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L'arrivée
Sheetmusic to print
33 sheet music found
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26
The Arrival of the Queen of Sheba (Violin 1)
String Quartet: 2 violins, viola, cello
Download this music sheet with backing tracks recorded by professional musicians. Free Unl…
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Download this music sheet with backing tracks recorded by professional musicians. Free Unlimited Access to 80,000 music sheets for 14 days (cancel anytime). Play online and print
7.99 €
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String Quartet: 2 violins, viola, cello
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George Frideric Friedrich Hand
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Tomplay
The Arrival of the Queen of Sheba
String Quartet: 2 violins, viola, cello
Download this music sheet with backing tracks recorded by professional musicians. Free Unl…
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Download this music sheet with backing tracks recorded by professional musicians. Free Unlimited Access to 80,000 music sheets for 14 days (cancel anytime). Play online and print
7.99 €
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String Quartet: 2 violins, viola, cello
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George Frideric Friedrich Hand
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Tomplay
The Arrival of the Queen of Sheba (Violin 2)
String Quartet: 2 violins, viola, cello
Download this music sheet with backing tracks recorded by professional musicians. Free Unl…
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Download this music sheet with backing tracks recorded by professional musicians. Free Unlimited Access to 80,000 music sheets for 14 days (cancel anytime). Play online and print
7.99 €
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String Quartet: 2 violins, viola, cello
#
George Frideric Friedrich Hand
#
Tomplay
The Arrival of the Queen of Sheba
String Quartet: 2 violins, viola, cello
Download this music sheet with backing tracks recorded by professional musicians. Free Unl…
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Download this music sheet with backing tracks recorded by professional musicians. Free Unlimited Access to 80,000 music sheets for 14 days (cancel anytime). Play online and print
7.99 €
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String Quartet: 2 violins, viola, cello
#
George Frideric Friedrich Hand
#
Tomplay
L'arrivée des fleurs
Guitar
Composed by David Gaudreau. Score. 5 pages. Les Productions d'OZ - Digital #DZ …
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Composed by David Gaudreau. Score. 5 pages. Les Productions d'OZ - Digital #DZ 4051. Published by Les Productions d'OZ - Digital
$3.95
3.64 €
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Guitar
#
David Gaudreau
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L'arrivée des fleurs
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Les Productions d'OZ - Digital
#
SheetMusicPlus
L'arrivée
Chamber Orchestra
Chamber Orchestra - Level 2 - Digital Download SKU: A0.1029165 Composed by Benoî…
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Chamber Orchestra - Level 2 - Digital Download SKU: A0.1029165 Composed by Benoît Rouits. 20th Century,Romantic Period. Score and parts. 13 pages. Benoît Rouits #4728315. Published by Benoît Rouits (A0.1029165).
$3.99
3.68 €
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Chamber Orchestra
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Benoît Rouits
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L'arrivée
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Benoît Rouits
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SheetMusicPlus
Un jour de mars
Guitar
Guitar - Intermediate - Digital Download SKU: ZZ.DZ-4277 Composed by Michel Dalle A…
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Guitar - Intermediate - Digital Download SKU: ZZ.DZ-4277 Composed by Michel Dalle Ave. Score. 5 pages. Les Productions d'OZ - Digital #DZ 4277. Published by Les Productions d'OZ - Digital (ZZ.DZ-4277). Découvrez Un Jour de Mars, une ballade musicale envoûtante pour guitare seule qui capture l'espoir et la douceur de l'arrivée du printemps. Laissez-vous transporter par cette mélodie évocatrice qui sâ??interpréte comme un préludeâ?¦Discover Un Jour de Mars, a haunting musical ballad for solo guitar that captures the hope and sweetness of the arrival of spring. Let yourself be transported by this evocative melody which is interpreted like a prelude...
$3.95
3.64 €
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Guitar
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Michel Dalle Ave
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Un jour de mars
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Les Productions d'OZ - Digital
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SheetMusicPlus
Op. 1, No. 12: La nuit après l’orage from Songs of Gouvy, V2 (Downloadable)
Piano, Voice
Voice and piano - Medium - Digital Download SKU: MQ.8492-36E Composed by MeeAe Ceci…
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Voice and piano - Medium - Digital Download SKU: MQ.8492-36E Composed by MeeAe Cecilia Nam and Theodore Gouvy. Instrument part. 5 pages. E. C. Schirmer Music Company - Digital #8492-36E. Published by E. C. Schirmer Music Company - Digital (MQ.8492-36E). French.Gouvy was known for writing some of the most beautiful melodies of the Romantic period. His style is a combination of German forms and an early French romantic harmonic structure. His writing for the piano in the songs is totally unified in mood and description with the voice, just as the piano is in Schubert’s songs. The equal partnership of the vocal line and piano interact closely to bring the poetry vividly into life with unimaginable artistic heights and unbridled passion.This volume includes Gouvy songs set to 18 poems of Philippe Desportes (1546–1606), and 18 poems of Moritz Hartmann (1821–1872). The elements of Romantic love poetry, such as enchanting love and its pain, and the personifying of nature, are fluently described with a great sensitivity in both voice and piano. Gouvy’s melody stir up the imagination because of his special treatment of words through a distinguishable and melodious vocal line, and his story telling and poetic treatment and development of the piano accompaniment. His compositional artistry places him in the upper echelons of art-song composers. One should note that Gouvy had a special fondness for the 16th Century poetry of La Pléiade (a group of Renaissance French poets, led by Pièrre de Ronsard (1524–1585). Desportes was truly the heir to Ronsard; however his work, when compared to that of Ronsard, is filled with greater abstraction and greater fluidity. Desportes seems to avoid any of the passionate anger that is occasionally characteristic of La Pléiade. This may be an indication that Desportes lived in a less distressed time. It also seems necessary to point out that he learned much in his early career by copying and studying the earlier works of La Pléiade. This has led some scholars to label him as a plagiarist, but it is important to realize that all the members of La Pléiade copied from each other when they wished to learn something new, and truly understand the style of the other poets in the group. Gouvy’s only choice of poems from his contemporaries, were the works of Moritz Hartmann (1821–1872), a good friend of Gouvy’s. Much of his poetry was strongly political in support of freedom of the individual. He traveled to Leipzig in 1845, but when the authorities discovered a volume of patriotic poems entitled Kelch und Schwert (Chalice and Sword), he fled to Belgium and France. It is at this time that he possibly met Théodore Gouvy. Eighteen poems of Hartmann were translated from German to French by the French poet, Adolph Larmande, of whom very little is known. Pierre Toussaint Adolphe Larmande seems to have been a rather obscure poet and musician. We know that he taught music theory at the Paris Conservatory at the same time Anton Reicha and Michele Carafa were on the faculty. We also know that in 1847 he married an English woman by the name of Marie Caroline Bradley. There are random documents, such as a Certificate of Arrival in London, England, in 1837, but there are no birth and death dates given, and that includes his obituary notice. Contents:18 Sonnets et Chansons de Desportes pour ténor ou soprano et piano, Op. 45 Six poésies allemandes de Moritz Hartmann pour baryton et piano, Op. 21 Douze poésies allemandes de Moritz Hartmann pour ténor et piano, Op. 26 (Poésies françaises d’Adolphe Larmande).
$3.00
2.77 €
#
Piano, Voice
#
MeeAe Cecilia Nam and Theodore Gouvy
#
Op. 1, No. 12: La nuit après l’orage from Songs of Gouvy, V2
#
E. C. Schirmer Music Company - Digital
#
SheetMusicPlus
Op. 45, No. 2: Je te l’avais bien dit from Songs of Gouvy, V2 (Downloadable)
Piano, Voice
Voice and piano - Medium - Digital Download SKU: MQ.8492-02E Composed by MeeAe Ceci…
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Voice and piano - Medium - Digital Download SKU: MQ.8492-02E Composed by MeeAe Cecilia Nam and Theodore Gouvy. Instrument part. 4 pages. E. C. Schirmer Music Company - Digital #8492-02E. Published by E. C. Schirmer Music Company - Digital (MQ.8492-02E). French.Gouvy was known for writing some of the most beautiful melodies of the Romantic period. His style is a combination of German forms and an early French romantic harmonic structure. His writing for the piano in the songs is totally unified in mood and description with the voice, just as the piano is in Schubert’s songs. The equal partnership of the vocal line and piano interact closely to bring the poetry vividly into life with unimaginable artistic heights and unbridled passion.This volume includes Gouvy songs set to 18 poems of Philippe Desportes (1546–1606), and 18 poems of Moritz Hartmann (1821–1872). The elements of Romantic love poetry, such as enchanting love and its pain, and the personifying of nature, are fluently described with a great sensitivity in both voice and piano. Gouvy’s melody stir up the imagination because of his special treatment of words through a distinguishable and melodious vocal line, and his story telling and poetic treatment and development of the piano accompaniment. His compositional artistry places him in the upper echelons of art-song composers. One should note that Gouvy had a special fondness for the 16th Century poetry of La Pléiade (a group of Renaissance French poets, led by Pièrre de Ronsard (1524–1585). Desportes was truly the heir to Ronsard; however his work, when compared to that of Ronsard, is filled with greater abstraction and greater fluidity. Desportes seems to avoid any of the passionate anger that is occasionally characteristic of La Pléiade. This may be an indication that Desportes lived in a less distressed time. It also seems necessary to point out that he learned much in his early career by copying and studying the earlier works of La Pléiade. This has led some scholars to label him as a plagiarist, but it is important to realize that all the members of La Pléiade copied from each other when they wished to learn something new, and truly understand the style of the other poets in the group. Gouvy’s only choice of poems from his contemporaries, were the works of Moritz Hartmann (1821–1872), a good friend of Gouvy’s. Much of his poetry was strongly political in support of freedom of the individual. He traveled to Leipzig in 1845, but when the authorities discovered a volume of patriotic poems entitled Kelch und Schwert (Chalice and Sword), he fled to Belgium and France. It is at this time that he possibly met Théodore Gouvy. Eighteen poems of Hartmann were translated from German to French by the French poet, Adolph Larmande, of whom very little is known. Pierre Toussaint Adolphe Larmande seems to have been a rather obscure poet and musician. We know that he taught music theory at the Paris Conservatory at the same time Anton Reicha and Michele Carafa were on the faculty. We also know that in 1847 he married an English woman by the name of Marie Caroline Bradley. There are random documents, such as a Certificate of Arrival in London, England, in 1837, but there are no birth and death dates given, and that includes his obituary notice. Contents:18 Sonnets et Chansons de Desportes pour ténor ou soprano et piano, Op. 45 Six poésies allemandes de Moritz Hartmann pour baryton et piano, Op. 21 Douze poésies allemandes de Moritz Hartmann pour ténor et piano, Op. 26 (Poésies françaises d’Adolphe Larmande).
$3.00
2.77 €
#
Piano, Voice
#
MeeAe Cecilia Nam and Theodore Gouvy
#
Op. 45, No. 2: Je te l’avais bien dit from Songs of Gouvy, V2
#
E. C. Schirmer Music Company - Digital
#
SheetMusicPlus
Op. 21, No. 1: À L’Absente from Songs of Gouvy, V2 (Downloadable)
Piano, Voice
Voice and piano - Medium - Digital Download SKU: MQ.8492-19E Composed by MeeAe Ceci…
(+)
Voice and piano - Medium - Digital Download SKU: MQ.8492-19E Composed by MeeAe Cecilia Nam and Theodore Gouvy. Instrument part. 6 pages. E. C. Schirmer Music Company - Digital #8492-19E. Published by E. C. Schirmer Music Company - Digital (MQ.8492-19E). French.Gouvy was known for writing some of the most beautiful melodies of the Romantic period. His style is a combination of German forms and an early French romantic harmonic structure. His writing for the piano in the songs is totally unified in mood and description with the voice, just as the piano is in Schubert’s songs. The equal partnership of the vocal line and piano interact closely to bring the poetry vividly into life with unimaginable artistic heights and unbridled passion.This volume includes Gouvy songs set to 18 poems of Philippe Desportes (1546–1606), and 18 poems of Moritz Hartmann (1821–1872). The elements of Romantic love poetry, such as enchanting love and its pain, and the personifying of nature, are fluently described with a great sensitivity in both voice and piano. Gouvy’s melody stir up the imagination because of his special treatment of words through a distinguishable and melodious vocal line, and his story telling and poetic treatment and development of the piano accompaniment. His compositional artistry places him in the upper echelons of art-song composers. One should note that Gouvy had a special fondness for the 16th Century poetry of La Pléiade (a group of Renaissance French poets, led by Pièrre de Ronsard (1524–1585). Desportes was truly the heir to Ronsard; however his work, when compared to that of Ronsard, is filled with greater abstraction and greater fluidity. Desportes seems to avoid any of the passionate anger that is occasionally characteristic of La Pléiade. This may be an indication that Desportes lived in a less distressed time. It also seems necessary to point out that he learned much in his early career by copying and studying the earlier works of La Pléiade. This has led some scholars to label him as a plagiarist, but it is important to realize that all the members of La Pléiade copied from each other when they wished to learn something new, and truly understand the style of the other poets in the group. Gouvy’s only choice of poems from his contemporaries, were the works of Moritz Hartmann (1821–1872), a good friend of Gouvy’s. Much of his poetry was strongly political in support of freedom of the individual. He traveled to Leipzig in 1845, but when the authorities discovered a volume of patriotic poems entitled Kelch und Schwert (Chalice and Sword), he fled to Belgium and France. It is at this time that he possibly met Théodore Gouvy. Eighteen poems of Hartmann were translated from German to French by the French poet, Adolph Larmande, of whom very little is known. Pierre Toussaint Adolphe Larmande seems to have been a rather obscure poet and musician. We know that he taught music theory at the Paris Conservatory at the same time Anton Reicha and Michele Carafa were on the faculty. We also know that in 1847 he married an English woman by the name of Marie Caroline Bradley. There are random documents, such as a Certificate of Arrival in London, England, in 1837, but there are no birth and death dates given, and that includes his obituary notice. Contents:18 Sonnets et Chansons de Desportes pour ténor ou soprano et piano, Op. 45 Six poésies allemandes de Moritz Hartmann pour baryton et piano, Op. 21 Douze poésies allemandes de Moritz Hartmann pour ténor et piano, Op. 26 (Poésies françaises d’Adolphe Larmande).
$3.00
2.77 €
#
Piano, Voice
#
MeeAe Cecilia Nam and Theodore Gouvy
#
Op. 21, No. 1: À L’Absente from Songs of Gouvy, V2
#
E. C. Schirmer Music Company - Digital
#
SheetMusicPlus
Sonata No. 6 "Kharkiv", Op. 48
Guitar
Guitar - Advanced - Digital Download SKU: ZZ.DZ-4244 Composed by Konstantin Bliokh.…
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Guitar - Advanced - Digital Download SKU: ZZ.DZ-4244 Composed by Konstantin Bliokh. Score. 13 pages. Les Productions d'OZ - Digital #DZ 4244. Published by Les Productions d'OZ - Digital (ZZ.DZ-4244). La Sonate n° 6 Kharkiv pour guitare solo a été composée en 2021, à la fin du confinement lié au COVID-19. Ã? ce moment-là , ma famille et moi étions restés dans notre ville natale de Kharkiv (également connue sous le nom de Kharkov), en Ukraine, pendant près de deux ans. Nous considérions cette période de pandémie comme un désastre, mais nous avons réalisé plus tard que c'était en fait un moment plutôt heureux, car la guerre est arrivée dans notre pays quelques mois plus tard. Depuis 2022, une fraction considérable des 1,5 million de citoyens de Kharkiv ont quitté leur foyer, ceux qui sont restés vivent sous des attaques incessantes de missiles, et beaucoup ont été tués. Je voudrais dédier cette Sonate à la ville frontalière de Kharkiv et, surtout, à ses citoyens souffrant de la guerre.Pourtant, la musique de la Sonate n'a aucun programme spécifique. Ici, je donnerai un bref aperçu de ses principaux éléments de composition pour faciliter les interprétations futures.Les premier et quatrième mouvements de cette Sonate sont basés sur l'interaction entre le principe dodécaphonique et le centre tonal de sol majeur, naturel pour la guitare. En particulier, le premier mouvement est basé sur l'interaction de la triade de sol majeur Solâ??Siâ??Ré des cordes de guitare à vide 2â??3â??4, le motif ascendant 1 impliquant les notes Miâ??Fa#â??Laâ??Do# (à l'origine sur la première corde), et le motif descendant 2 utilisant les notes Miâ??Doâ??Sibâ??La (à l'origine sur la corde de basse 6). Ces éléments se complètent presque pour former douze tons (à l'exception du Fa manquant), et les motifs alternent avec des fragments ostinato où chaque note de la triade de sol majeur est déplacée pas à pas d'un demi-ton vers le haut ou vers le bas.Le deuxième mouvement est un Scherzo impliquant de nombreux demi-tons dans des accords accentués et des passages rapides, ainsi qu'un mouvement mélodique chromatique dans la voix de basse. Il est presque atonal dans certains fragments, mais a un centre tonal global de la mineur.Le troisième mouvement est un Adagio méditatif basé sur un thème composé dans l'échelle hexatonique Réâ??Miâ??Faâ??Sol#â??Laâ??Si et des accords ostinato impliquant les cordes de basse à vide Miâ??Laâ??Ré et le demi-ton Siâ??Do.Enfin, le quatrième mouvement est basé sur le thème dodécaphonique complet composé de deux phrases comprenant les motifs 1 et 2 du premier mouvement : Solâ??Faâ??Sibâ??Labâ??Doâ??Mibâ??Ré et Miâ??Siâ??Do#â??Laâ??Fa#. Ce thème est présenté dans ses formes prime et rétrograde. Il y a des dialogues entre la première corde, les basses et les cordes médianes à vide, similaires au premier mouvement. Ã? son apogée, le thème dodécaphonique est interprété en utilisant le mouvement parallèle de l'accord de sol majeur standard de la guitare avec les cordes médianes à vide sur douze positions.La Sonate a été créée en première et enregistrée (CD Naxos No. 8.574630) par le célèbre guitariste ukrainien Marko Topchii, qui a également vécu et étudié à Kharkiv. Je lui suis extrêmement reconnaissant pour l'interprétation brillante de cette pièce.Je suis très redevable envers Productions d'Oz d'avoir conservé mes notations originales là où celles-ci ne correspondent pas au style de l'éditeur.Sonata No. 6 Kharkiv for guitar solo was composed in 2021, in the end of the COVID-19 lockdown. At that time my family and I were staying in our home city of Kharkiv (also known as Kharkov), Ukraine for almost two years. We considered that pandemic period as a disaster, but later have realized that it actually was a rather happy time, because a war came to our homeland just a few months later. Since 2022 a considerable fraction of the 1.5 millions of Kharkiv citizens have left their homes, those who stayed have been living under ceaseless missile attacks, and many have been killed. I would like to dedicate this Sonata to the frontier city of Kharkiv and, most of all, to its citizens suffering from the war.Yet, the music of the Sonata does not have any specific program. Here I will give a brief overview of its main composition elements to facilitate future interpretations.The first and fourth movements of this Sonata are based on the interplay between the twelve-tone principle and the G-major tonal center, natural for the guitar. Namely, the first movement is based on the interaction of the G-major triad Gâ??Bâ??D of the open guitar strings 2â??3â??4, ascending motif 1 involving the notes Eâ??F#â??Aâ??C# (originally on the first string), and descending motif 2 using the notes E-â??Câ??Bbâ??A- (originally, on the bass string 6). These elements supplement each other to almost make up twelve tones (apart from the missing F), and the motifs alternate with ostinato fragments where each note in the G major triad is step-by-step moved by a semitone up or down.The second movement is a Scherzo involving numerous semitones in accented chords and fast passages, as well as chromatic melodic motion in the bass voice. It is almost atonal in some fragments, but has an overall tonal center of A-minor.The third movement is a meditative Adagio based on a theme composed within hexatonic scale Dâ??Eâ??Fâ??G#â??Aâ??B and ostinato chords involving open bass strings Eâ??Aâ??D and semitone Bâ??C.Finally, the fourth movement is based on the complete twelve-tone theme consisting of two phrases including motifs 1 and 2 from the first movement: Gâ??Fâ??Bbâ??Abâ??Câ??Ebâ??D and Eâ??Bâ??C#â??Aâ??F#. This theme is presented in its prime and retrograde forms. There are dialogues between the first string, basses and open middle strings, similar to the first movement. In the culmination, the twelve-tone theme is performed using the parallel motion of the standard guitar G-major chord with open middle strings across twelve positions.The Sonata was premiered and recorded (CD Naxos No. 8.574630) by the prominent Ukrainian guitarist Marko Topchii who has also lived and studied in Kharkiv. I am extremely grateful to him for the brilliant performance of this piece.I am greatly indebted to Productions dâ??Oz for keeping my original notations in places where these do not conform to the publisherâ??s style.
$7.95
7.33 €
#
Guitar
#
Konstantin Bliokh
#
Sonata No. 6 "Kharkiv", Op. 48
#
Les Productions d'OZ - Digital
#
SheetMusicPlus
L'acchiappasogni
Piano solo
Piano Solo - Digital Download SKU: A0.976841 Composed by Monica Bergo. Baroque,Hall…
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Piano Solo - Digital Download SKU: A0.976841 Composed by Monica Bergo. Baroque,Halloween. Score. 4 pages. Monica Bergo #3236601. Published by Monica Bergo (A0.976841). 2017 Holiday Contest Entry L’ACCHIAPPASOGNI Sul mio pianoforte , accordi che non si armonizzano Sogni, come cenere, che piano poi svaniscono Chiudo questi occhi, sono stanca di combattere Non è sempre facile Bevo le mie lacrime Nel mio sogno è notte ed i miei passi che rimbombano Ombre di rimpianto che nel buio mi accarezzano Tu sei dietro me, il tuo respiro inquina l’aria mia Non ti ho ancora visto ma So che ti conosco già Sei l’acchiappasogni che forma non ha so che mi aspettavi e ora sono qua dai ,distruggili i sogni miei avanti, sfogati, da quanto lo vuoi? Frughi tra i pensieri miei Le insicurezze sfrutterai I punti deboli, le paure mie Son moltitudini Ma dimmi le tue Non temere Se la notte è scura e l’Acchiappasogni ti fa un po’ paura Non ti addormentare Non lo fare entrare Se sei sveglio i sogni tuoi Non potrà rubare Dormi e sogna mio malato amore dalle tue braccia mi vedrai svanire lui vive di tormento, si ciba di rimpianto, quando arriva tutti i sogni porta via col vento sento solo freddo e questo sogno mi dà i brividi la spensieratezza cede il posto all’inquietudine strani personaggi con le maschere impassibili sfilano davanti a me, rivoglio le mie favole, cerco tra la nebbia una strada , la mia retta via ma l’Acchiappasogni prende forma ed ha la faccia mia guardo il mio riflesso , in uno specchio ,e sono proprio io tutto acquista un senso e poi finalmente so chi sei io, un acchiappasogni che vive a metà sospesa in un limbo tra sogno e realtà e si confondono i sensi miei a chi appartengo mai? Rispondermi puoi? tengo il mio sogno stretto in mano un aquilone che vola lontano perché raggiungerlo io non vorrei ciò che desidero non finisce mai Non temere se la notte è scura Anime fluttuanti non fanno più paura Sei tu il solo nemico che devi evitare Se tutti i tuoi sogni vuoi realizzare Giro, giro tondo Non ho un posto nel mondo Non sono di nessuno e non inciampo nel cammino Ma basta un po’ di vento E affiora il mio tormento L’Acchiappasogni che lo sa Mi vuole sempre accanto… Monica Bergo
$3.99
3.68 €
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Piano solo
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Monica Bergo
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L'acchiappasogni
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Monica Bergo
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SheetMusicPlus
Il sole e la luna (Aspettando l'eclissi)
Small Ensemble Flute,Piano,Violin - Level 3 - Digital Download SKU: A0.976827 Compo…
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Small Ensemble Flute,Piano,Violin - Level 3 - Digital Download SKU: A0.976827 Composed by Monica Bergo. 20th Century. Score and parts. 54 pages. Monica Bergo #3234597. Published by Monica Bergo (A0.976827). 2017 Holiday Contest Entry IL SOLE E LA LUNA (aspettando l’eclissi) Vorrei andarmene lontano In questi giorni senza te Vorrei sparire come un sogno Che se apri gli occhi più non c’è Vorrei tornare indietro al tempo In cui esistevi solo tu Ai bei momenti passati , le risate ed i baci Come il sole e la luna io e te Ma poi ritorno al mio presente E la tua assenza brucia in me Così lontani e distanti Tu , come tutti quanti E gentili parole che svaniscono al sole Noi siamo come sole e luna Che non si incontreranno mai Eterna lotta nel tempo si corrono incontro Per non abbracciarsi mai E come il sole con la luna Noi non ci sfioreremo mai Ti scaldo solo un istante Ma sei freddo, scostante Ed il giorno con me non vivi mai Il sole e la luna Due amanti vaganti Tenuti distanti, dal caos degli eventi Scandiscono il ritmo il senso del tempo Il sole risplende La luna nasconde Ed è il girotondo Più antico del mondo È un tragico valzer Come questa mia danza senza te Proprio come la luna con il sole sempre fa Senza te Mentre cala la notte Il mio cuore che batte senza te aspettando un’eclissi che da me ti porterà E tramonto e risorgo e sarà un nuovo giorno Senza te Guarda la luna come illumina Tra mille stelle lei risplenderà Con il suo alone profondo Ti nasconde dal mondo Ed i tuoi segreti celerà Ma guarda il sole come è magico Quando si alza e tutto brillerà Con i suoi mille colori, i tramonti ed i fiori È vita e tutto si rinnoverà Nell’universo impenetrabile Questi 2 astri si rincorrono Ma non c’è senso nel sole Se non ha la sua luna Aspettando l’eclissi, arriverà Aspetto l’eclissi Il tempo che passi Conservo il calore Per stringerti al cuore E penso all’istante Quel breve momento All’allineamento tra ombra e fulgore E fasi lunari, riflessi solari Tra stelle e pianeti È un eclissi del cuore senza te Proprio come la luna con il sole sempre fa Senza te Mentre cala la notte Il mio cuore che batte senza te aspettando un’eclissi che da me ti porterà E tramonto e risorgo e sarà un nuovo giorno Senza te E ballo sempre sola e triste è Questo mio valzer senza te Non lo hai saputo imparare come non sai amare Una donna come me che preferisce volare non si vuole fermare al mondo e a tutti i vizi suoi perché gli orrori son tanti ma la luce del sole può placare il dolore io sono il sole e tu la luna come raggiungerti non so Perché quest’anima vola Anche se è sempre sola Non si ferma un momento Non conosce il rimpianto E proprio come il sole con la luna noi Siam destinati a non sfiorarci mai se mentre chiudo i miei.
$3.99
3.68 €
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Monica Bergo
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Il sole e la luna
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Monica Bergo
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SheetMusicPlus
Arrival of the Queen of Sheba (Brass Band - Flugel & Horn Feature)
Mixed Percussion B-Flat Tuba,B-Flat trombone,Baritone Horn TC/Euphonium,Bass Trombone,E-Fl…
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Mixed Percussion B-Flat Tuba,B-Flat trombone,Baritone Horn TC/Euphonium,Bass Trombone,E-Flat Cornet,E-Flat Tenor Horn,E-Flat Tuba TC,Flugelhorn,Percussion 1,Percussion 2,Tenor Trombone - Level 4 - Digital Download SKU: A0.805828 Composed by George Frideric Handel. Arranged by G L Harvey. Baroque,Contest,Festival,Instructional,Standards,Wedding. Brass Band. 46 pages. G L Harvey #4414649. Published by G L Harvey (A0.805828). This popular baroque work has been arranged as a feature for Flugel and Tenor Horn with Brass Band accompaniment (UK format). It has been carefully designed to work within the resources of most amateur bands and like all good arrangements it has something for everyone to do, including percussion. This piece is a favorite with players and audiences alike and will be an enjoyable addition to any concert performance or special occasion. The PDF is in A4 format (46 pages) and includes a full score and parts. Duration of the piece is just over 4 minutes.
$45.99
42.4 €
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George Frideric Handel
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Arrival of the Queen of Sheba
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G L Harvey
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SheetMusicPlus
Only Love (l'amour En Heritage)
Mixed Percussion B-Flat Tuba,B-Flat trombone,Baritone Horn TC/Euphonium,Bass Trombone,E-Fl…
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Mixed Percussion B-Flat Tuba,B-Flat trombone,Baritone Horn TC/Euphonium,Bass Trombone,E-Flat Cornet,E-Flat Tenor Horn,E-Flat Tuba TC,Flugelhorn,Percussion 1,Percussion 2,Tenor Trombone - Level 3 - Digital Download SKU: A0.1253089 Composed by Norman Gimbel, Pierre Delano, and Vladimir Cosma. Arranged by Paul Johnson. 20th Century,Film/TV. Brass Band. 25 pages. John Paulson #846599. Published by John Paulson (A0.1253089). Only Love was the Main Theme to Mistral's Daughter a 1984 mini-series,adapted from Judith Crantz's 1982 blockbuster novel of the same name.In 1925, Jewish atrists model Maggy Lunel arrives in Paris and overcomes her shyness by posing nude for struggling artist Julien Mistral. She enrages the reigning artists model queen Kiki by replacing her Montmartre's newest sensation. Paintings of her become an overnight success, and Mistral signs a contract with art dealer Adrien Avigdor. His business is arranged by American heiress Kate Browning, who is in love with him. At an art gallery, Mistrel sells a portrait of Maggy that he promised to her, prompting Maggy to leave him.This haunting melody has been arranged for full brass band and features Tenor Horn/Baritone and Flugelhorn solos throughout the piece, it was originally sang by Nana Mouskouri.
$32.28
29.76 €
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Norman Gimbel, Pierre Delano, and Vladimir Cosma
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Only Love
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John Paulson
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SheetMusicPlus
L'amore di Kebo Iwa (Balinese Gamelan in Piano)
Piano solo
Piano Solo - Level 3 - Digital Download SKU: A0.1041503 Composed by Gabrielle Felic…
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Piano Solo - Level 3 - Digital Download SKU: A0.1041503 Composed by Gabrielle Felicita Chen. Contest,Festival,Folk,Holiday,Multicultural,Traditional,World. Score. 9 pages. Gabrielle Felicita Chen #646246. Published by Gabrielle Felicita Chen (A0.1041503). “L’amore di Kebo Iwa†simply means ‘the Love of Kebo Iwa’ , which is inspired from Indonesian Balinese folk music. It is usually played by the instruments called Gamelan. Bali is an island in Indonesia rich with cultural traditions that are very much rooted in myths and legends. After understanding deeper of the legend of “Kebo Iwaâ€, I was so drawn to the character and the plot that I decided to tell the story in my piano composition. I was able to use different kinds of musical techniques to express different moods. One of them is to apply the Pentatonic ‘Balinese Pelog’ Scale in B flat Major, which represents the majority of the Gamelan sound that is usually transcribed into Western notations. Below is the synopsis the “L’amore di Kebo Iwaâ€. A Once upon a time, in Bali, there was a husband and a wife who dearly wanted to have a baby. They prayed to God for a very long time. Finally, God heard their prayers and blessed them with a baby boy. But there was something special about this baby boy: he was very big- a giant baby. They named him Kebo Iwa. Kebo Iwa grew up with a good heart and became a gentleman. He was a kind hearted giant; he protected the village dearly. One day, the King of Majapahit from Java wanted to conquer Bali. He had heard about Kebo Iwa and knew that his army would lose to Kebo Iwa. B Therefore, the King of Majapahit tricked Kebo Iwa. He invited Kebo Iwa to Java island, promising that he would arrange a wedding for Kebo Iwa to marry his daughter, the beautiful Majapahit princess. Kebo Iwa was so in love with the princess, so he happily travelled to Java island. C After he arrived in Java, the King of Majapahit asked a favour from Kebo Iwa to dig a well, with the reason for it being the dry season. Kebo Iwa then sincerely gave some help and started digging a big, giant well. D However, the King Majapahit never meant to deliver his promise to Kebo Iwa. Instead, the King Majapahit commanded the troops to cover the well with mud and boulders. But when Kebo Iwa realized, it was too late. He was already in the position that was far too deep below - at the bottom of the well. Kebo Iwa then cried loudly and sadly with a broken heart until his last breath. He was buried alive. Soon after that, the Majapahit troops attacked and conquered Bali. E At last, the well was covered and grew a hill of flowers. To this day, the Bali villagers still remember Kebo Iwa as their hero. To honor him, they erected a giant statue of Kebo Iwa in Gianyar, Bali, as a memorial.
$9.99
9.21 €
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Piano solo
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Gabrielle Felicita Chen
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L'amore di Kebo Iwa
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Gabrielle Felicita Chen
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SheetMusicPlus
Arrival of the Queen of Sheba (Trumpet Duet with Piano Accompaniment)
Trumpet, Piano
Instrumental Duet,Piano Instrumental Duet,Piano,Trumpet - Level 3 - Digital Download SK…
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Instrumental Duet,Piano Instrumental Duet,Piano,Trumpet - Level 3 - Digital Download SKU: A0.805834 Composed by George Frideric Handel. Arranged by G L Harvey. Baroque,Concert,Instructional,Standards,Wedding. Score and parts. 15 pages. G L Harvey #4593527. Published by G L Harvey (A0.805834). This popular baroque work has been arranged as a trumpet duet with a relatively simple piano accompaniment. The piano takes the bulk of the arpeggio material, thus allowing brass players with less technical expertise to access this work than would normally be the case. The trumpet parts are about grade 5 standard (ABRSM) with the piano part being slightly lower. The arrangement would also work equally well for any similar pair of Bb brass instruments, e.g. two flugelhorns, euphoniums or baritones.
$8.99
8.29 €
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Trumpet, Piano
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George Frideric Handel
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Arrival of the Queen of Sheba
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G L Harvey
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SheetMusicPlus
Tannhäuser WWV 70, Arrival of the Guests at Wartburg (Arr. F. Liszt)
Piano solo
Download this music sheet with backing tracks recorded by professional musicians. Free Unl…
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Download this music sheet with backing tracks recorded by professional musicians. Free Unlimited Access to 80,000 music sheets for 14 days (cancel anytime). Play online and print
4.99 €
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Piano solo
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Josef Wagner
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Tomplay
Un desiderio per Natale
Piano solo
Piano Solo - Level 3 - Digital Download SKU: A0.976839 Composed by Monica Bergo. Ch…
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Piano Solo - Level 3 - Digital Download SKU: A0.976839 Composed by Monica Bergo. Children,Christmas,Contemporary. Score. 7 pages. Monica Bergo #3235511. Published by Monica Bergo (A0.976839). 2017 Holiday Contest Entry Un desiderio per Natale Un desiderio per Natale Chi non ce l’ha? Ma qui ogni anno è sempre uguale Non si avvererà È una cosa semplice (per me) Nulla di impossibile (prezzo non c’è) Guardo le vetrine ma non c’è nulla che fa per me A chi potrei chiedere, non so Mischio un po’ le favole, ce la farò Christmas Carol e Aladdin E avrò il mio genio di Natale Ci vuole un soffio di vento Un pizzico di rimpianto Qualche fiocco di neve Sparso qua e là E del Sahara la sabbia Un granello di rabbia La magia delle notti di Ali Babà Esce dalla polvere , è qua Scintillante lampada, chi ne uscirà Effetti speciali e poi Abracadabra …..è Babbo Natale Ho fatto un po’ confusione Ho sbagliato pozione Cambierò direzione Riproverò le ali di una fatina il luccichio della brina qualche urlo di strega mescolerò e arriverà Natale ed anche per me sarà un giorno speciale E arriverà Natale Ed ecco il mio sogno diventa reale le regole le sai: 3 desideri, ma non puoi usarne uno per avere i miei poteri. Non posso interferire con l’amore e i suoi drammi, non posso far tornare indietro i tuoi anni E non posso uccidere, né rubare, e da questa lampada vorrei scappare Solo il mio padrone mi può liberare non lo fanno mai, nemmeno tu potrai come vorrei riempirmi gli occhi di luce ed il cuore d’amore smarrita io mentre vivo sospesa in quest’aria d’attesa scende una lacrima la tristezza inspiegabile i fantasmi che appaiono e non so cosa dire , non riesco a spiegare Abracadabra desidero che Questa mia mente continui a volare E la bambina che è dentro di me Viva per sempre e non voglia svanire mai Ma che antipatico il mio genio Se n’è andato già E mi mancava un desiderio Chi mi rimborserà ? È una cosa semplice (per me) Nulla di impossibile (prezzo non c’è) Vorrei che nella vita mia Rimanga tutto così com’è Con tutte le imperfezioni Errate valutazioni E le scelte sbagliate in giovane età Mi volto indietro e mi appare Tutto un po’ da rifare Guardo avanti e sorrido a quello che ho E arriverà Natale Ma tanto per me Ogni giorno è speciale E arriverà Natale Finita l’attesa non è poi così male Abracadabra desidero che Questa mia vita rimanga com’è! Genio! Senti, c’è stato un malinteso…in realtà i primi 2 desideri…erano insieme, era…uno solo! Quindi, facendo i calcoli…ne manca ancora uno!! Genio, desidero che tu sia libero! Possiamo imprigionare nella lampada Babbo Natale? …No eh …ok ok come non detto… Monica Bergo
$3.99
3.68 €
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Piano solo
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Monica Bergo
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Un desiderio per Natale
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Monica Bergo
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SheetMusicPlus
Un folletto un po' speciale
Piano solo
Piano Solo - Level 3 - Digital Download SKU: A0.976840 Composed by Monica Bergo. Ch…
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Piano Solo - Level 3 - Digital Download SKU: A0.976840 Composed by Monica Bergo. Children,Christmas,Contemporary. Score. 8 pages. Monica Bergo #3236507. Published by Monica Bergo (A0.976840). 2017 Holiday Contest Entry♫*´¨`*•.¸¸.♫UN FOLLETTO UN PO’ SPECIALE ♫*´¨`*•.¸¸.♫ Ogni anno è sempre uguale Con l’arrivo del Natale Non mi sento molto bene La malinconia mi assale Ma quest’ anno son sicura Di poterla controllare Con l’aiuto di una storia Che ora vado a raccontare Nel regno di Babbo Natale C’è un folletto un po’ speciale A cui non importa niente della gioia della gente Di balocchi e di regali non ne vuole costruire e la festa del Natale per lui è solo da abolire Venite qua, c’è Monica un’altra favola racconterà Un personaggio indisponente Senza freni ed arrogante Quello che gli viene in mente di sicuro lui farà Per rovinare l’atmosfera La magia di quella sera lui si metterà d’impegno Dite che ci riuscirà ? Augurerà a tutti quanti un buon Natale Con la speranza che vi vada tutto male nel marzapane mette il sale panettoni da buttare pan di zenzero e dolcetti col purgante farcirà Un po’ di etere e le renne dormiranno Mentre saltella e fa gli auguri di buon anno Quanti natali son passati Tanti i ricordi ormai sbiaditi Il tempo passa e non riporterà L’infanzia che non ho vissuto Un giorno come un altro allora Il mondo fuori festeggiava Ma quel grigiore non cambiava Babbo natale non veniva I sogni miei non avverava E la mia lettera non leggeva mai Ma ritorniamo nel presente E al folletto mio arrogante So di lui cosa pensate Lo vorreste cancellare Dal mio libro di Natale Perché va contro corrente Proprio come la mia mente Che non riesco ad imbrigliare Ma ciò che è bene e ciò che è male È difficile capire perchè ormai questo natale è un affare commerciale solo oggetti da comprare l’elfo ci vuol far capire che Natale è tutto l’anno se viviamo nell’amore pacchetti e strenne scintillanti le vetrine luccicanti fiocchi e nastri appariscenti il folletto brucierà augurerà a tutti quanti un buon natale e intanto nei biscotti aggiungerà del fiele Babbo Natale certo lo licenzierà …. Venite qua che Monica Ci dice come questa storia finirà Non pensate così male del mio elfo che riflette la nevrosi che mi assale all’arrivo del natale Lui non c’entra, è innocente Partorito da una mente C he non vuol dimenticare e sorridere al presente…. Natale è qua e passerà Con la Befana il mio carbone arriverà ! Monica Bergo
$3.99
3.68 €
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Piano solo
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Monica Bergo
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Un folletto un po' speciale
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Monica Bergo
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SheetMusicPlus
La maledizione dell'eterno volo
Piano solo
Piano Solo - Digital Download SKU: A0.976870 Composed by Monica Bergo. Contemporary…
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Piano Solo - Digital Download SKU: A0.976870 Composed by Monica Bergo. Contemporary. Score. 8 pages. Monica Bergo #3239781. Published by Monica Bergo (A0.976870). 2017 Holiday Contest Entry♫*´¨`*•.¸¸.♫ La maledizione dell'eterno volo ♫*´¨`*•.¸¸.♫ Sembra immobile l'aria e una lacrima vola questo trucco si scioglie e sul viso mi cola il mio circo d'amore e di buone intenzioni parte e mi lascia qua E la formula inversa in cui ho sempre creduto che si scaglia ora contro il mio orgoglio ferito folle io ad insegnare che più dai amore più ne ottieni per te Io qui strana attrice inutile ingoio rabbia e le lacrime inciampo tra i passi falsi miei nascondo lati dell'anima vorrei si squarciasse il cielo e poi con tutto il mio fiato lo urlerei che no, sempre forte non si può E' la maledizione dell'eterno volo che mi porta più in alto non tocco mai il suolo è quel triste sorriso che piega le labbra e di questo Pierrot poi deforma la faccia un patetico ghigno sul viso di cera maledico le origini e il freddo che c'era Era il fiore più bello di questo giardino l'hai inquinato, sporcato gli hai cambiato il destino benvenuto all'inferno sarò lì vicino e ti sbrano in eterno come il conte Ugolino non rido più... E fa tic-tac -tic-tac l'orologio dei malvagi e fa tic-tac-tic-tac la vendetta degli offesi il tuo tempo scorre ed arriva la tua fine e io danzo sopra la tua tomba tra le spine E fa tic-tac-tic-tac questa bomba che hai innescato e fa tic-tac tic-tac l'innocenza che hai rubato ci sarà per te solo il fuoco dell'inferno brucia insieme a me che l'inferno ce l'ho eterno Ti ricorderai di me di questo clown patetico dall'animo poetico e starò un passo dietro a te ma non mi riconoscerai con gli occhi tuoi non mi vedrai giustizia farò a modo mio pozioni e frasi magiche rispolvero le formule scambiamoci di posto e tu sarai il più vulnerabile solo un fantoccio inutile perchè non ridi? Questa maledizione la tua punizione e il tuo volo eterno non ti salverà da questo inferno E' la tua punizione è una maledizione puoi scappare in eterno ma non fuggirai da questo inferno Questa tua dannazione è la tua punizione vola pure in eterno poi ritorna qui dentro all'inferno Ridi pagliaccio ti guardi allo specchio è un triste riflesso ridi di te stesso Ridi pagliaccio ti guardi allo specchio è un triste riflesso ridi di te stesso solo di te stesso mi risveglio e ora sono a 2 passi dal mare l'orizzonte si perde lo vado a cercare è una terra di mezzo che non ha padrone il rifugio perfetto per la mia stagione E respiro quest'aria che sa di dolore mi rimetto la maschera e so cosa fare sono stanca con tutto quest'odio nel cuore rimodello il sorriso e riprendo a volare perchè io sono così....
$3.99
3.68 €
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Piano solo
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Monica Bergo
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La maledizione dell'eterno volo
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Monica Bergo
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SheetMusicPlus
THE CURSE OF THE ETERNAL FLIGHT
Piano solo
Piano Solo - Digital Download SKU: A0.1012736 Composed by Monica Bergo. Contemporar…
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Piano Solo - Digital Download SKU: A0.1012736 Composed by Monica Bergo. Contemporary. Score. 10 pages. Moni Bergo #5743249. Published by Moni Bergo (A0.1012736). Music and song composed by me Impostazioni account *´¨`*•.¸¸.♫ La maledizione dell'eterno volo ♫*´¨`*•.¸¸.♫ Sembra immobile l'aria e una lacrima vola questo trucco si scioglie e sul viso mi cola il mio circo d'amore e di buone intenzioni parte e mi lascia qua E la formula inversa in cui ho sempre creduto che si scaglia ora contro il mio orgoglio ferito folle io ad insegnare che più dai amore più ne ottieni per te Io qui strana attrice inutile ingoio rabbia e le lacrime inciampo tra i passi falsi miei nascondo lati dell'anima vorrei si squarciasse il cielo e poi con tutto il mio fiato lo urlerei che no, sempre forte non si può E' la maledizione dell'eterno volo che mi porta più in alto non tocco mai il suolo è quel triste sorriso che piega le labbra e di questo Pierrot poi deforma la faccia un patetico ghigno sul viso di cera maledico le origini e il freddo che c'era Era il fiore più bello di questo giardino l'hai inquinato, sporcato gli hai cambiato il destino benvenuto all'inferno sarò lì vicino e ti sbrano in eterno come il conte Ugolino non rido più... E fa tic-tac -tic-tac l'orologio dei malvagi e fa tic-tac-tic-tac la vendetta degli offesi il tuo tempo scorre ed arriva la tua fine e io danzo sopra la tua tomba tra le spine E fa tic-tac-tic-tac questa bomba che hai innescato e fa tic-tac tic-tac l'innocenza che hai rubato ci sarà per te solo il fuoco dell'inferno brucia insieme a me che l'inferno ce l'ho eterno Ti ricorderai di me di questo clown patetico dall'animo poetico e starò un passo dietro a te ma non mi riconoscerai con gli occhi tuoi non mi vedrai giustizia farò a modo mio pozioni e frasi magiche rispolvero le formule scambiamoci di posto e tu sarai il più vulnerabile solo un fantoccio inutile perchè non ridi? Questa maledizione la tua punizione e il tuo volo eterno non ti salverà da questo inferno E' la tua punizione è una maledizione puoi scappare in eterno ma non fuggirai da questo inferno Questa tua dannazione è la tua punizione vola pure in eterno poi ritorna qui dentro all'inferno Ridi pagliaccio ti guardi allo specchio è un triste riflesso ridi di te stesso Ridi pagliaccio ti guardi allo specchio è un triste riflesso ridi di te stesso solo di te stesso mi risveglio e ora sono a 2 passi dal mare l'orizzonte si perde lo vado a cercare è una terra di mezzo che non ha padrone il rifugio perfetto per la mia stagione E respiro quest'aria che sa di dolore mi rimetto la maschera e so cosa fare sono stan.
$5.00
4.61 €
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Piano solo
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Monica Bergo
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THE CURSE OF THE ETERNAL FLIGHT
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Moni Bergo
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SheetMusicPlus
Brahms, Johannes : 2 Valses : Opus 39 n°10 - Opus 39 n°11 (Collection Anacrouse)
Piano solo
La collection ANACROUSE offre aux pianistes novices et confirmés un large choix d…
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La collection ANACROUSE offre aux pianistes novices et confirmés un large choix d’œuvres classiques, allant de la Renaissance à l’époque moderne.<br><br>Proposer tout à la fois des « incontournables » du répertoire classique et des pièces de compositeurs parfois oubliés, toutes d’une valeur pédagogique indéniable, tels sont les objectifs que nous nous sommes fixés. Chaque pièce, vendue à l’unité, a fait l’objet d’un travail éditorial attentif, tant sur le plan de l’établissement du texte musical que de sa gravure, afin de garantir aux musiciens les conditions indispensables aux plaisirs tirés du commerce fréquent de ces œuvres.<br><br>Les partitions sont proposées sous la forme d’ouvrages traditionnels (feuillets papier), et disponibles également par téléchargement.<br><br><br><br>L’opus 39 est composé de seize valses. La version d’origine publiée en 1865 est à quatre mains, mais Brahms en crée une version simplifiée à deux mains qui parait en 1867. Le compositeur signe avec ses seize valses exquises son unique témoignage de la tradition viennoise.<br>L'écriture de ces valses est d'une grande simplicité. Leurs structures sont différentes de celles des valses viennoises de Strauss. Elles ne présentent ni introduction lente, ni trio, ni coda mais s'apparentent plutôt à un ländler par la sobriété de la pièce. Toutes ces valses sont de formes ABA où deux motifs thématiques s'entremêlent et se lient l’un à l’autre.<br>La valse n°10 se caractérise par sa grande simplicité d'écriture au niveau rythmique par l'alternance de mesures à six croches et à trois noires. Une plaisante mélodie se balade naïvement à travers un accompagnement facile et accessible pour tous pianistes.<br>Contrairement à la Valse n°10, la Valse n°11 se distingue par sa difficulté rythmique. L'emploi d'appoggiatures répétitifs et de rythmes fantasques donne un côté tzigane à cette valse.<br>Ces deux valses à la suite révèlent un aspect versatile dans leur interprétation. La valse n°10 tangue tranquillement sur les rives du Danube jusqu'à l'arrivée de la valse n°11 où s'exaltent sur les berges des musiciens tziganes.<br>Une vague de douceur et de fantaisie enveloppera les pianistes de valses viennoises à travers ces valses de Brahms qui finalement les laissera libres à la danse. Partition + Biographie + Notes sur l'oeuvre
3.30 €
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Piano solo
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Brahms, Johannes
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2 Valses
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Note4Piano
Op. 1, No. 2: Barque légère, mon coeur from Songs of Gouvy, V2 (Downloadable)
Piano, Voice
Voice and piano - Medium - Digital Download SKU: MQ.8492-26E Composed by MeeAe Ceci…
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Voice and piano - Medium - Digital Download SKU: MQ.8492-26E Composed by MeeAe Cecilia Nam and Theodore Gouvy. Instrument part. 7 pages. E. C. Schirmer Music Company - Digital #8492-26E. Published by E. C. Schirmer Music Company - Digital (MQ.8492-26E). French.Gouvy was known for writing some of the most beautiful melodies of the Romantic period. His style is a combination of German forms and an early French romantic harmonic structure. His writing for the piano in the songs is totally unified in mood and description with the voice, just as the piano is in Schubert’s songs. The equal partnership of the vocal line and piano interact closely to bring the poetry vividly into life with unimaginable artistic heights and unbridled passion.This volume includes Gouvy songs set to 18 poems of Philippe Desportes (1546–1606), and 18 poems of Moritz Hartmann (1821–1872). The elements of Romantic love poetry, such as enchanting love and its pain, and the personifying of nature, are fluently described with a great sensitivity in both voice and piano. Gouvy’s melody stir up the imagination because of his special treatment of words through a distinguishable and melodious vocal line, and his story telling and poetic treatment and development of the piano accompaniment. His compositional artistry places him in the upper echelons of art-song composers. One should note that Gouvy had a special fondness for the 16th Century poetry of La Pléiade (a group of Renaissance French poets, led by Pièrre de Ronsard (1524–1585). Desportes was truly the heir to Ronsard; however his work, when compared to that of Ronsard, is filled with greater abstraction and greater fluidity. Desportes seems to avoid any of the passionate anger that is occasionally characteristic of La Pléiade. This may be an indication that Desportes lived in a less distressed time. It also seems necessary to point out that he learned much in his early career by copying and studying the earlier works of La Pléiade. This has led some scholars to label him as a plagiarist, but it is important to realize that all the members of La Pléiade copied from each other when they wished to learn something new, and truly understand the style of the other poets in the group. Gouvy’s only choice of poems from his contemporaries, were the works of Moritz Hartmann (1821–1872), a good friend of Gouvy’s. Much of his poetry was strongly political in support of freedom of the individual. He traveled to Leipzig in 1845, but when the authorities discovered a volume of patriotic poems entitled Kelch und Schwert (Chalice and Sword), he fled to Belgium and France. It is at this time that he possibly met Théodore Gouvy. Eighteen poems of Hartmann were translated from German to French by the French poet, Adolph Larmande, of whom very little is known. Pierre Toussaint Adolphe Larmande seems to have been a rather obscure poet and musician. We know that he taught music theory at the Paris Conservatory at the same time Anton Reicha and Michele Carafa were on the faculty. We also know that in 1847 he married an English woman by the name of Marie Caroline Bradley. There are random documents, such as a Certificate of Arrival in London, England, in 1837, but there are no birth and death dates given, and that includes his obituary notice. Contents:18 Sonnets et Chansons de Desportes pour ténor ou soprano et piano, Op. 45 Six poésies allemandes de Moritz Hartmann pour baryton et piano, Op. 21 Douze poésies allemandes de Moritz Hartmann pour ténor et piano, Op. 26 (Poésies françaises d’Adolphe Larmande).
$3.00
2.77 €
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Piano, Voice
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MeeAe Cecilia Nam and Theodore Gouvy
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Op. 1, No. 2: Barque légère, mon coeur from Songs of Gouvy, V2
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E. C. Schirmer Music Company - Digital
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SheetMusicPlus
DIES IRAE from REQUIEM by G. Verdi
Brass quartet : 2 trumpets, trombone, tuba
Brass Ensemble Horn,Trombone,Trumpet,Tuba - Level 2 - Digital Download SKU: A0.931249
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Brass Ensemble Horn,Trombone,Trumpet,Tuba - Level 2 - Digital Download SKU: A0.931249 Composed by Giuseppe Verdi. Arranged by Alessandro Macrì. A Cappella,Concert,Film/TV,Romantic Period,Sacred. Score and parts. 20 pages. Music Macri Editions #5771023. Published by Music Macri Editions (A0.931249). La Messa da Requiem di Giuseppe Verdi è un'opera certamente religiosa, ma in un modo tutto suo, scritta cioè da un uomo che non era propriamente praticante: composta ed eseguita (su un precedente progetto per Rossini) nel 1874 per commemorare Alessandro Manzoni a un anno dalla scomparsa, è un lavoro che unisce, alla devozione quasi filiale per i due Grandi, una sensibilità operistica tutta verdiana. E in verità , i cantanti solisti che Verdi aveva in mente nello scrivere la partitura erano certamente voci d’opera.La prima nella chiesa di San Marco a Milano ebbe un tale successo che si tennero altre tre esecuzioni al Teatro alla Scala. Francis Tovey scrive: La Messa era arrivata nella sua vera casa (...) dove il pubblico, che non doveva badare alle convenzioni ecclesiastiche, poté dare sfogo al proprio entusiasmo, con esuberanza tipicamente italiana. Verdi non aveva intenzione di riservare la partitura a rare, solenni commemorazioni. La qualità drammatica e operistica del Requiem mal si adatta all’uso di un servizio regolare in chiesa, né il compositore voleva che funzionasse come liturgia. Fin dall'inizio, Verdi ha concepito il suo Requiem per l’esecuzione, non per la devozione; voleva che il suo lavoro fosse complementare alla popolarità di Manzoni per mostrare al mondo la cultura italiana, tanto che lo portò personalmente in tournée a Parigi, New York, Londra e Vienna.Il Requiem di Verdi, come Ein deutsches Requiem di Johannes Brahms, è l’affermazione di un dolore personale che si serve di un testo preso in prestito dalla liturgia sacra.Neanche Brahms, come Verdi, era particolarmente devoto. Per entrambi, le parole della messa da requiem per i defunti rappresentano il bisogno universale di esprimere le emozioni che ci assalgono quando una persona amata muore: dolore, perdita, tristezza, rabbia, paura del giudizio divino e speranza di pace sia per i defunti che per coloro che sono in lutto.Verdi inizia con i versi Requiem aeternam dona eis, Domine che il coro e l'orchestra intonano in fasi sommesse e raccolte. I quattro solisti si uniscono al coro e all'orchestra per uno stentoreo Kyrie eleison. Il tonitruante boato orchestrale e corale del Dies irae che segue immediatamente il Kyrie è il momento più atteso e memorabile del Requiem. Qui i musicisti, i coristi e i cantanti devono produrre esplosioni sonore continue e inarrestabili. Gli ottoni, le percussioni, i legni e il coro sono tirati al massimo, mentre le voci gridano sgomento e dolore, e gli archi crescono di intensità e impeto. Del resto, il materiale musicale del pauroso Dies irae ritorna di continuo lungo tutta la Messa, dipingendo un quadro da Giorno del Giudizio: non a caso l’opera è stata equiparata all’affresco michelangiolesco della Cappella Sistina. Un lavoro cupamente drammatico, con intermittenti, brevi, violenti lampi di luce.Di volta in volta, Verdi ci fa vivere il terrore dell'inferno (timbri e registri bassi) e la luminosa speranza di salvezza, preparandoci alla gioia del Sanctus, con la tromba che annuncia Santo, santo, santo, Signore degli eserciti! Il cielo e la terra sono pieni della tua gloria!Verdi conclude il suo Requiem con un soprano che intona i primi versi di Libera me (Liberami, o Signore, dalla morte eterna in quel terribile giorno). Tutto il dramma, il terrore, l’angoscia delle sezioni precedenti ritorna, come se il compositore intendesse lasciarci con un senso di incertezza: saremo, alla fine, riscattati? Verdi riprende qui la musica del Dies irae, ma alla fine, il coro e il soprano finiscono in un sussurro quasi impercettibile, con Libera me. Libera me: una speranza, una preghiera, un gemito sommesso.
$9.00
8.3 €
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Brass quartet : 2 trumpets, trombone, tuba
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Giuseppe Verdi
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DIES IRAE from REQUIEM by G. Verdi
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Music Macri Editions
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SheetMusicPlus
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