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Viola, Piano
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4 sheet music found
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1
Penitent Thief, The (for viola and piano)
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Viola, Piano
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ADVANCED
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David M
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Penitent Thief, The
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David Sterrett Music
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SheetMusicPlus
Piano,Viola - Level 5 - Digital Download SKU: A0.1039822 Composed by David M. Sterrett. Classical,Contemporary,Sacred. Score and part. 49 pages. David St...
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Piano,Viola - Level 5 - Digital Download SKU: A0.1039822 Composed by David M. Sterrett. Classical,Contemporary,Sacred. Score and part. 49 pages. David Sterrett Music #644666. Published by David Sterrett Music (A0.1039822). This piece depicts the story of the Penitent Thief, one of the two other men who hung on a cross beside Jesus, as told in the Bible: One of the thieves who were hanged by Jesus was hurling abuse at him, saying, 'Are you not the Christ? Save yourself and us!' But the other answered, and rebuking him, said, 'Do you not even fear God, since you are under the same sentence of condemnation? We indeed are suffering justly, for we are receiving what we deserve for our deeds; but this man has done nothing wrong.' And he was saying, 'Jesus, remember me when you come into your kingdom!' And Jesus said to him, 'Truly I say to you, today you will be with me in Paradise.' (Luke 23:39-43) I initially set out to portray the scene from a narrative perspective. As I began composing and felt the story resonate more and more with my own spiritual experiences, I decided to shift the focus onto what I imagined the emotional and spiritual experiences of the Penitent Thief were during this brief but transformative interaction with Jesus right before death. While the passage does not describe his internal experience, I imagine that Jesus’ extension of kindness and mercy, along with the promise “Today you will be with me in Paradise,†profoundly impacted him. In composing this, I hoped to convey that transformative encounter. Ultimately, The Penitent Thief depicts an experience familiar to many Christians: that of a lost and broken soul discovering Jesus offers the truth and salvation they long for. To capture the element of dialog, I envisioned the Viola as the Penitent Thief and the Piano as Jesus. Each has a distinct theme/motif. On the cross, the Penitent Thief is consumed by shame, sorrow, and fear of death. His demeanor shifts between moments of quiet contemplation and visceral emotional outbursts. Facing imminent death, he yearns for redemption and truth. He looks at Jesus hanging next to him, blameless and holy. He feels admiration and praise and is overcome by penitence and humility. He calls out, half in desperation, half in worship: “Jesus, remember me when you come into your Kingdom…†Jesus, moved by his penitence and belief, responds with kindness and mercy, extending salvation: Today you will be with me in Paradise.†The Penitent Thief imagines Paradise and hopes for this to hold true. His hope becomes briefly overshadowed by lingering doubt and fear. Silence falls. Then, as the hour of death arrives, the man reaches out again and clings to Jesus’ promise, this time with more desperation. His soul suddenly becomes filled with joy, finding the fulfillment of longing, bound with Christ, and knowing that he will soon be at rest in Paradise. At peace, the man gazes upward, gives his final sputtering breath, and his soul departs this world.
$24.99
Recuerdos de la Alhambra
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Viola, Piano
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EASY
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Francisco Tarrega
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Wolfgang Birtel
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Recuerdos de la Alhambra
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Schott Music - Digital
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SheetMusicPlus
Viola and piano - easy to intermediate - Digital Download SKU: S9.Q11633 Memories of the Alhambra. Composed by Francisco Tarrega. Arranged by Wolf...
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Viola and piano - easy to intermediate - Digital Download SKU: S9.Q11633 Memories of the Alhambra. Composed by Francisco Tarrega. Arranged by Wolfgang Birtel. This edition: Sheet music. Edition Schott - Single Edition. Downloadable. Schott Music - Digital #Q11633. Published by Schott Music - Digital (S9.Q11633). Composed in 1886, the tremolo study 'Recuerdos de la Alhambra' is without doubt Tarrega's best-known piece. It evokes memories of the Moorish citadel located on a hill in the Spanish Granada. Thanks to the present arrangement, the enchanting gem with its slightly melancholy tinge - perhaps inspired by Georges Bizet's 'Je crois entendre encore' from The Pearl Fishers - is now also available for instruments other than the guitar.
$4.99
O Holy Night for Viola & Piano
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Viola, Piano
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EASY
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Christmas
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Adam
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James M
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O Holy Night for Viola & Piano
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jmsgu3
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SheetMusicPlus
Piano,Viola - Level 2 - Digital Download SKU: A0.548681 Composed by Adam. Arranged by James M. Guthrie, ASCAP. Christian,Christmas. Score and part. 10 pa...
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Piano,Viola - Level 2 - Digital Download SKU: A0.548681 Composed by Adam. Arranged by James M. Guthrie, ASCAP. Christian,Christmas. Score and part. 10 pages. Jmsgu3 #3410447. Published by jmsgu3 (A0.548681). Duration: 4:56. Score 5 pg. 44 ms. Solo part: 2 pg. Piano part: 3 pg.Cantique de Noël The French composer Adolphe Adam was already famous as a composer of many successful ballets and operas. Then, in the 1840’s he wrote his most famous work - O Holy Night. The original song title was Minuit Chretiens or Cantique de Noël. Placide Cappeau provided the original song lyrics. The song was first performed in Roquemaure by the opera singer Emily Laurey at midnight mass in 1847. It became very popular among the French, much the way that Silent Night was famous elsewhere. In the 1850’s John S. Dwight, a Unitarian minister and music teacher translated the song into English. Adolphe Adam In his younger years, Adam studied organ and composition at the Paris Conservatoire. He also played the timpani in the Conservatoire orchestra. Adam used his savings and borrowed money to open a new opera house - the fourth opera house in Paris in 1847. Unfortunately, the Revolution of 1848 forced him to close. He taught composition at the Paris Conservatoire from 1849 until his death in 1856. Placide Cappeau The poet Cappeau was an advocate of the French Enlightenment philosopher Voltaire. Voltaire was renowned for criticizing the Catholic church, religious intolerance, and dogma in general. Consequently, Cappeau made the Redeemer figure in his song a kind of reformer of injustices, in particular, the problem of original sin. To begin with, people recognized Cappeau’s theology as eccentric, probably even doubtful. Theology In the earlier form of Minuit, the Christ figure descends to intervene with His Father’s plan to punish mankind. Traditional doctrine pronounces that Christ came from love, not to intervene. This version also declares that Christ appeared to expunge the original sin of Adam. Cappeau removed this part from his poem years later, because he just didn’t believe it. He preferred to portray Christ as the reformer of disparity and unfairness. Before long, the writer/politician Alphonse de Lamartine referred to the Minuit as the the Marseillaise of religion. Most French churchmen agreed with this idea but certainly did not consider it a tribute. Register for free lifetime updates and revisions at www.jamesguthrie.com
$24.95
Vitali's Chaconne in C Minor, for Viola & Accompaniment
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Viola, Piano
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INTERMEDIATE/ADVANCED
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Classical
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Tomaso Antonio Vitali, L&eac
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Austin Harning
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Vitali's Chaconne in C Minor,
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Austin Harning
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SheetMusicPlus
Composed by Tomaso Antonio Vitali, Léopold Charlier. Arranged by Austin Harning. Baroque, Concert, Instructional, Standards, World. Score and p...
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Composed by Tomaso Antonio Vitali, Léopold Charlier. Arranged by Austin Harning. Baroque, Concert, Instructional, Standards, World. Score and part. 21 pages. Austin Harning #5307723. Published by Austin Harning
Tomaso Antonio Vitali (1663 - 1745) was an Italian composer and violinist during the Baroque Era who is generally known for his Chaconne in G Minor for violin and basso continuo.
Chaconnes are a type of musical composition that consists of variations on a repeating harmonic progression. Vitali's Chaconne in particular is interesting because of its unorthodox features. Although it opens with a step-wise bass line that introduces the primary harmonic progression, it features multiple modulations into the far-flung keys of Eb-minor and Bb-minor (Ab-minor and Eb-minor in my arrangement), among others. These modulations (or key-signature changes) and other romanticisms would not begenerally seen until the Romantic Era roughly a century later.This created musicological doubts as to whether the originalmanuscript belonged to Vitali, although there is some evidenceof its authenticity.
This arrangement is based on Léopold Charlier's (1867 - 1936) arrangement of the piece, though I took inspirations from other composers and wrote some original voices. Enjoy!
$7.99
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