| Madrigal Pavane / Timburibá [Conducteur] - Avancé Productions OZ
Guitar solo - Advanced SKU: DZ.DZ-4287 Composed by Francisco Braga. Arran...(+)
Guitar solo - Advanced
SKU: DZ.DZ-4287
Composed by Francisco
Braga. Arranged by
Luciano Lima. Score. Les
Productions d'OZ #DZ
4287. Published by Les
Productions d'OZ
(DZ.DZ-4287). ISBN
9782898522048. Ant
nio Francisco Braga
(1868-1945) belongs to
the generation of
Brazilian composers of
the first republican
period, aesthetically
tied to romanticism,
alongside Henrique Oswald
(1852-1931), Leopoldo
Miguez (1850-1902),
Glauco Velásquez
(1884-1914), and Barrozo
Neto (1881-1941). Born in
Rio de Janeiro, on April
15th, 1868, he began his
musical studies at the
Asilo dos Meninos
Desvalidos, in 1876. In
1883, he enrolled at the
Imperial Conservatório
de Música where he
studied harmony and
counterpoint with Carlos
de Mesquita – a former
student of César Franck,
Durand, and Massenet –
and clarinet with
Antônio Luís de Moura.
Braga's first
compositions date from
this period: Sonho de
Dante (1885), Dolce far
niente (1886), the first
Valse Romantique for
piano (1886), among
others. In 1887, he
premiered his first
symphonic work,
Fantasia-Abertura. In
1890, being one of the
finalists in a
competition to choose the
new Brazilian national
anthem, Braga was awarded
a scholarship to study in
Europe, where he took
classes with Jules
Massenet at the Paris
Conservatory. During this
period, he wrote some of
his most important
symphonic works, Paysage,
Cauchemar, Episódio
Sinfônico, and Marabá
(which was performed by
Richard Strauss and the
Vienna Philharmonic in
1920, in Brazil). His
opera Jupyra is
considered one of the
greatest Brazilian
compositions of that
genre. Back in Brazil,
he was appointed
professor of
counterpoint, fugue, and
composition at the
Instituto Nacional de
Música, in 1902. There,
some of the finest
Brazilian composers
studied with him, like
Glauco Velásquez and
Lorenzo
Fernândez. Braga
wrote operas, symphonic
works, songs, sacred
music, two Masses, music
for piano, different
chamber formations, band,
and choir. He is the
author of many patriotic
hymns, the most popular
of which is Hino à
Bandeira (with lyrics by
Olavo Bilac). He explored
Brazilian nationalist
elements in some of his
works, as in Variações
sobre um Tema Brasileiro
and in the Trio for
violin, cello and piano,
whose third movement is
based on a lundu (a
musical genre and dance
of Afro-Brazilian
origin). In addition
to being a composer,
Braga was one of the most
active conductors of his
time, having been ahead
of three orchestras in
Rio de Janeiro: Instituto
Nacional de Música,
Sociedade de Concertos
Sinfônicos, and Theatro
Municipal. Braga
conducted the Brazilian
premiere of major
symphonic works such as
La Mer (Debussy), Pacific
231 (Honegger) besides
other numerous Brazilian
compositions. In 1938,
he retired from Instituto
Nacional de Música. He
passed away on March
14th, 1945, in Rio de
Janeiro. Unfortunately
, Francisco Braga never
wrote for the guitar.
However, over a century
ago his music had already
been incorporated to its
repertoire. According to
information found in
newspapers of the time,
Spanish guitarist
Josefina Robledo included
transcriptions of pieces
by Braga in her programs
when she performed in
Brazil: Gavota e Minuete
(from the melodrama
Contratador de
Diamantes), in 1919, in
São Paulo, and the
waltz-caprice Corrupio,
in 1921, in Rio de
Janeiro. The piano
score of Madrigal Pavane
was dedicated to Alexina
Leitão and published by
Casa Vieira Machado, in
1901. According to the
composer’s catalogue,
there are two other
versions of this piece:
strings orchestra (1901)
and quartet (which is
still in manuscript).
Dedicated to Braga’s
childhood friend José de
Souza Rocha, Timburibá
(the name of a Brazilian
tree) is a tango for
piano from 1886,
published by Narciso &
Arthur
Napoleão.
Antôni
o Francisco Braga
(1868-1945) appartient à
la génération des
compositeurs brésiliens
de la première période
républicaine,
esthétiquement liés au
romantisme, aux côtés
de Henrique Oswald
(1852-1931), Leopoldo
Miguez (1850-1902),
Glauco Velásquez
(1884-1914) , et Barrozo
Neto (1881-1941). Né à
Rio de Janeiro, le 15
avril 1868, il commence
ses études musicales à
l'Asilo dos Meninos
Desvalidos, en 1876. En
1883, il s'inscrit au
Imperial Conservatório
de Música où il étudie
l'harmonie et le
contrepoint avec Carlos
de Mesquita – ancien
élève de César Franck,
Durand et Massenet – et
clarinette avec Antônio
Luís de Moura. De cette
période datent les
premières compositions
de Braga : « Sonho de
Dante » (1885), « Dolce
far niente » (1886), la
première « Valse
Romantique » pour piano
(1886), entre
autres. En 1887, il
crée sa première œuvre
symphonique, «
Fantasia-Abertura ». En
1890, étant l'un des
finalistes d'un concours
pour choisir le nouvel
hymne national
brésilien, Braga obtient
une bourse pour étudier
en Europe, où il suit
les cours de Jules
Massenet au Conservatoire
de Paris. Durant cette
période, il écrit
certaines de ses œuvres
symphoniques les plus
importantes, « Paysage
», « Cauchemar », «
Episódio Sinfônico »
et « Marabá »
(interprétée par
Richard Strauss et la
Philharmonie de Vienne en
1920, au Brésil). Son
opéra « Jupyra » est
considéré comme l'une
des plus grandes
compositions
brésiliennes de ce
genre. De retour au
Brésil, il fut nommé
professeur de
contrepoint, de fugue et
de composition à
l'Instituto Nacional de
Música, en 1902. Là,
certains des meilleurs
compositeurs brésiliens
étudièrent avec lui,
comme Glauco Velásquez
et Lorenzo
Fernândez. Braga a
écrit des opéras, des
œuvres symphoniques, des
chansons, de la musique
sacrée, deux messes, de
la musique pour piano,
différentes formations
de chambre, un orchestre
et une chorale. Il est
l'auteur de nombreux
hymnes patriotiques, dont
le plus populaire est «
Hino à Bandeira » (avec
des paroles d'Olavo
Bilac). Il a exploré des
éléments nationalistes
brésiliens dans
certaines de ses œuvres,
comme dans « Variações
sobre um Tema Brasileiro
» et dans le Trio pour
violon, violoncelle et
piano, dont le troisième
mouvement est basé sur
un « lundu » (un genre
musical et une danse
afro-américaine).
Origine
brésilienne). En plus
d'être compositeur,
Braga a été l'un des
chefs d'orchestre les
plus actifs de son
époque, ayant dirigé
trois orchestres à Rio
de Janeiro : « Instituto
Nacional de Música »,
« Sociedade de Concertos
Sinfônicos » et «
Theatro Municipal ».
Braga a dirigé la
première brésilienne
d'œuvres symphoniques
majeures telles que « La
Mer » (Debussy), «
Pacific 231 » (Honegger)
ainsi que de nombreuses
autres compositions
brésiliennes. En
1938, il prend sa
retraite de l'Instituto
Nacional de Música. Il
est décédé le 14 mars
1945 à Rio de
Janeiro. Malheureuseme
nt, Francisco Braga n’a
jamais écrit pour la
guitare. Cependant, il y
a plus d'un siècle, sa
musique était déjà
incorporée à son
répertoire. Selon des
informations trouvées
dans les journaux de
l'époque, la guitariste
espagnole Josefina
Robledo incluait des
transcriptions de pièces
de Braga dans ses
programmes lorsqu'elle se
produisait au Brésil :
« Gavota e Minuete »
(du mélodrame «
Contratador de Diamantes
»), en 1919, à São
Paulo, et la
valse-caprice « Corrupio
», en 1921, à Rio de
Janeiro. La partition
pour piano de « Madrigal
Pavane » a été
dédiée à Alexina
Leitão et publiée par
« Casa Vieira Machado
», en 1901. Selon le
catalogue du compositeur,
il existe deux autres
versions de cette pièce
: orchestre à cordes
(1901) et quatuor (qui
est encore manuscrit).
Dédié à José de Souza
Rocha, ami d'enfance de
Braga, « Timburibá »
(nom d'un arbre
brésilien) est un tango
pour piano de 1886,
publié par « Narciso &
Arthur Napoleão
». Envoyer des
commentaires Panneaux
latéraux HistoriqueEnregistrées. $9.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Annie’s Gone Home [Conducteur] - Débutant Carl Fischer
Orchestra Cello, Contrabass, Piano, Viola, Violin 1, Violin 2, Violin 3 - Grade ...(+)
Orchestra Cello,
Contrabass, Piano, Viola,
Violin 1, Violin 2,
Violin 3 - Grade 1.5
SKU: CF.FAS108F
Composed by Bud Woodruff.
First-Plus String
Orchestra (FAS). Full
score. With Standard
notation. 8 pages. Carl
Fischer Music #FAS108F.
Published by Carl Fischer
Music (CF.FAS108F).
ISBN 9781491151761.
UPC: 680160909261. 9 x 12
inches. Annie's
Gone Home, composed in
the style of a spiritual,
was written as a tribute
to composer Bud
Woodruff's mother. The
tune is built on phrases
of easily understandable
material, but the
poignant nature of the
piece is marked with
profundity. From the
subtle bass solo to the
emotional high points,
the piece is inspired by
this strong woman in the
life of the
composer.
Annies Gone
Home is a tribute to
my Mother, Annette Fenner
Hains (19232017). Her
siblings and cousins
always called her Annie.
She loved music, and her
influence was the primary
inspiration for me to go
into music. Her tastes
were wildly diverse,
loving everything from
symphonic music to
Country/Western, to
various styles of folk
music, to pop, to
marches, but she had a
very tender spot for
hymns and spirituals.
While it is
easy to interpret grief
in this music, and its
presence is undeniable,
it is really intended
more as a song of the
ultimate triumph of
goodness. In her wisdom,
she was able to capture
deep thoughts within
simple phrases, which I
have also tried to
capture. Her life was one
of frequent struggles,
yet she was inspiring to
many. She emerged from
every difficulty, never
unscathed, but always
victorious, with clear
eyes and head held high,
until her last battle,
which brought about her
greatest victory. This
sentiment is what I tried
to capture. If too slow a
tempo is taken, that
feeling is lost and a
sense of grief takes
over. That may be what a
conductor wants to
convey, but is not what I
intended. . Annieas Gone
HomeA is a tribute
to my Mother, Annette
Fenner Hains (1923a2017).
Her siblings and cousins
always called her
aAnnie.a She loved music,
and her influence was the
primary inspiration for
me to go into music. Her
tastes were wildly
diverse, loving
everything from symphonic
music to Country/Western,
to various styles of folk
music, to pop, to
marches, but she had a
very tender spot for
hymns and spirituals.
While it is
easy to interpret grief
in this music, and its
presence is undeniable,
it is really intended
more as a song of the
ultimate triumph of
goodness. In her wisdom,
she was able to capture
deep thoughts within
simple phrases, which I
have also tried to
capture. Her life was one
of frequent struggles,
yet she was inspiring to
many. She emerged from
every difficulty, never
unscathed, but always
victorious, with clear
eyes and head held high,
until her last battle,
which brought about her
greatest victory. This
sentiment is what I tried
to capture. If too slow a
tempo is taken, that
feeling is lost and a
sense of grief takes
over. That may be what a
conductor wants to
convey, but is not what I
intended. . Annieas Gone
HomeA is a tribute
to my Mother, Annette
Fenner Hains (1923a2017).
Her siblings and cousins
always called her
aAnnie.a She loved music,
and her influence was the
primary inspiration for
me to go into music. Her
tastes were wildly
diverse, loving
everything from symphonic
music to Country/Western,
to various styles of folk
music, to pop, to
marches, but she had a
very tender spot for
hymns and spirituals.
While it is
easy to interpret grief
in this music, and its
presence is undeniable,
it is really intended
more as a song of the
ultimate triumph of
goodness. In her wisdom,
she was able to capture
deep thoughts within
simple phrases, which I
have also tried to
capture. Her life was one
of frequent struggles,
yet she was inspiring to
many. She emerged from
every difficulty, never
unscathed, but always
victorious, with clear
eyes and head held high,
until her last battle,
which brought about her
greatest victory. This
sentiment is what I tried
to capture. If too slow a
tempo is taken, that
feeling is lost and a
sense of grief takes
over. That may be what a
conductor wants to
convey, but is not what I
intended. . Annie's Gone
Home is a tribute to
my Mother, Annette Fenner
Hains (1923-2017). Her
siblings and cousins
always called her Annie.
She loved music, and her
influence was the primary
inspiration for me to go
into music. Her tastes
were wildly diverse,
loving everything from
symphonic music to
Country/Western, to
various styles of folk
music, to pop, to
marches, but she had a
very tender spot for
hymns and spirituals.
While it is
easy to interpret grief
in this music, and its
presence is undeniable,
it is really intended
more as a song of the
ultimate triumph of
goodness. In her wisdom,
she was able to capture
deep thoughts within
simple phrases, which I
have also tried to
capture. Her life was one
of frequent struggles,
yet she was inspiring to
many. She emerged from
every difficulty, never
unscathed, but always
victorious, with clear
eyes and head held high,
until her last battle,
which brought about her
greatest victory. This
sentiment is what I tried
to capture. If too slow a
tempo is taken, that
feeling is lost and a
sense of grief takes
over. That may be what a
conductor wants to
convey, but is not what I
intended. . Annie's
Gone Home is a tribute to
my Mother, Annette Fenner
Hains (1923-2017). Her
siblings and cousins
always called her Annie.
She loved music, and her
influence was the primary
inspiration for me to go
into music. Her tastes
were wildly diverse,
loving everything from
symphonic music to
Country/Western, to
various styles of folk
music, to pop, to
marches, but she had a
very tender spot for
hymns and spirituals.
While it is easy to
interpret grief in this
music, and its presence
is undeniable, it is
really intended more as a
song of the ultimate
triumph of goodness. In
her wisdom, she was able
to capture deep thoughts
within simple phrases,
which I have also tried
to capture. Her life was
one of frequent
struggles, yet she was
inspiring to many. She
emerged from every
difficulty, never
unscathed, but always
victorious, with clear
eyes and head held high,
until her last battle,
which brought about her
greatest victory. This
sentiment is what I tried
to capture. If too slow a
tempo is taken, that
feeling is lost and a
sense of grief takes
over. That may be what a
conductor wants to
convey, but is not what I
intended. Annieâ€
s Gone Home is a
tribute to my Mother,
Annette Fenner Hains
(1923–2017). Her
siblings and cousins
always called her
“Annie.†She
loved music, and her
influence was the primary
inspiration for me to go
into music. Her tastes
were wildly diverse,
loving everything from
symphonic music to
Country/Western, to
various styles of folk
music, to pop, to
marches, but she had a
very tender spot for
hymns and
spirituals.While it is
easy to interpret grief
in this music, and its
presence is undeniable,
it is really intended
more as a song of the
ultimate triumph of
goodness. In her wisdom,
she was able to capture
deep thoughts within
simple phrases, which I
have also tried to
capture. Her life was one
of frequent struggles,
yet she was inspiring to
many. She emerged from
every difficulty, never
unscathed, but always
victorious, with clear
eyes and head held high,
until her last battle,
which brought about her
greatest victory. This
sentiment is what I tried
to capture. If too slow a
tempo is taken, that
feeling is lost and a
sense of grief takes
over. That may be what a
conductor wants to
convey, but is not what I
intended. $7.50 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Annie’s Gone Home - Débutant Carl Fischer
Orchestra Cello, Contrabass, Piano, Viola, Violin 1, Violin 2, Violin 3 - Grade ...(+)
Orchestra Cello,
Contrabass, Piano, Viola,
Violin 1, Violin 2,
Violin 3 - Grade 1.5
SKU: CF.FAS108
Composed by Bud Woodruff.
First-Plus String
Orchestra (FAS). Set of
Score and Parts. With
Standard notation.
8+8+5+5+2+5+2+8 pages.
Duration 3 minutes, 21
seconds. Carl Fischer
Music #FAS108. Published
by Carl Fischer Music
(CF.FAS108). ISBN
9781491151396. UPC:
680160908899. 9 x 12
inches. Key: D
major. Annie's Gone
Home, composed in the
style of a spiritual, was
written as a tribute to
composer Bud Woodruff's
mother. The tune is built
on phrases of easily
understandable material,
but the poignant nature
of the piece is marked
with profundity. From the
subtle bass solo to the
emotional high points,
the piece is inspired by
this strong woman in the
life of the
composer.
Annies Gone
Home is a tribute to
my Mother, Annette Fenner
Hains (19232017). Her
siblings and cousins
always called her Annie.
She loved music, and her
influence was the primary
inspiration for me to go
into music. Her tastes
were wildly diverse,
loving everything from
symphonic music to
Country/Western, to
various styles of folk
music, to pop, to
marches, but she had a
very tender spot for
hymns and spirituals.
While it is
easy to interpret grief
in this music, and its
presence is undeniable,
it is really intended
more as a song of the
ultimate triumph of
goodness. In her wisdom,
she was able to capture
deep thoughts within
simple phrases, which I
have also tried to
capture. Her life was one
of frequent struggles,
yet she was inspiring to
many. She emerged from
every difficulty, never
unscathed, but always
victorious, with clear
eyes and head held high,
until her last battle,
which brought about her
greatest victory. This
sentiment is what I tried
to capture. If too slow a
tempo is taken, that
feeling is lost and a
sense of grief takes
over. That may be what a
conductor wants to
convey, but is not what I
intended. . Annieas Gone
HomeA is a tribute
to my Mother, Annette
Fenner Hains (1923a2017).
Her siblings and cousins
always called her
aAnnie.a She loved music,
and her influence was the
primary inspiration for
me to go into music. Her
tastes were wildly
diverse, loving
everything from symphonic
music to Country/Western,
to various styles of folk
music, to pop, to
marches, but she had a
very tender spot for
hymns and spirituals.
While it is
easy to interpret grief
in this music, and its
presence is undeniable,
it is really intended
more as a song of the
ultimate triumph of
goodness. In her wisdom,
she was able to capture
deep thoughts within
simple phrases, which I
have also tried to
capture. Her life was one
of frequent struggles,
yet she was inspiring to
many. She emerged from
every difficulty, never
unscathed, but always
victorious, with clear
eyes and head held high,
until her last battle,
which brought about her
greatest victory. This
sentiment is what I tried
to capture. If too slow a
tempo is taken, that
feeling is lost and a
sense of grief takes
over. That may be what a
conductor wants to
convey, but is not what I
intended. . Annieas Gone
HomeA is a tribute
to my Mother, Annette
Fenner Hains (1923a2017).
Her siblings and cousins
always called her
aAnnie.a She loved music,
and her influence was the
primary inspiration for
me to go into music. Her
tastes were wildly
diverse, loving
everything from symphonic
music to Country/Western,
to various styles of folk
music, to pop, to
marches, but she had a
very tender spot for
hymns and spirituals.
While it is
easy to interpret grief
in this music, and its
presence is undeniable,
it is really intended
more as a song of the
ultimate triumph of
goodness. In her wisdom,
she was able to capture
deep thoughts within
simple phrases, which I
have also tried to
capture. Her life was one
of frequent struggles,
yet she was inspiring to
many. She emerged from
every difficulty, never
unscathed, but always
victorious, with clear
eyes and head held high,
until her last battle,
which brought about her
greatest victory. This
sentiment is what I tried
to capture. If too slow a
tempo is taken, that
feeling is lost and a
sense of grief takes
over. That may be what a
conductor wants to
convey, but is not what I
intended. . Annie's Gone
Home is a tribute to
my Mother, Annette Fenner
Hains (1923-2017). Her
siblings and cousins
always called her Annie.
She loved music, and her
influence was the primary
inspiration for me to go
into music. Her tastes
were wildly diverse,
loving everything from
symphonic music to
Country/Western, to
various styles of folk
music, to pop, to
marches, but she had a
very tender spot for
hymns and spirituals.
While it is
easy to interpret grief
in this music, and its
presence is undeniable,
it is really intended
more as a song of the
ultimate triumph of
goodness. In her wisdom,
she was able to capture
deep thoughts within
simple phrases, which I
have also tried to
capture. Her life was one
of frequent struggles,
yet she was inspiring to
many. She emerged from
every difficulty, never
unscathed, but always
victorious, with clear
eyes and head held high,
until her last battle,
which brought about her
greatest victory. This
sentiment is what I tried
to capture. If too slow a
tempo is taken, that
feeling is lost and a
sense of grief takes
over. That may be what a
conductor wants to
convey, but is not what I
intended. . Annie's
Gone Home is a tribute to
my Mother, Annette Fenner
Hains (1923-2017). Her
siblings and cousins
always called her Annie.
She loved music, and her
influence was the primary
inspiration for me to go
into music. Her tastes
were wildly diverse,
loving everything from
symphonic music to
Country/Western, to
various styles of folk
music, to pop, to
marches, but she had a
very tender spot for
hymns and spirituals.
While it is easy to
interpret grief in this
music, and its presence
is undeniable, it is
really intended more as a
song of the ultimate
triumph of goodness. In
her wisdom, she was able
to capture deep thoughts
within simple phrases,
which I have also tried
to capture. Her life was
one of frequent
struggles, yet she was
inspiring to many. She
emerged from every
difficulty, never
unscathed, but always
victorious, with clear
eyes and head held high,
until her last battle,
which brought about her
greatest victory. This
sentiment is what I tried
to capture. If too slow a
tempo is taken, that
feeling is lost and a
sense of grief takes
over. That may be what a
conductor wants to
convey, but is not what I
intended. Annieâ€
s Gone Home is a
tribute to my Mother,
Annette Fenner Hains
(1923–2017). Her
siblings and cousins
always called her
“Annie.†She
loved music, and her
influence was the primary
inspiration for me to go
into music. Her tastes
were wildly diverse,
loving everything from
symphonic music to
Country/Western, to
various styles of folk
music, to pop, to
marches, but she had a
very tender spot for
hymns and
spirituals.While it is
easy to interpret grief
in this music, and its
presence is undeniable,
it is really intended
more as a song of the
ultimate triumph of
goodness. In her wisdom,
she was able to capture
deep thoughts within
simple phrases, which I
have also tried to
capture. Her life was one
of frequent struggles,
yet she was inspiring to
many. She emerged from
every difficulty, never
unscathed, but always
victorious, with clear
eyes and head held high,
until her last battle,
which brought about her
greatest victory. This
sentiment is what I tried
to capture. If too slow a
tempo is taken, that
feeling is lost and a
sense of grief takes
over. That may be what a
conductor wants to
convey, but is not what I
intended. $53.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
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