of sight on the stage behind the curtain. The actor speaks and acts by himself on the forestage. After the last monologue he exits and the curtain rises to reveal all the performers for the finale thus a platform must be built over the orchestral pit. The part of Lélio demands a skilful non-singing actor. In addition a Tenor is required for the Ballad another Tenor for the Song of Bliss and a strong Baritone for the brigand-chief' - Hector Berlioz Urtext of the New Berlioz Edition Full score (BA5447) and vocal score (BA5447-90) on sale Performance material available (BA5447-72) available for hire
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| Hector Berlioz: Lelio (Le
retour a la vie): Mixed
Choir: Score
Choral SATB
SATB, Orchestra [Sheet music]
Barenreiter
Musikalisches Monodram-Lélio (The Return to Life) Hol.55: A Lyric Monodrama Lé...(+)
Musikalisches Monodram-Lélio (The Return to Life) Hol.55: A Lyric Monodrama Lélio was composed during Berlioz's stay in Italy in 1831. He conceived the idea of a semi-theatrical work that combined music and monologues to express the idea of returning to life after a profound traumatic experience. Originally entitled Le Retour a la Vie' it consists of six separate compositions interspersed with dramatic monologues. The monologues are to be recited by an actor in front of a curtain which conceals the Orchestra and they reflect Berlioz's most passionate concerns in 1831 especially friendship love Shakespeare and thehealing power of music. 'The work is to be played immediately after the 'Symphonie fantastique' to which it forms the conclusion and the complement. The orchestra chorus and soloists should be out of sight on the stage behind the curtain. The actor speaks and acts by himself on the forestage. After the last monologue he exits and the curtain rises to reveal all the performers for the finale thus a platform must be built over the orchestral pit. The part of Lélio demands a skilful non-singing actor. In addition a Tenor is required for the Ballad another Tenor for the Song of Bliss and a strong Baritone for the brigand-chief' - Hector Berlioz Urtext of the New Berlioz Edition Full score (BA5447) and vocal score (BA5447-90) on sale Performance material available (BA5447-72) available for hire
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