| Classical Fake Book - 2nd Edition
Fake Book [Fake Book] - Facile Hal Leonard
(Over 850 Classical Themes and Melodies in the Original Keys) For C instrument. ...(+)
(Over 850 Classical
Themes and Melodies in
the Original Keys) For C
instrument. Format:
fakebook (spiral bound).
With vocal melody
(excerpts) and chord
names. Lassical. Series:
Hal Leonard Fake Books.
646 pages. 9x12 inches.
Published by Hal Leonard.
(8)$49.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Real Little Classical Fake Book - 2nd Edition Piano seul - Intermédiaire Hal Leonard
Composed by Various. For Piano/Keyboard. Hal Leonard Fake Books. Classical. Diff...(+)
Composed by Various. For
Piano/Keyboard. Hal
Leonard Fake Books.
Classical. Difficulty:
medium to
medium-difficult.
Fakebook. Melody line,
chord names and lyrics
(on some songs). 413
pages. Published by Hal
Leonard
$27.50 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| 100 Classic Melodies for Descant Recorder Flûte à bec Soprano [Partition] - Intermédiaire Kevin Mayhew
Arranged by Simon Lasky. Recorder. Book. Published by Kevin Mayhew Publishers (U...(+)
Arranged by Simon Lasky.
Recorder. Book. Published
by Kevin Mayhew
Publishers (U.K. Import).
Level: Intermediate.
$12.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| The Classical Music Fake Book
Instruments en Do [Fake Book] Music Sales
Composed by Various. Arranged by Peter Lavender. Music Sales America. Baroque an...(+)
Composed by Various.
Arranged by Peter
Lavender. Music Sales
America. Baroque and
Classical Period. Fake
book (softcover). With
melody line (no
accompaniment included)
and chord names. 128
pages. Music Sales
#AM92350. Published by
Music Sales
(7)$19.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| String Quartet No. 8: Insect Dances Quatuor à cordes: 2 violons, alto, violoncelle - Intermédiaire/avancé Schirmer
Composed by Elena Ruehr. Instrumental part. E.C. Schirmer Publishing #9132. P...(+)
Composed by Elena Ruehr.
Instrumental part. E.C.
Schirmer Publishing
#9132.
Published by E.C.
Schirmer
Publishing
$45.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Classical Repertoire for Recorder Flûte à Bec [Partition] - Intermédiaire Mel Bay
by Costel Puscoiu. For Recorder (Soprano). solos. Classic. Level: Intermediate. ...(+)
by Costel Puscoiu. For
Recorder (Soprano).
solos. Classic. Level:
Intermediate. Book. Size
8.75x11.75. 96 pages.
Published by Mel Bay
Publications, Inc.
(3)$19.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Keyboard Strategies Piano seul Schirmer
Master Text II. By Various. Piano Collection. 432 pages. Published by G. Schirme...(+)
Master Text II. By
Various. Piano
Collection. 432 pages.
Published by G. Schirmer,
Inc.
$50.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Sonatina Orchestre à Cordes [Conducteur] - Facile Carl Fischer
Orchestra String Orchestra - Grade 2-2.5 SKU: CF.YAS13F Composed by Muzio...(+)
Orchestra String
Orchestra - Grade 2-2.5
SKU: CF.YAS13F
Composed by Muzio
Clementi. Arranged by
Douglas Townsend. Carl
Fischer Young String
Orchestra Series.
Classical. Full score.
With Standard notation.
12 pages. Carl Fischer
Music #YAS13F. Published
by Carl Fischer Music
(CF.YAS13F). ISBN
9780825848339. UPC:
798408048334. 8.5 X 11
inches. Key: G
major. IApart from
some of his Sonatinas,
Opus 36, Clementi's life
and music are hardly
known to the piano
teachers and students of
today. For example, in
addition to the above
mentioned Sonatinas,
Clementi wrote sixty
sonatas for the piano,
many of them unjustly
neglected, although his
friend Beethoven regarded
some of them very highly.
Clementi also wrote
symphonies (some of which
he arranged as piano
sonatas), a substantial
number of waltzes and
other dances for the
piano as well as sonatas
and sonatinas for piano
four-hands.In addition to
composing, Clementi was a
much sought after piano
teacher, and included
among his students John
Field (Father of the
'Nocturne'), and
Meyerbeer.In his later
years, Clementi became a
very successful music
publisher, publishing
among other works the
first English edition of
Beethoven's Violin
Concerto, in the great
composer's own
arrangement for the
piano, as well as some of
his string quartets.
Clementi was also one of
the first English piano
manufacturers to make
pianos with a metal frame
and string them with
wire.The Sonatina in C,
Opus 36, No. 1 was one of
six such works Clementi
wrote in 1797. He must
have been partial to
these little pieces (for
which he also provided
the fingerings), since
they were reissued
(without the fingering)
by the composer shortly
after 1801. About 1820,
he issued ''the sixth
edition, with
considerable improvements
by the author;· with
fingerings added and
several minor changes,
among which were that
many of them were written
an octave higher.IIIt has
often been said,
generally by those
unhampered by the facts,
that composers of the
past (and, dare we add,
the present?), usually
handled their financial
affairs with their public
and publishers with a
poor sense of business
acumen or common sense.
As a result they
frequently found
themselves in financial
straits.Contrary to
popular opinion, this was
the exception rather than
the rule. With the
exception of Mozart and
perhaps a few other
composers, the majority
of composers then, as
now, were quite
successful in their
dealings with the public
and their publishers, as
the following examples
will show.It was not
unusual for 18th- and
19th-century composers to
arrange some of their
more popular compositions
for different
combinations of
instruments in order to
increase their
availability to a larger
music-playing public.
Telemann, in the
introduction to his
seventy-two cantatas for
solo voice and one melody
instrument (flute, oboe
or violin, with the usual
continua) Der Harmonische
Gottesdienst, tor
example, suggests that if
a singer is not available
to perform a cantata the
voice part could be
played by another
instrument. And in the
introduction to his Six
Concertos and Six Suites
for flute, violin and
continua, he named four
different instrumental
combinations that could
perform these pieces, and
actually wrote out the
notes for the different
possibilities. Bach
arranged his violin
concertos for keyboard,
and Beethoven not only
arranged his Piano Sonata
in E Major, Opus 14, No.
1 for string quartet, he
also transposed it to the
key of F. Brahm's
well-known Quintet in F
Minor for piano and
strings was his own
arrangement of his
earlier sonata for two
pianos, also in F
Minor.IIIWe come now to
Clementi. It is well
known that some of his
sixty piano sonatas were
his own arrangements of
some of his lost
symphonies, and that some
of his rondos for piano
four-hands were
originally the last
movements of his solo
sonatas or piano trios.In
order to make the first
movement of his
delightful Sonatina in C,
Opus 36, No. 1 accessible
to young string players,
I have followed the
example established by
the composer himself by
arranging and transposing
one of his piano
compositions from one
medium (the piano) to
another. (string
instruments). In order to
simplify the work for
young string players, in
the process of adapting
it to the new medium it
was necessary to
transpose it from the
original key of C to G,
thereby doing away with
some of the difficulties
they would have
encountered in the
original key. The first
violin and cello parts
are similar to the right-
and left-hand parts of
the original piano
version. The few changes
I have made in these
parts have been for the
convenience of the string
players, but in no way do
they change the nature of
the music.Since the
original implied a
harmonic framework in
many places, I have added
a second violin and viola
part in such a way that
they not only have
interesting music to
play, but also fill in
some of the implied
harmony without in any
way detracting from the
composition's musical
value. Occasionally, it
has been necessary to
raise or lower a few
passages an octave or to
modify others slightly to
make them more accessible
for young players.It is
hoped that the musical
value of the composition
has not been too
compromised, and that
students and teachers
will come to enjoy this
little piece in its new
setting as much as
pianists have in the
original one. This
arrangement may also be
performed by a solo
string quartet. When
performed by a string
orchestra, the double
bass part may be
omitted.- Douglas
TownsendString editing by
Amy Rosen.
About Carl
Fischer Young String
Orchestra
Series Thi
s series of Grade 2/Grade
2.5 pieces is designed
for second and third year
ensembles. The pieces in
this series are
characterized
by: --Occasionally
extending to third
position --Keys
carefully considered for
appropriate
difficulty --Addition
of separate 2nd violin
and viola
parts --Viola T.C.
part
included --Increase
in independence of parts
over beginning levels $8.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Dip In: 100 Classical Pieces For Alto Sax (Graded) Saxophone Alto [Partition] Amsco Wise Publications
Edited by Jenni Wheeler. For saxophone. Dip In Series. Collection. 152 pages. Pu...(+)
Edited by Jenni Wheeler.
For saxophone. Dip In
Series. Collection. 152
pages. Published by Wise
Publications.
$17.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Best Classical Music in the World Piano seul - Intermédiaire Hal Leonard
For Intermediate Piano. Composed by Various. Piano. Classical. Softcover. 272 ...(+)
For Intermediate Piano.
Composed by Various.
Piano.
Classical. Softcover. 272
pages. Published by Hal
Leonard
$24.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Tanzsuite mit Deutschlandlied Breitkopf & Härtel
(solos: 2vl.va.vc - 4(4picc.A-fl).3.3.B-clar. 3.dble bsn - 4.3.3.1 - perc(4) - h...(+)
(solos: 2vl.va.vc -
4(4picc.A-fl).3.3.B-clar.
3.dble bsn - 4.3.3.1 -
perc(4) - hp - pno - str:
10.10.8.8.6) SKU:
BR.PB-5714 Music
for Orchestra with String
Quartet. Composed by
Helmut Lachenmann.
Softcover.
Partitur-Bibliothek
(Score Library). Solo
concerto; Dances/marches;
Music post-1945. Sheet
Music. Composed 1979/80.
176 pages. Duration 36'.
Breitkopf and Haertel #PB
5714. Published by
Breitkopf and Haertel
(BR.PB-5714). ISBN
9790004216514. 10.5 x 14
inches. More than
my earlier works, this
one is interspersed with
metrically bound rhythms
and musicianly characters
that constantly
recrystallize and drift
towards or away from
familiar situations.The
familiar: These are
dance-like figures and
music-making formulas,
but also songs and, in
two cases fragments of
Bach's music - playfully
collected memories of
impressions in which -
consciously and
unconsciously - I am
embodied with that
collective comfort in
whose protection
bourgeois thinking and
feeling, magically
protected, grow up and
emerge apart.(It is well
known that such security
has its fetishes from the
childlike to the adult
stage: Home, religious
bond, holidays,
tradition, longing for
childhood - the
superficiality may have
little idea of the depth
that opens up underneath.
There is also no question
that we are still marked
by such security even
when the contradictions
and alienation of
existence force us to
step out of their
protection, to recognize
and act upon reality, and
to oppose the domination
of such inner bonds where
their original truth has
become the fatal untruth
of comfortable illusion,
stubbornly and fearfully
conjured idyll and
reactionary
narrow-mindedness.My
music feeds on figures in
which such memories are
encapsulated. It deals
with them not much
differently than in other
pieces with the elements
of the traditional
musical concept of
material, having already
always reflected
compositionally as a
product of sociality and
anticipation of musical
expression, i.e. it moved
into a structurally
expanded context and
expressively redefined
from there.Such an
approach aims at
overcoming lack of
freedom: grasping as part
of conceiving, i.e. not
philosophical reflection,
but rather an
artistically gripping
reflex by intervening in
the physical immediacy of
such predetermined
elements. These penetrate
and infect the structural
events, inducing a
musicianship that cannot
be relied upon; the music
jumps onto rhythms like
onto moving vehicles,
allows for being carried
by them until they deform
or disintegrate. This
creates an incline of
rhythmically shaped
situations: sequence and
interweaving of dances
and structures.The role
of the solo string
quartet is versatile,
obbligato and
concertante, leading and
accompanying in a
changing sense. Set as a
chamber music apparatus
in an orchestral
landscape, it repeatedly
forces its own sound
dimensions onto the
orchestra, it must accept
being drowned out at
times, it nests in the
holes of tutti fields, it
acts as a louse in the
fur, forcing one to
listen in and out.The
Tanzsuite with
Deutschlandlied is
structured as follows:I.
Section. 1. Introduction
- 2. Waltz - 3. March -
4. Bridge -II. Section.
5. Siciliano - 6.
Capriccio - 7. Valse
lente -III. Section. 8.
Bridge - 9. Gigue - 10.
Tarantelle - 11. Bridge
-IV. Section. 12 Aria I -
13 Polka - 14 Aria IIV.
Section. 15. Introduction
- 16 Gallop - 17 Coda
(Aria III)All 17 parts
merge into one
another.(Helmut
Lachenmann,
1980)CDs/LP/DVD:Arditti-Q
uartett, Deutsches
Symphonie-Orchester
Berlin, cond. Olaf
HenzoldCD Montaigne
Auvidis MO 782019Berner
Streichquartett,
Sinfonieorchester des
SWF, cond. Sylvain
Cambreling (Excerpt)CD
BMG/RCA 74321 73510 2
(Musik in Deutschland
1950-2000)Berner
Streichquartett,
Sinfonieorchester des
SWF, cond. Sylvain
CambrelingLP DMR
1028-30Arditti Quartet,
SWR Sinfonieorchester
Baden-Baden und Freiburg,
cond. Hans Zender Excerpt
on CD ,,Auswahl von zehn
Urauffuhrungen aus 70
Jahren, SWR
Sinfonieorchester
Baden-Baden und Freiburg
Arditti Quartet,
Staatsorchester
Stuttgart, cond. Sylvain
Cambreling DVD
,,Lachenmann-Perspektiven
6 (Breitkopf & Hartel,
BHM 7816)
Bibliography:Cavalotti,
Pietro: Differenzen.
Poststrukturalistische
Aspekte in der Musik der
1980er Jahre am Beispiel
von Helmut Lachenmann,
Brian Ferneyhough und
Gerard Grisey (= Sonus.
Schriften zur Musik,
hrsg. von Andreas
Ballsteadt, Band 8),
Schliengen: Argus 2006,
pp. 79-128.Das sind doch
alles Deutschlandlieder!
Helmut Lachenmann im
Gesprach mit Michael
Rebhahn, in: Der
Taktgeber. Das Magazin
der Jungen Deutschen
Philharmonie, Heft 40
(Sommer 2019), S.
6f.Stawowy, Milena:
Fluchtversuche in die
Hohle des Lowen. Helmut
Lachenmanns Tanzsuite mit
Deutschlandlied, in:
MusikTexte 67/68 (1997),
pp. 77-90.Toop, Richard:
Concept and Context: A
Historiographic
Consideration of
Lachenmanns Orchestral
Works, in: Helmut
Lachenmann Inward Beauty,
hrsg. von Dan Albertson,
Contemporary Music Review
23 (2004), Heft 3/4, pp.
125-144.
World
premiere: Donaueschingen
(Donaueschinger
Musiktage), October 18,
1980. $160.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Carnival of Strings [Conducteur et Parties séparées] De Haske Publications
String Quartet or String Orchestra - easy SKU: BT.DHP-1115120-070 Compose...(+)
String Quartet or String
Orchestra - easy SKU:
BT.DHP-1115120-070
Composed by Rachel
Jennings. De Haske String
Orchestra Series. Set
(Score & Parts). Composed
2011. 20 pages. De Haske
Publications #DHP
1115120-070. Published by
De Haske Publications
(BT.DHP-1115120-070).
ISBN 9789043142441.
9x12 inches.
English-German-French-Dut
ch. The De Haske
String Orchestra
Series offers
attractive pieces
especially composed and
arranged for string
orchestras. Students and
teachers are treated to a
great variety of musical
styles. Each part
presents a challenge to
the player. The Viola
part can be replaced by a
3rd Violin part, and the
Double bass part can be
replaced by a 2nd Cello
part. The Piano part is
mainly meant for support,
but it occasionally adds
new motifs as well.
Carnival of
Strings is a
delightful collection of
dances for beginner
string
orchestras.
De
De Haske String
Orchestra Series
biedt u aantrekkelijke,
speciaal voor
strijkorkest
gecomponeerde en
gearrangeerde werken. De
stukken zijn geschreven
in verschillende stijlen:
van klassiek en folk tot
moderne, populaire
muziek. Iedere partij is
zo geschreven dat elke
speler in het orkest een
uitdaging heeft. De
partij voor altviool kan
door een derde viool
worden vervangen. De
partij voor contrabas kan
ook door een tweede cello
worden gespeeld. De
pianopartij dient als
ondersteuning, maar voegt
soms ook nieuwe motieven
toe aan de muziek.
Carnival of
Strings presenteert
een leuke verzameling
dansmuziek voor
beginnende
stijkorkesten.
Die
De Haske String
Orchestra Series
bietet attraktive,
speziell fu r
Streichorchester
komponierte und
arrangierte Stu cke in
einer stilistischen
Vielfalt von Klassik u
ber Folk bis zu modernen
U-Musikstilen. Jede
Stimme stellt dabei
besondere
Herausforderungen an die
Spieler. Die Violastimme
kann durch eine dritte
Violine und der
Kontrabass durch ein
zweites Cello ersetzt
werden. Die Klavierstimme
dient zur Unterstu tzung,
fu gt aber zuweilen auch
neue Motive hinzu.
Carnival of
Strings
präsentiert eine
reizvolle Sammlung von
Tänzen fu r
Anfänger-Streichorches
ter. Titel wie Coconut
Calypso und Waltz
Away versprechen
Stilvielfalt
undSpielspaß!
De Haske
String Orchestra
Series : Les
compositions et les
arrangements réunis
sous ce label sont en
parfait accord avec le
niveau ciblé, et
proposent des styles
très variés. Chaque
publication est
accompagnée d'un
compact disc contenant la
version de
démonstration des
œuvres publiées
dans cette collection.
L’instrumentation
est toujours la
même : Violons 1
& 2, Alto (ou Violon 3),
Violoncelle, Contrebasse
(ou Violoncelle 2) et
Piano. Carnival of
Strings met en
évidence quatre
délicieuses danses,
dans un charmant
arrangement pour
Orchestre
Cordes.
De
Haske String Orchestra
Series è una nuova
raccolta pensata per i
suonatori di archi
principianti. Le
composizioni e gli
arrangiamenti raccolti
sotto questa etichetta
sono perfetti per chi
inizia a suonare e
prongono stili variegati.
La strumentazione è
sempre la stessa: violino
1 & 2, viola (o violino
3), violoncello,
contrabbasso (o
violoncello 2) e piano.
Con CD.Carnival of
Strings propone
quattro deliziose danze
in un piacevole
arrangiamento per
quartetto d'archi. $45.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| I Can Play That! Classical Masterpieces Piano seul [Partition] - Facile Amsco Wise Publications
For Piano Solo (with Chord Symbols). Romantic, Baroque, Classical. Sheet Music. ...(+)
For Piano Solo (with
Chord Symbols). Romantic,
Baroque, Classical. Sheet
Music. 160 pages.
Published by Wise
Publications.
$19.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Violin Collection - Easy to Intermediate Level Violon [Partition + Accès audio] - Facile Schirmer
Recorded by Frank Almond, Concertmaster of the Milwaukee Symphony. By Frank Almo...(+)
Recorded by Frank Almond,
Concertmaster of the
Milwaukee Symphony. By
Frank Almond. By Various.
String Solo. Classical.
Softcover Audio Online.
48 pages. Published by G.
Schirmer
(2)$21.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Classical Themes For All Keyboards Clavier Music Sales
Keyboard SKU: HL.14007007 Arranged by Daniel Scott. Music Sales America. ...(+)
Keyboard SKU:
HL.14007007 Arranged
by Daniel Scott. Music
Sales America. Classical.
Book [Softcover]. Music
Sales #AM85317. Published
by Music Sales
(HL.14007007). ISBN
9780711927094. UPC:
752187853176. Fifty
best-loved classical
themes skilfully arranged
for all keyboards by
Daniel Scott. Includes
suggested registrations
and rhythms. $20.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Opera Odyssey Quatuor à cordes: 2 violons, alto, violoncelle [Set de Parties séparées] - Avancé Last Resort Music Publishing
(26 Arrangements of Opera Favorites). By Various. Arranged by Joel Lish. For Str...(+)
(26 Arrangements of Opera
Favorites). By Various.
Arranged by Joel Lish.
For String Quartet.
Quartets. Advanced. Set
of 4 parts. Published by
Middle Fiddle Music
$65.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| The Joy of Piano Duets 1 Piano, 4 mains [Partition + Accès audio] Yorktown Music Press
Joy Of. Classical. Book with Online Audio. Composed 2013. 80 pages. Yorktown...(+)
Joy Of. Classical. Book
with
Online Audio. Composed
2013.
80 pages. Yorktown Music
Press
#YK22066. Published by
Yorktown Music Press
$20.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| 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. AntÃ
´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 LuÃs 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 Ã
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 Ã
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 Ã
Rio de Janeiro, le 15
avril 1868, il commence
ses études musicales Ã
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
LuÃs 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 Å“uvres
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 Ã
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
Å“uvres 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 Å“uvres,
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'Å“uvres 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 Ã 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 déjÃ
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
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