Composed by Various. Edited by Ilaria Narici. Vocal Collection. Softcover. Ricordi #NR14159300. Published by Ricordi

Alto Saxophone. By Various Composers. Arranged by Darren Fellows. (Alto Sax). Schott. Book & CD Package. Size 9x12 inches. 36 pages. Published by Schott.

Arias for Bass. By Various. Vocal Collection. BOOK W/CD. Published by G. Schirmer.

By Gounod, Charles (1818-1893). Study size scores. Published by International Music Co.

Piano - easy

SKU: HL.49004673

Piano Solo. Composed by Various. Edited by Richard Krentzlin. This edition: Saddle stitching. Sheet music. Edition Schott. Classical. 48 pages. Schott Music #ED4175. Published by Schott Music (HL.49004673).

ISBN 9790001049016. UPC: 073999690668. 9.0x12.0x0.144 inches.

German language music collection.

102 Selections from Symphonies, Ballets, Operas, and Piano Literature for Piano Solo. By Various. World's Greatest Classical Music. Size 9x12 inches. 256 pages. Published by Hal Leonard.

Collection. Secular. 228 pages. Published by Editions a Coeur Joie (CJ.A135300034).

Concert Band/Harmonie and Euphonium Solo - Grade 2.5

SKU: BT.DHP-1135392-140

From Faust. Composed by Charles Francois Gounod. Arranged by Wil van der Beek. Solo Spectrum. Solo & Concerto. Score Only. Composed 2013. 16 pages. De Haske Publications #DHP 1135392-140. Published by De Haske Publications (BT.DHP-1135392-140).

9x12 inches. English-German-French-Dut ch.

Goethe’s Faust has already been set to music by various renowned musicians, such as Berlioz, Busoni and Spohr, and indeed Charles Gounod, who built his eponymous opera around the tale. Gounod’s Faust is primarily known for its lovely melodies and its beautifully expressive vocal parts and subtle orchestrations. One of the high points of this opera is doubtless this impressive Cavatina (“Salut, demeure chaste et pure”). Wil van der Beek has arranged the Cavatina with the euphonium as solo instrument.

Goethe s Faust is in het verleden al door verschillende componisten - waaronder Berlioz en Spohr - op muziek gezet. Ook Charles Gounod gebruikte Faust voor zijn gelijknamige opera. Zijn versie staat bol van prachtige melodieën en uiterst expressieve zangpartijen in een gera_x001C_ffineerde orkestratie. Een van deze hoogtepunten is zeker zijn Cavatina (“Salut, demeure chaste et pure”), in deze versie van Wil van der Beek bewerkt voor euphonium en orkest.

Goethes Faust wurde schon mehrfach von namhaften Komponisten vertont - darunter Berlioz, Busoni, Spohr und eben auch Charles Gounod, der aus dem Stoff_x001F_ die gleichnamige Oper komponierte. Sein Faust ist vor allem für herrliche Melodien sowie schöne, ausdrucksvolle Vokalpartien und feinsinnige Orchestrierungen bekannt. Einer der Höhepunkte dieser Oper ist zweifellos diese eindrucksvolle Cavatina (Salut, demeure chaste et pure“). Wil van der Beek wählte für seine Bearbeitung das Euphonium als Soloinstrument.

Faust, de Goethe a été plusieurs fois mis en musique par des compositeurs célèbres - dont Berlioz, Busoni et Spohr. En s’inspirant de la pièce de Goethe, Charles Gounod composa un opéra connu pour ses belles mélodies, ses chants expressifs et ses orchestrations subtiles. Un des points forts de cet opéra est sans aucun doute cette impressionnante Cavatine intitulée Salut ! Demeure chaste et pure. Wil van der Beek a choisi, pour son arrangement, de confi_x001C_er la partie solo l’euphonium. Un choix judicieux, qui placera votre soliste sous les feux de la rampe gr ce cette cavatine vibrante d’émotion et de sensibilité.

Il Faust di Goethe fu più volte messo in musica da compositori famosi quali Berlioz, Busoni, Spohr e Charles Gounod che compose l’opera omonima. Il suo Faust è noto per le belle melodie, le parti vocali particolarmente espressive e la ra_x001F_nata orchestrazione. Uno dei punti di forza di questa opera è senza dubbio l’imponente Cavatina (Salut, demeure chaste et pure). Wil van der Beek ha scelto di arrangiare la sua Cavatina per eufonio solo e banda.

Concert Band/Harmonie and Euphonium Solo - Grade 2.5

SKU: BT.DHP-1135392-010

From Faust. Composed by Charles Francois Gounod. Arranged by Wil van der Beek. Solo Spectrum. Solo and Concerto. Set (Score and Parts). Composed 2013. De Haske Publications #DHP 1135392-010. Published by De Haske Publications (BT.DHP-1135392-010).

9x12 inches. English-German-French-Dut ch.

Goetheâ??s Faust has already been set to music by various renowned musicians, such as Berlioz, Busoni and Spohr, and indeed Charles Gounod, who built his eponymous opera around the tale. Gounodâ??s Faust is primarily known for its lovely melodies and its beautifully expressive vocal parts and subtle orchestrations. One of the high points of this opera is doubtless this impressive Cavatina (â??Salut, demeure chaste et pureâ?). Wil van der Beek has arranged the Cavatina with the euphonium as solo instrument.

Goethe s Faust is in het verleden al door verschillende componisten - waaronder Berlioz en Spohr - op muziek gezet. Ook Charles Gounod gebruikte Faust voor zijn gelijknamige opera. Zijn versie staat bol van prachtige melodieën en uiterst expressieve zangpartijen in een gera_x001C_ffineerde orkestratie. Een van deze hoogtepunten is zeker zijn Cavatina (â??Salut, demeure chaste et pureâ?), in deze versie van Wil van der Beek bewerkt voor euphonium en orkest.

Goethes Faust wurde schon mehrfach von namhaften Komponisten vertont - darunter Berlioz, Busoni, Spohr und eben auch Charles Gounod, der aus dem Stoff_x001F_ die gleichnamige Oper komponierte. Sein Faust ist vor allem fu?r herrliche Melodien sowie schöne, ausdrucksvolle Vokalpartien und feinsinnige Orchestrierungen bekannt. Einer der Höhepunkte dieser Oper ist zweifellos diese eindrucksvolle Cavatina (Salut, demeure chaste et pureâ??). Wil van der Beek wählte fu?r seine Bearbeitung das Euphonium als Soloinstrument.

Faust, de Goethe a été plusieurs fois mis en musique par des compositeurs célèbres - dont Berlioz, Busoni et Spohr. En sâ??inspirant de la pièce de Goethe, Charles Gounod composa un opéra connu pour ses belles mélodies, ses chants expressifs et ses orchestrations subtiles. Un des points forts de cet opéra est sans aucun doute cette impressionnante Cavatine intitulée Salut ! Demeure chaste et pure. Wil van der Beek a choisi, pour son arrangement, de confi_x001C_er la partie solo lâ??euphonium. Un choix judicieux, qui placera votre soliste sous les feux de la rampe gr ce cette cavatine vibrante dâ??émotion et de sensibilité.

Il Faust di Goethe fu più volte messo in musica da compositori famosi quali Berlioz, Busoni, Spohr e Charles Gounod che compose lâ??opera omonima. Il suo Faust è noto per le belle melodie, le parti vocali particolarmente espressive e la ra_x001F_nata orchestrazione. Uno dei punti di forza di questa opera è senza dubbio lâ??imponente Cavatina (Salut, demeure chaste et pure). Wil van der Beek ha scelto di arrangiare la sua Cavatina per eufonio solo e banda.

String quartet String Quartet

SKU: PR.16400272S

Cassatt. Composed by Dan Welcher. Premiere: Cassatt Quartet, Northeastern Illinois University, Chicago, IL. Contemporary. Full score. With Standard notation. Composed 2007. WRT11142. 52 pages. Duration 24 minutes. Theodore Presser Company #164-00272S. Published by Theodore Presser Company (PR.16400272S).

UPC: 680160588442. 8.5 x 11 inches.

My third quartet is laid out in a three-movement structure, with each movement based on an early, middle, and late work of the great American impressionist painter Mary Cassatt. Although the movements are separate, with full-stop endings, the music is connected by a common scale-form, derived from the name MARY CASSATT, and by a recurring theme that introduces all three movements. I see this theme as Mary's Theme, a personality that stays intact while undergoing gradual change.   I The Bacchante (1876) [Pennsylvania Academy of Fine Arts, Philadelphia, Pennsylvania]   The painting shows a young girl of Italian or Spanish origin, playing a small pair of cymbals. Since Cassatt was trying very hard to fit in at the French Academy at the time, she painted a lot of these subjects, which were considered typical and universal. The style of the painting doesn't yet show Cassatt's originality, except perhaps for certain details in the face. Accordingly the music for this movement is Spanish/Italian, in a similar period-style but using the musical signature described above. The music begins with Mary's Theme, ruminative and slow, then abruptly changes to an alla Spagnola-type fast 3/4 - 6/8 meter. It evokes the Spanish-influenced music of Ravel and Falla.   Midway through, there's an accompanied recitative for the viola, which figures large in this particular movement, then back to a truncated recapitulation of the fast music. The overall feeling is of a well-made, rather conventional movement in a contemporary Spanish/Italian style. Cassatt's painting, too, is rather conventional.   II At the Opera (1880) [Museum of Fine Arts, Boston, Massachusetts]   This painting is one of Cassatt's most well known works, and it hangs in the Museum of Fine Arts in Boston. The painting shows a woman alone in a box at the opera house, completely dressed (including gloves) and looking through opera glasses at someone or something that is NOT on the stage. Across the auditorium from her, but exactly at eye level, is a gentleman with opera glasses intently watching her - though it is not him that she's looking at. It's an intriguing picture.   This movement is far less conventional than the first movement, as the painting is far less conventional. The music begins with a rapid, Shostakovich-type mini-overture lasting less than a minute, based on Mary's Theme. My conjecture is that the woman in the painting has arrived late to the opera, busily stumbling into her box. What happens next is a kind of collage, a kind of surrealistic overlaying of two different elements: the foreground music, at first is a direct quotation of Soldier's Chorus from Gounod's FAUST (an opera Cassatt would certainly have heard in the brand-new Paris Opera House at that time), played by Violin II, Viola, and Cello. This music is played sul ponticello in the melody and col legno in the marching accompaniment. On top of this, the first violin hovers at first on a high harmonic, then descends into a slow melody, completely separate from the Gounod. It's as if the woman in the painting is hearing the opera onstage but is not really interested in it. Then the cello joins the first violin in a kind of love-duet (just the two of them, at first). This music isn't at all Gounod-derived; it's entirely from the same scale patterns as the first movement and derives from Mary's Theme and its scale. The music stays in a kind of dichotomy feeling, usually three-against-one, until the end of the movement, when another Gounod melody, Valentin's aria Avant de quitter ce lieux reappears in a kind of coda for all four players. It ends atmospherically and emotionally disconnected, however. The overall feeling is a kind of schizophrenic, opera-inspired dream.   III Young Woman in Green, Outdoors in the Sun (1909) [Worcester Art Museum, Massachusetts]   The painting, one of Cassatt's last, is very simple: just a figure, looking sideways out of the picture. The colors are pastel and yet bold - and the woman is likewise very self-assured and not in the least demure. It is eight minutes long, and is all about melody - three melodies, to be exact (Young Woman, Green, and Sunlight). No angst, no choppy rhythms, just ever-unfolding melody and lush harmonies. I quote one other French composer here, too: Debussy's song Green, from Ariettes Oubliees. 1909 would have been Debussy's heyday in Paris, and it makes perfect sense musically as well as visually to do this.   Mary Cassatt lived her last several years in near-total blindness, and as she lost visual acuity, her work became less sharply defined - something akin to late water lilies of Monet, who suffered similar vision loss. My idea of making this movement entirely melodic was compounded by having each of the three melodies appear twice, once in a pure form, and the second time in a more diffuse setting. This makes an interesting two ways form: A-B-C-A1-B1-C1.   String Quartet No.3 (Cassatt) is dedicated, with great affection and respect, to the Cassatt String Quartet, whose members have dedicated themselves in large measure to the furthering of the contemporary repertoire for quartet.

Chamber Music String Quartet

SKU: PR.164002720

Cassatt. Composed by Dan Welcher. Spiral and Saddle. Premiere: Cassatt Quartet, Northeastern Illinois University, Chicago, IL. Contemporary. Set of Score and Parts. With Standard notation. Composed 2007. WRT11142. 52+16+16+16+16 pages. Duration 24 minutes. Theodore Presser Company #164-00272. Published by Theodore Presser Company (PR.164002720).

UPC: 680160573042. 8.5 x 11 inches.

My third quartet is laid out in a three-movement structure, with each movement based on an early, middle, and late work of the great American impressionist painter Mary Cassatt. Although the movements are separate, with full-stop endings, the music is connected by a common scale-form, derived from the name MARY CASSATT, and by a recurring theme that introduces all three movements. I see this theme as Mary's Theme, a personality that stays intact while undergoing gradual change.   I The Bacchante (1876) [Pennsylvania Academy of Fine Arts, Philadelphia, Pennsylvania]   The painting shows a young girl of Italian or Spanish origin, playing a small pair of cymbals. Since Cassatt was trying very hard to fit in at the French Academy at the time, she painted a lot of these subjects, which were considered typical and universal. The style of the painting doesn't yet show Cassatt's originality, except perhaps for certain details in the face. Accordingly the music for this movement is Spanish/Italian, in a similar period-style but using the musical signature described above. The music begins with Mary's Theme, ruminative and slow, then abruptly changes to an alla Spagnola-type fast 3/4 - 6/8 meter. It evokes the Spanish-influenced music of Ravel and Falla.   Midway through, there's an accompanied recitative for the viola, which figures large in this particular movement, then back to a truncated recapitulation of the fast music. The overall feeling is of a well-made, rather conventional movement in a contemporary Spanish/Italian style. Cassatt's painting, too, is rather conventional.   II At the Opera (1880) [Museum of Fine Arts, Boston, Massachusetts]   This painting is one of Cassatt's most well known works, and it hangs in the Museum of Fine Arts in Boston. The painting shows a woman alone in a box at the opera house, completely dressed (including gloves) and looking through opera glasses at someone or something that is NOT on the stage. Across the auditorium from her, but exactly at eye level, is a gentleman with opera glasses intently watching her - though it is not him that she's looking at. It's an intriguing picture.   This movement is far less conventional than the first movement, as the painting is far less conventional. The music begins with a rapid, Shostakovich-type mini-overture lasting less than a minute, based on Mary's Theme. My conjecture is that the woman in the painting has arrived late to the opera, busily stumbling into her box. What happens next is a kind of collage, a kind of surrealistic overlaying of two different elements: the foreground music, at first is a direct quotation of Soldier's Chorus from Gounod's FAUST (an opera Cassatt would certainly have heard in the brand-new Paris Opera House at that time), played by Violin II, Viola, and Cello. This music is played sul ponticello in the melody and col legno in the marching accompaniment. On top of this, the first violin hovers at first on a high harmonic, then descends into a slow melody, completely separate from the Gounod. It's as if the woman in the painting is hearing the opera onstage but is not really interested in it. Then the cello joins the first violin in a kind of love-duet (just the two of them, at first). This music isn't at all Gounod-derived; it's entirely from the same scale patterns as the first movement and derives from Mary's Theme and its scale. The music stays in a kind of dichotomy feeling, usually three-against-one, until the end of the movement, when another Gounod melody, Valentin's aria Avant de quitter ce lieux reappears in a kind of coda for all four players. It ends atmospherically and emotionally disconnected, however. The overall feeling is a kind of schizophrenic, opera-inspired dream.   III Young Woman in Green, Outdoors in the Sun (1909) [Worcester Art Museum, Massachusetts]   The painting, one of Cassatt's last, is very simple: just a figure, looking sideways out of the picture. The colors are pastel and yet bold - and the woman is likewise very self-assured and not in the least demure. It is eight minutes long, and is all about melody - three melodies, to be exact (Young Woman, Green, and Sunlight). No angst, no choppy rhythms, just ever-unfolding melody and lush harmonies. I quote one other French composer here, too: Debussy's song Green, from Ariettes Oubliees. 1909 would have been Debussy's heyday in Paris, and it makes perfect sense musically as well as visually to do this.   Mary Cassatt lived her last several years in near-total blindness, and as she lost visual acuity, her work became less sharply defined - something akin to late water lilies of Monet, who suffered similar vision loss. My idea of making this movement entirely melodic was compounded by having each of the three melodies appear twice, once in a pure form, and the second time in a more diffuse setting. This makes an interesting two ways form: A-B-C-A1-B1-C1.   String Quartet No.3 (Cassatt) is dedicated, with great affection and respect, to the Cassatt String Quartet, whose members have dedicated themselves in large measure to the furthering of the contemporary repertoire for quartet.

For Vocal. (Voice). CD Sheet Music (Version 2.0). PDF file on CD. 800 pages. Published by Subito Music.

Concert Band - Grade 3

SKU: BT.DHP-1012918-040

Composed by Peter Ilyich Tchaikovsky. Arranged by Wil van der Beek. The Great Classics. Set (Score & Parts). Composed 2001. De Haske Publications #DHP 1012918-040. Published by De Haske Publications (BT.DHP-1012918-040).

Tchaikovsky is best known for his purely instrumental compositions. However, we must not underestimate him as a composer of operas. Many of his operas such as ¬Pique Dame and Eugene Onegin are still performed regularly throughout the world. Eugene Onegin (also called Jevgeny Onegin), composed in 1877-1878, was not called an opera by Tchaikovsky himself, but “lyric scenes”. The work is entirely dominated by lyricism. However, there are two moments that contrast sharply with this lyricism: two ball scenes, for which Tchaikovsky wrote a waltz and a polonaise.After opening with a less well-known allegro dansant, this arrangement features the aforementioned waltz, which can beconsidered a beautiful Russian equivalent of the Faust Waltz by Charles Gounod. In the opera, this waltz is actually played by a military band. The arrangement concludes with the pompous polonaise (also mentioned above) which opens the last act: the ideal music to characterize high aristocracy in the salon of a palace in St. Petersburg.

Concert Band/Harmonie and Clarinet Solo - Grade 3

SKU: BT.DHP-0981110-010

Composed by Peter Ilyich Tchaikovsky. Your Favorite Classics. Set (Score & Parts). Composed 1998. De Haske Publications #DHP 0981110-010. Published by De Haske Publications (BT.DHP-0981110-010).

Tchaikovsky is best known for his purely instrumental compositions. However, we must not underestimate him as a composer of operas. Many of his operas such as ¬Pique Dame and Eugene Onegin are still performed regularly throughout the world. Eugene Onegin (also called Jevgeny Onegin), composed in 1877-1878, was not called an opera by Tchaikovsky himself, but “lyric scenes”. The work is entirely dominated by lyricism. However, there are two moments that contrast sharply with this lyricism: two ball scenes, for which Tchaikovsky wrote a waltz and a polonaise.After opening with a less well-known allegro dansant, this arrangement features the aforementioned waltz, which can beconsidered a beautiful Russian equivalent of the Faust Waltz by Charles Gounod. In the opera, this waltz is actually played by a military band. The arrangement concludes with the pompous polonaise (also mentioned above) which opens the last act: the ideal music to characterize high aristocracy in the salon of a palace in St. Petersburg.

Rolf Lovland, der Gründe der Popgruppe Secret Garden ist einer der erfolgreichsten Songschreiber in der Welt der Popmusik. Mit der romantischen Melodie von Nocturne überzeugte seine Gruppe nicht nur Millionen Fans, sondern auch die Jury des Grand Prix d’Eurovision im Jahre 1995, die das Lied zum Siegertitel kürte. Mit dem gefühlvollen Arrangement von Ron Segbregts spielen Sie sich in die Herzen Ihres Publikums.

SATB Choir, Piano - Level 2

SKU: CA.926000

Composed by Charles Francois Gounod. Arranged by Denis Rouger. Separate edition to the CD. Lieder, Secular choral music. Full Score. Composed 1870. CG 449. Duration 3 minutes. Carus Verlag #CV 09.260/00. Published by Carus Verlag (CA.926000).

ISBN 9790007249229. Key: F major. Language: French. Text: Barbier, Jules.

The three verses of Aimons-nous, separated by piano interludes, are cheerful and amorous, an invitation to everlasting mutual love. The text portrays this almost as a law of nature: rivers and streams combine, the sun embraces the earth, and the birds snuggle close to each other in their nest. Light, rippling syncopations in the piano accompany Gounod's typical catchy melodic writing in the vocal parts. The writer Jules Barbier was Gounod's favored opera librettist (Faust, Romeo et Juliette), but many other 19th century opera composers also set his texts, including Camille Saint-Saens, Giacomo Meyerbeer, and Jacques Offenbach. This art song was originally composed not for chamber choir, but for solo voice and piano. Denis Rouger has carefully adapted it to suit the requirements and expressive possibilities offered by a larger ensemble, without losing the any of the qualities of the original in the process. Each part in the choir has a melodic line drawn from the harmonic and rhythmic framework. In the process, the variety and refinement of the choral language combines with an enormous flexibility in form and expression, as French melodies or German art song demand from a soloist and pianist. The songs have been recorded by the figure humaine chamber choir on the CD Kennst du das Land ... (Carus 83.495).

Choral (music for voice)

SKU: HL.48180031

Voice Parts. Composed by Charles Francois Gounod. Leduc. Classical, General Worship, Sacred. Softcover. Alphonse Leduc #AL12197. Published by Alphonse Leduc (HL.48180031).

French composer, Charles Gounod (1818-1893) was a prominent in his day, best remembered for his Ave Maria and his opera, Faust. 1854 saw the premiere of his Solemn Mass, also known as the St. Cecilia Mass. This work fully established Gounod as a noteworthy composer. Despite being a minor composer to us today, Gounod was famed in his day, so much so that at his funeral, Camille Saint-Saens played the organ and Gabriel Faure conducted. Gounod's Solemn Mass proves the composer's extraordinary talent and caught the attention of much of Paris when it was first performed. Famous recordings include that of the Chorus of Radio France with the New Philharmonia Orchestra. For all aspiring choirs, Gounod's St. Cecilia Mass is an imperative, sublime addition to the repertoire.

Choral, piano (SATB)

SKU: HL.48180032

SATB. Composed by Charles Francois Gounod. Leduc. Classical, Sacred. CD only. 80 pages. Alphonse Leduc #AL12250. Published by Alphonse Leduc (HL.48180032).

UPC: 888680830076. 7.25x10.75 inches.

French composer, Charles Gounod (1818-1893) was a prominent in his day, best remembered for his “Ave Maria” and his opera, Faust. 1854 saw the premiere of his Solemn Mass, also known as the St. Cecilia Mass. This work fully established Gounod as a noteworthy composer. Despite being a minor composer to us today, Gounod was famed in his day, so much so that at his funeral, Camille Saint-Saëns played the organ and Gabriel Fauré conducted. Gounod's Solemn Mass proves the composer's extraordinary talent and caught the attention of much of Paris when it was first performed. Famous recordings include that of the Chorus of Radio France with the New Philharmonia Orchestra. For all aspiring choirs, Gounod's St. Cecilia Mass is an imperative, sublime addition to the repertoire.

Soprano solo, Tenor solo, Bass solo, Mixed choir (SATB) Orchestra, Organ (Soprano Voice Solo, Tenor Voice Solo, Bass Voice Solo, Mixed choir(SSAB), Fl-picc, 2 Fl, 2 Ob, 2 clarinet, 4bassoon, 4Hn, 2 Kor, 2 Trp, 3trombone, timpani, Be, Tr-Gr, harp, 2 Violin, Viola, Cello, Double Bass, Octobass, Org)

SKU: BA.BA08966-90

Composed by Charles Francois Gounod. Edited by Hans Schellevis. Arranged by Hans Schellevis. This edition: urtext edition. Paperback. Barenreiter Urtext. Vocal Score. Baerenreiter Verlag #BA08966_90. Published by Baerenreiter Verlag (BA.BA08966-90).

ISBN 9790006564002. 27 x 19 cm inches. Text Language: Latin. Preface: Schellevis, Hans.

Sacred works occupy a large part of Charles Gounod's oeuvre. It was the Messe solennelle en l'honneur de Sainte Cecile that established his fame as a church composer. Its melodic invention and effective handling of the orchestra reveal a close proximity to opera.

This Urtext edition is based not only on the original print of 1856 but also on copyists' manuscripts and autograph sources. Rounding off this well-researched Urtext edition are an informative Introduction and a detailed Critical Commentary. The edition is being published to celebrate the 200th anniversary of Gounod's birth.

* Gounod's well-known mass in a new Urtext edition
* Bilingual Foreword (Ger/Eng) and Critical Commentary (Eng)
* Idiomatic piano reduction
* In preparation for the Gounod bicentenary year 2018

Orchestra Cello, Contrabass, Viola, Violin 1, Violin 2 - Grade 3

SKU: CF.CAS159F

Composed by Charles Francois Gounod. Arranged by Caryn Wiegand Neidhold. Cas. Full score. Duration 2 minutes, 37 seconds. Carl Fischer Music #CAS159F. Published by Carl Fischer Music (CF.CAS159F).

ISBN 9781491165447. UPC: 680160924356. Key: D minor.

Charles Gounod (1818-1893) was a French composer who was well-known and well-regarded in his lifetime. His legacy included breaking from the grand opera tradition and influencing the next generation of Frenchcomposers. March of the Marionette was originally a piano solo titled Funeral March of a Marionette. Gounod wrote the piece to make fun of the music critic, Henry Chorley. The marionette dies in a duel, possibly a musical imitation of a public argument about the merits of Gounod’s compositions. The marionette’s friends have a funeral for him, creating a procession through the streets, with a brief stop for refreshments, illustrated in the D major section. This now-familiar theme has been used in frequently in advertisements, movies, and television shows. It was used as the theme music for Alfred Hitchcock Presents television show (1956-66) introducing dramas, mysteries, and thrillers.The prevailing bow strokes in this piece range from spiccato stroke to a light brush stroke for all eighth notes, regardless of articulation markings. Students should experiment with bow distribution to discover the appropriate placement for different dynamics. Students just learning the spiccato bow stroke will be more successful if they start this bow stroke close to their bow hand. Encourage students to discuss the character of the music and how to bring the storyline to life as an ensemble.

About Carl Fischer Concert String Orchestra Series

Thi s series of pieces (Grade 3 and higher) is designed for advancing ensembles. The pieces in this series are characterized by:

• Expanded use of rhythms, ranges and keys but technical demands are still carefully considered
• More comprehensive bowing techniques
• Viola T.C. included
• Careful selection of keys and degree of difficulty for advancing musicians