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Sheetmusic to print
9 sheet music found
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1
Jazz for String Ensemble
(Vl. 1, Vl. 2, Va , Vc, Kb) string orchestra or string quintet - intermediate - Digital Do…
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(Vl. 1, Vl. 2, Va , Vc, Kb) string orchestra or string quintet - intermediate - Digital Download SKU: S9.Q18767 Here we are / No Blues - No Truth. Composed by Sigi Busch. This edition: score and parts. Modern Strings. Downloadable, Score and parts. Duration 12 minutes. Schott Music - Digital #Q18767. Published by Schott Music - Digital (S9.Q18767). Classical string orchestras and chamber music ensembles are constantly looking for jazzy and popular works which break through the boundaries between serious and light music. On the basis of his own practical work with string orchestras, the well-known jazz composer Sigi Busch has written two fantastic pieces for open-minded string players. They deal with the blues while also leaving room for the player's own improvisations. They are of moderate difficulty and suitable for good school orchestras, chamber orchestras or string quintets.Sigi Busch hat aus seiner eigenen praktischen Arbeit mit Streichorchestern zwei tolle Stücke für aufgeschlosssene Streicher geschrieben. Sie widmen sich dem Blues und lassen auch Raum für eigene Improvisationen. Der Schwierigkeitsgrad ist gemäßigt und für gute Schulorchester, Kammerorchester oder Streichquintette gut erreichbar.
$23.99
22.11 €
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Sigi Busch
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Jazz for String Ensemble
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Schott Music - Digital
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SheetMusicPlus
Jazz for String Ensemble
(Vl. 1, Vl. 2, Va , Vc, Kb) cello - intermediate - Digital Download SKU: S9.Q18771 …
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(Vl. 1, Vl. 2, Va , Vc, Kb) cello - intermediate - Digital Download SKU: S9.Q18771 Here we are / No Blues - No Truth. Composed by Sigi Busch. This edition: separate part. Modern Strings. Downloadable, Individual part. Duration 12 minutes. Schott Music - Digital #Q18771. Published by Schott Music - Digital (S9.Q18771). Classical string orchestras and chamber music ensembles are constantly looking for jazzy and popular works which break through the rigid boundaries between serious and light music. On the basis of his own practical work with string orchestras, the well-known jazz composer Sigi Busch has written two fantastic pieces for open-minded string players. They deal with the blues while also leaving room for the player's own improvisations. They are of moderate difficulty and suitable for good school orchestras, chamber orchestras or string quintets.
$4.99
4.6 €
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Sigi Busch
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Jazz for String Ensemble
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Schott Music - Digital
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SheetMusicPlus
Jazz for String Ensemble
(Vl. 1, Vl. 2, Va , Vc, Kb) viola - intermediate - Digital Download SKU: S9.Q18770 …
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(Vl. 1, Vl. 2, Va , Vc, Kb) viola - intermediate - Digital Download SKU: S9.Q18770 Here we are / No Blues - No Truth. Composed by Sigi Busch. This edition: separate part. Modern Strings. Downloadable, Individual part. Duration 12 minutes. Schott Music - Digital #Q18770. Published by Schott Music - Digital (S9.Q18770). Classical string orchestras and chamber music ensembles are constantly looking for jazzy and popular works which break through the rigid boundaries between serious and light music. On the basis of his own practical work with string orchestras, the well-known jazz composer Sigi Busch has written two fantastic pieces for open-minded string players. They deal with the blues while also leaving room for the player's own improvisations. They are of moderate difficulty and suitable for good school orchestras, chamber orchestras or string quintets.
$4.99
4.6 €
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Sigi Busch
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Jazz for String Ensemble
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Schott Music - Digital
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SheetMusicPlus
Jazz for String Ensemble
(Vl. 1, Vl. 2, Va , Vc, Kb) double bass - intermediate - Digital Download SKU: S9.Q1877…
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(Vl. 1, Vl. 2, Va , Vc, Kb) double bass - intermediate - Digital Download SKU: S9.Q18772 Here we are / No Blues - No Truth. Composed by Sigi Busch. This edition: separate part. Modern Strings. Downloadable, Individual part. Duration 12 minutes. Schott Music - Digital #Q18772. Published by Schott Music - Digital (S9.Q18772). Classical string orchestras and chamber music ensembles are constantly looking for jazzy and popular works which break through the rigid boundaries between serious and light music. On the basis of his own practical work with string orchestras, the well-known jazz composer Sigi Busch has written two fantastic pieces for open-minded string players. They deal with the blues while also leaving room for the player's own improvisations. They are of moderate difficulty and suitable for good school orchestras, chamber orchestras or string quintets.
$4.99
4.6 €
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Sigi Busch
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Jazz for String Ensemble
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Schott Music - Digital
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SheetMusicPlus
Bach: Brandenburg Concerto No. 3 for Saxophone Choir - Score Only
Woodwind Ensemble - Level 4 - Digital Download SKU: A0.1401651 Composed by Johann S…
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Woodwind Ensemble - Level 4 - Digital Download SKU: A0.1401651 Composed by Johann Sebastian Bach. Arranged by James M. Guthrie. Baroque,Contest,Festival,Historic,Standards,Traditional. 70 pages. Jmsgu3 #984834. Published by jmsgu3 (A0.1401651). Bach's Brandenburg Concerto No. 3 is significant for its composition and structure. It features nine solo strings divided into three groups of violins, violas, and cellos, showcasing a colorful instrumentation and demanding performance requirements. The concerto opens majestically with distinct groupings of soloists by instrument, maintaining these divisions throughout the movement with moments of independence for each soloist. The closing movement, a vigorous allegro, follows a similar pattern with the nine players divided by instrument. Additionally, the concerto includes a two-note adagio cadence where musicians were intended to improvise a link between the outer movements. This concerto is a prime example of the Baroque concerto style. It demonstrates Bach's mastery in creating intricate and harmonious compositions that challenge performers while showcasing the beauty of different instruments working together harmoniously.The historical context of Bach's Brandenburg Concertos is rooted in the Baroque era and Bach's circumstances. Composed around 1711-1720 and dedicated in 1721 to Christian Ludwig, the Margrave of Brandenburg, these concertos were a collection of six concerti grossi that showcased a balance between various groups of soloists and a small orchestra. Bach's decision to compile these concertos was influenced by his need for employment and his encounter with Christian Ludwig, who commissioned several works after being impressed by his performance in Berlin around 1719. Despite Bach's hopes for a position at the Brandenburg court, the Margrave did not pay for the work, possibly because the pieces were revisions of earlier compositions rather than new creations specifically for him. Moreover, the Brandenburg Concertos exemplify the concerto grosso genre popular during the Baroque era, featuring a more significant number of soloists than usual and expansive music that showcases a variety of instruments in different combinations. Bach's innovative use of instruments like trumpets, recorders, French horns, oboes, flutes, violino piccolo, violas da gamba, and harpsichord in these concertos highlights his creativity and mastery in composing intricate and diverse musical pieces. The historical significance lies in Bach's ability to blend different musical styles and forms while creating a set of concertos that music lovers cherish today.
$49.95
46.05 €
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Johann Sebastian Bach
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Bach: Brandenburg Concerto No. 3 for Saxophone Choir - Score Only
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jmsgu3
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SheetMusicPlus
Marsden Moor
Eb. 3Bbcl. Bbcl/Acl. Acl. Acl/Bcl. 2Bcl. Cbcl - Intermediate - Digital Download SKU: F2…
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Eb. 3Bbcl. Bbcl/Acl. Acl. Acl/Bcl. 2Bcl. Cbcl - Intermediate - Digital Download SKU: F2.FM360 Composed by Keiron Anderson. Clarinet Ensemble/Choir - Eb clarinet, 3 Bb Clarinets, Bb or Alto Clarinet, Alto Clarinet, Alto Clarinet or Bass Clarinet, 2 Bass Clarinets, Contrabass Clarinet. Score and Parts. 54 pages. Forton Music - Digital #FM360. Published by Forton Music - Digital (F2.FM360). ISBN 9790570482597.Marsden Moor - Clarinet Ensemble (Eb Clarinet, 3Bb Clarinets, Bb or Alto Clarinet, Alto Clarinet, Alto or Bass Clarinet, 2 Bass Clarinets, Contrabass Clarinet.) Written to evoke the open spaces, serenity and yet power of the Moors, Marsden Moor is based on a motif built from two major seconds a fourth apart. The motif is develped and imitated as the pieces progresses giving a rather solitary feeling to the music. A second themes carries the journey until a sequential progression lifts the music to a dignified but powerful climax. When the music appears to resolve to a more relaxed tonality the second theme carries it off modally to reiterate the power which gradually dies away to leave the landscape intact and silent again. Written originally for String Orchestra, the work is available for Clarinet Choir, Brass Ensemble, and Brass Band the wind versions are particularly effective in describing this landscape.
$19.95
18.39 €
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Keiron Anderson
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Marsden Moor
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Forton Music - Digital
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SheetMusicPlus
Pachelbel: Canon in D for Piano Quintet
Piano Quintet,String Ensemble - Level 3 - Digital Download SKU: A0.552061 Composed …
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Piano Quintet,String Ensemble - Level 3 - Digital Download SKU: A0.552061 Composed by Johann Pachelbel. Arranged by James M. Guthrie. Baroque,Instructional,Standards,Wedding. Score and parts. 17 pages. Jmsgu3 #6104307. Published by jmsgu3 (A0.552061). Score: 9 pagesDuration: 2:45. The famous Pachelbel Canon arranged for Piano Quintet. A great choice for weddings & receptions! Pachelbel's Canon Pachelbel's Canon is, in fact, the traditional title for a composition by the German composer Johann Pachelbel. Other names for the work include namely: Canon and Gigue for 3 violins and basso continuo, Canon and Gigue in D, and of course Canon in D. We do not know when or why in particular it was written. The oldest copy is surprisingly from the 19th century. It is important to realize that it was a common routine for organists to practice improvisation on the chord progression underlying the canon. Pachelbel originally scored the Canon notably for three violins and continuo. He also in fact paired the Canon with a gigue. The movements are homotonal, to clarify, both are in the key of D major. History In due time, Pachelbel's Canon went out of style and remained in virtual oblivion for centuries. The Jean-François Paillard chamber orchestra, however, recorded an arrangement of it in 1968. As a result, it gained approval. Many ensembles began likewise to record the piece in the 1970s and by the 1980s became ubiquitous as background music. From the 1970s to the early 2000s, pop songs correspondingly used elements of the piece. The chord progression, in particular, was used this way. Also, since the 1980s, it has been not only wildly popular for weddings, but also for funeral ceremonies in the USA and Europe. Pachelbel Background Johann Pachelbel (1653 –1706) was a German composer, as well as an organist. He was furthermore instrumental in bringing the south German organ school to its apex. He wrote a large body of music, both sacred and, equally important, secular. In particular, he uniquely helped develop the chorale prelude and fugue. For this, he has, in fact, earned a rightful place in the company of the most significant composers of the mid-Baroque period. Works Pachelbel's music was certainly popular. With this in mind, he also consequently had many pupils. His music expressly developed into a model for south German composers. Nowadays, Pachelbel is most famous, particularly for the Canon in D, as well as the F minor Chaconne, the Toccata in E minor, and of course the Hexachordum Apollinis, a set of variations for the keyboard. Influences Johann Jakob Froberger and Johann Caspar Kerll were south German composers who significantly influenced Pachelbel. Furthermore, he was especially influenced by Italians such as Frescobaldi and Poglietti. He frequently preferred an articulate, simple contrapuntal style that highlighted clarity. His music is markedly less extravagant and harmonically adventurous than that of Dieterich Buxtehude. However, as a point often overlooked, like Buxtehude, Pachelbel experimented with different instrumental combinations in his chamber music. Legacy All in all, Pachelbel was most famous as a composer for the keyboard. He composed over two hundred pieces specifically for the instrument. Pachelbel was also surprisingly a prolific composer of vocal music. All in all, about a hundred vocal works survive, including 40 or so large-scale works.
$52.95
48.81 €
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Johann Pachelbel
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Pachelbel: Canon in D for Piano Quintet
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jmsgu3
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SheetMusicPlus
Madrigal Pavane / Timburibá
Guitar - Advanced - Digital Download SKU: ZZ.DZ-4287 Composed by Francisco Braga. A…
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Guitar - Advanced - Digital Download SKU: ZZ.DZ-4287 Composed by Francisco Braga. Arranged by Luciano Lima. Score. 13 pages. Les Productions d'OZ - Digital #DZ 4287. Published by Les Productions d'OZ - Digital (ZZ.DZ-4287). ISBN 9782898522048.Antônio 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.Antônio 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.Malheureusement, 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 commentairesPanneaux latérauxHistoriqueEnregistrées.
$7.95
7.33 €
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Francisco Braga
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Madrigal Pavane / Timburibá
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Les Productions d'OZ - Digital
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SheetMusicPlus
Were You There on That Christmas Night?
(Orchestra) - Digital Download SKU: H1.8734DP Arranged by Lloyd Larson. Musicals fo…
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(Orchestra) - Digital Download SKU: H1.8734DP Arranged by Lloyd Larson. Musicals for Adults. Christmas, Sacred. Choral score. 79 pages. Hope Publishing - Digital #8734DP. Published by Hope Publishing - Digital (H1.8734DP). Christmas Musical From Lloyd Larson, here is a new Christmas musical built around Natalie Sleeth's popular anthem, Were You There on That Christmas Night? Both traditional and contemporary songs are included like: Sing We Now of Christmas, All Is Well, Welcome to Our World, and Glory to the Newborn King! Readings for two narrators appear between the eight choral pieces and tell the Christmas story. Performance time is 30 minutes. The orchestration by Ed Hogan contains a Conductor's Score and parts for: Flute, Oboe (Soprano Sax or Clarinet), Clarinet, Bassoon (Bass Clarinet), Horn (Clarinet), 2 Trumpets, 2 Trombones (Baritone T. C. ), Percussion 1 & 2, Piano, Harp, 2 Violins, Viola, Cello, String Reduction. The Voice-Dominant Rehearsal CDs (a set of 2) consists of one CD for Soprano & Alto parts, the other for Tenor & Bass parts. The CDs are reproducible for your choir members.
$12.95
11.94 €
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Were You There on That Christmas Night?
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Hope Publishing - Digital
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SheetMusicPlus
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