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You've selected:
Monologue No. 2
Sheetmusic to print
8 sheet music found
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1
Monologue No. 2
Guitar
Composed by Ming-Jui Liu. Score. 9 pages. Les Editions Doberman-Yppan (digital) #DO …
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Composed by Ming-Jui Liu. Score. 9 pages. Les Editions Doberman-Yppan (digital) #DO 1365. Published by Les Editions Doberman-Yppan (digital)
$5.95
5.36 €
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Guitar
#
Ming-Jui Liu
#
Monologue No. 2
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Les Editions Doberman-Yppan (digital)
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SheetMusicPlus
Symphony No. 3 in A minor, op. 17 (parts)
Orchestra
Full Orchestra - Level 5 - Digital Download SKU: A0.1357497 Composed by Adrian Gagi…
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Full Orchestra - Level 5 - Digital Download SKU: A0.1357497 Composed by Adrian Gagiu. 20th Century,Classical,Contemporary. 291 pages. Adrian Gagiu #942043. Published by Adrian Gagiu (A0.1357497). The orchestral parts of the Third Symphony (2000, revised 2023), an ambitious, modernist/neoclassical composition for orchestra and chorus with four vocal soloists. It may represent a search for harmony within and/or without and is a huge, subtle variations form on a theme that appears clearly and in full only in the Finale.The chromatic, first movement (Andante maestoso) begins mysteriously with A's in the unaccompanied violins, like a tuning or a seed of what is to come. These A's are adorned with oscillations which gradually become wider leaps until they reach the fifth (as in the beginning of the future full theme), and the other instruments join gradually. The mood is dark, tragic, pensive, and somehow abstract, as the music wanders in an almost improvisatory manner through chromatic modes and goes crescendo-decrescendo back again to the bare, cryptic A's.The energetic second movement (Allegro) is an enormous scherzo toying with the second melodic cell of the full theme, a descending tetrachord. This vital, Dionysian frenzy (in strong contrast to the Apollonian, severe contemplation in the first movement) leads only to its exhaustion and to the disorientated, slow Trio: first, an almost atonal tenor monologue accompanied by harp (on verses from Dante's Purgatory), then a quotation from Beethoven's sketches for a planned overture on the B-A-C-H motif, followed by a fugal section on the same archetypal motif and again a tenor monologue (on verses from Eminescu's Satire No. 4), this time with organ accompaniment and more and more tortured until the choral exclamations and the final cymbal clash. The search seemed in vain, so the rhythmic fury of the scherzo returns, but in mirror, as minor modes replaced the major ones on the same material.The Finale (Larghetto-Allegro-Larghetto) was inspired by the last scene in Goethe's Faust, part 2. After a cryptic variation for choir a cappella, the full theme appears at last in the orchestra, setting a lyric, appeased mood and more diatonic harmonies, while it reconciles the introspection of the first movement and the emotional and vital aspects of the second, although occasional attempts are made to escape, striving more and more towards the ending (with four vocal soloists and chorus). The parenthetic structure of the finale is a holographic reflection of the general form of the whole symphony, alternating gentle, contemplative episodes with exuberant or majestic fugatos. Towards the ending, ecstatic, big, complex quartal chords suggest the limits of perception and language (on the final stanzas from Dante's Paradise), until the sonority becomes again more and more rarefied and the journey returns to its starting point from the first movement: the 'tuning' A's in the violins.Total duration: 54 min. Performing Rights Organization: SOCAN. The mp3 audio clip is the second movement.
$210.00
189.24 €
#
Orchestra
#
Adrian Gagiu
#
Symphony No. 3 in A minor, op. 17
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Adrian Gagiu
#
SheetMusicPlus
Symphony No. 3 in A minor, op. 17
Orchestra
Full Orchestra - Level 5 - Digital Download SKU: A0.1356636 Composed by Adrian Gagi…
(+)
Full Orchestra - Level 5 - Digital Download SKU: A0.1356636 Composed by Adrian Gagiu. 20th Century,Classical,Contemporary. 215 pages. Adrian Gagiu #941262. Published by Adrian Gagiu (A0.1356636). The score, parts and vocal score of the Third Symphony (2000, revised 2023), an ambitious, modernist/neoclassical composition for orchestra and chorus with four vocal soloists. It may represent a search for harmony within and/or without and is a huge, subtle variations form on a theme that appears clearly and in full only in the Finale. The chromatic, first movement (Andante maestoso) begins mysteriously with A's in the unaccompanied violins, like a tuning or a seed of what is to come. These A's are adorned with oscillations which gradually become wider leaps until they reach the fifth (as in the beginning of the future full theme), and the other instruments join gradually. The mood is dark, tragic, pensive, and somehow abstract, as the music wanders in an almost improvisatory manner through chromatic modes and goes crescendo-decrescendo back again to the bare, cryptic A's. The energetic second movement (Allegro) is an enormous scherzo toying with the second melodic cell of the full theme, a descending tetrachord. This vital, Dionysian frenzy (in strong contrast to the Apollonian, severe contemplation in the first movement) leads only to its exhaustion and to the disorientated, slow Trio: first, an almost atonal tenor monologue accompanied by harp (on verses from Dante's Purgatory), then a quotation from Beethoven's sketches for a planned overture on the B-A-C-H motif, followed by a fugal section on the same archetypal motif and again a tenor monologue (on verses from Eminescu's Satire No. 4), this time with organ accompaniment and more and more tortured until the choral exclamations and the final cymbal clash. The search seemed in vain, so the rhythmic fury of the scherzo returns, but in mirror, as minor modes replaced the major ones on the same material. The Finale (Larghetto-Allegro-Larghetto) was inspired by the last scene in Goethe's Faust, part 2. After a cryptic variation for choir a cappella, the full theme appears at last in the orchestra, setting a lyric, appeased mood and more diatonic harmonies, while it reconciles the introspection of the first movement and the emotional and vital aspects of the second, although occasional attempts are made to escape, striving more and more towards the ending (with four vocal soloists and chorus). The parenthetic structure of the finale is a holographic reflection of the general form of the whole symphony, alternating gentle, contemplative episodes with exuberant or majestic fugatos. Towards the ending, ecstatic, big, complex quartal chords suggest the limits of perception and language (on the final stanzas from Dante's Paradise), until the sonority becomes again more and more rarefied and the journey returns to its starting point from the first movement: the 'tuning' A's in the violins. Total duration: 54 min. Performing Rights Organization: SOCAN. The mp3 audio clip is the second movement.
$210.00
189.24 €
#
Orchestra
#
Adrian Gagiu
#
Symphony No. 3 in A minor, op. 17
#
Adrian Gagiu
#
SheetMusicPlus
"Podvig" / "The Feat" Op. 60 No 11 Original Key DICTION SCORE with IPA and translation
Piano, Voice
Piano,Vocal,Voice - Level 4 - Digital Download SKU: A0.1101595 By Peter Ilyich Tcha…
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Piano,Vocal,Voice - Level 4 - Digital Download SKU: A0.1101595 By Peter Ilyich Tchaikovsky. By Peter Ilyich Tchaikovsky. Arranged by Russian for Singers. Classical,Instructional,Multicultural,Opera,Romantic Period,World. Score. 5 pages. Natalia Melnik #704967. Published by Natalia Melnik (A0.1101595). P.Tchaikovsky. Подвиг / Podvig / The Feat  Op. 60 No 11 (Monologue for Baritone). Original key. Diction score - sheet music with IPA phonetics, word-by-word translation and grammatically correct translation. FREE DOWNLOAD! A quick and comprehensive tutorial on Russian phonetics: https://www.russian4singers.com/russian-diction-for-singers-1 . FULL SONG PACK including Diction score (sheet music with IPA phonetics and translations), Diction audio guide, Music coaching audio guide (Voice line + piano line), Rehearsal backing track (Piano line only) https://www.russian4singers.com/product-page-2/tchaikovsky-the-feat-op-60-n11-orig-key-full-packWe are offering a range of Russian diction coaching services:- individual coaching- group webinars- lectures on Russian Music Literature for singers​Please visit our website for more information https://www.russian4singers.com/bookingPlease SUBSCRIBE to Russian for Singers YouTube Channel https://www.youtube.com/@RussianForSingers
$8.50
7.66 €
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Piano, Voice
#
Peter Ilyich Tchaikovsky
#
"Podvig" / "The Feat" Op. 60 No 11 Original Key DICTION SCORE with IPA and translation
#
Natalia Melnik
#
SheetMusicPlus
"Podvig" / "The Feat" Op. 60 No 11 Lower Key (E min) DICTION SCORE with IPA and translation
Piano, Voice
Piano,Vocal,Voice - Level 4 - Digital Download SKU: A0.1101596 By Peter Ilyich Tcha…
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Piano,Vocal,Voice - Level 4 - Digital Download SKU: A0.1101596 By Peter Ilyich Tchaikovsky. By Peter Ilyich Tchaikovsky. Arranged by Russian for Singers. Classical,Instructional,Multicultural,Opera,Romantic Period,World. Score. 5 pages. Natalia Melnik #704968. Published by Natalia Melnik (A0.1101596). P.Tchaikovsky. Подвиг / Podvig / The Feat Op. 60 No 11 (Monologue for Baritone). Lower key E minor. Diction score - sheet music with IPA phonetics, word-by-word translation and grammatically correct translation. FREE DOWNLOAD! A quick and comprehensive tutorial on Russian phonetics: https://www.russian4singers.com/russian-diction-for-singers-1 . FULL SONG PACK including Diction score (sheet music with IPA phonetics and translations), Diction audio guide, Music coaching audio guide (Voice line + piano line), Rehearsal backing track (Piano line only) https://www.russian4singers.com/product-page-2/tchaikovsky-the-feat-op-60-n11-lower-key-emin-full-packWe are offering a range of Russian diction coaching services:- individual coaching- group webinars- lectures on Russian Music Literature for singers​Please visit our website for more information https://www.russian4singers.com/bookingPlease SUBSCRIBE to Russian for Singers YouTube Channel https://www.youtube.com/@RussianForSingers
$8.50
7.66 €
#
Piano, Voice
#
Peter Ilyich Tchaikovsky
#
"Podvig" / "The Feat" Op. 60 No 11 Lower Key
#
Natalia Melnik
#
SheetMusicPlus
Robert Orledge: A Night in the House of Usher for organ, based on themes from Debussy's "La Chute de
Organ
Organ - Level 5 - Digital Download SKU: A0.534661 Composed by Claude Debussy/Robert…
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Organ - Level 5 - Digital Download SKU: A0.534661 Composed by Claude Debussy/Robert Orledge. 20th Century,Concert,Halloween. Score. 16 pages. Musik Fabrik Music Publishing #5739561. Published by Musik Fabrik Music Publishing (A0.534661). Over the years 1908–16, Debussy had produced a viable scenario for Usher on his third attempt. But when he came to making a complete draft of the music, he seems to have lost interest during Roderick Usher’s long monologue, even though he was setting his own text. As in No-ja-li he jumped to the next passage that interested him, in this case the exciting final melodrama and the collapse of the Usher house itself.In the process of completing the missing half of the score, I discovered that by reusing Debussy’s material for similar psychological situations across the opera, and by metamorphosing existing ideas (as Debussy does with Mélisande’s theme in his opera Pelléas et Mélisande), the only things I really needed to add were linking material and any passages where fast music was required. So the ‘nightmare scherzo’, and Lady Madeline’s escape from her coffin and her final bloody revenge on her brother are all mine, but most of the rest is existing Debussy in changing contexts (in which the Russian technique of ‘changing backgrounds’, both harmonic and textural, proved extremely useful, as it did to Debussy in his Prélude à l’après-midi d’un faune). Eventually, both my completed ballet No-ja-li and the House of Usher were successfully premiered in 2006 and the latter soon began to find its way into the established repertoire in Europe and the US. To further support this, I transcribed some of the highlights of Debussy’s score as A Night in the House of Usher for organ, and subsequently piano—with a focus on Scene 2 and the final, horrific and maca-bre melodrama. This climaxes in the double deaths of Roderick Usher and his Sister Madeline, together with the disintegration of the ill-fated House of Usher into the stagnant lake-all beneath a blood-red moon.In this form it was first performed by Ian Buckle in the Howard Assembly Rooms, Leeds in 2010.
$12.95
11.67 €
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Organ
#
Claude Debussy/Robert Orledge
#
Robert Orledge: A Night in the House of Usher for organ, based on themes from Debussy's "La Chute de
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Musik Fabrik Music Publishing
#
SheetMusicPlus
E. Satie – Heures Séculaires et Instantanées, 1914
Orchestra
Full Orchestra - Level 3 - Digital Download SKU: A0.1074008 By Arkady Leytush. By E…
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Full Orchestra - Level 3 - Digital Download SKU: A0.1074008 By Arkady Leytush. By Erik Satie. Arranged by Arkady Leytush. 20th Century. Score and parts. 23 pages. Arkady Leytush #678276. Published by Arkady Leytush (A0.1074008). E. Satie – Heures Séculaires et Instantanées, 1914, Orchestra suite 1. Obstacles venimeux 2. Crepuscule matinal 3. Affolments granitiques Duration about 4 minutes. Heures Séculaires et Instantanées (Hallowed by Time and Instant Hours), one of his humorous keyboard suites from the 1910s, contains Satie's famous warning to pianists against reading aloud the fanciful texts that adorned his score. Sati warns against reading aloud the texts written on his scores. This is the secret between the performer and the composer. “There are as many words as there are notes!†says the French composer-critic Guy Sacré. Biographer Rollo H. Myers saw Heures as an omen of surrealism (ten years before the fact) and a new phase in the relationship between text and music. “... For the first time, individual verbal witticisms and witticisms are replaced by something like a recitation or monologue, which is an integral part of the work: this is no longer a cursory comment, arbitrarily superimposed and often not related to the music that it accompanies, but a certain narrative, grotesque inspiration, which the music serves as an illustration. In addition to what has been said, I would like to add that being one of the first minimalists in modern music, Sati opens a new page in the combination of musical images and examples of abstract vision and imagination inspired by music with his illustrative texts in this humorous suite. This approach to composition soon led to the emergence of striking examples of the combination of music and animation. This short suite, full of humor and ingenuity, moved me when arranging to also emphasize this feature by choosing the full composition of the orchestra, where in each number of this suite the musicians of the orchestra play only a few notes in turn. On the one hand, this should bring great variety and contrast, on the other hand, a huge orchestra and a 4-minute suite in themselves cause a smile of inconsistency...
$40.00
36.05 €
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Orchestra
#
Arkady Leytush
#
E. Satie – Heures Séculaires et Instantanées, 1914
#
Arkady Leytush
#
SheetMusicPlus
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