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Op. 21
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1201
Rachmaninoff: Zdes' Khorosho, Op. 21, No. 7 (as played by Yo Yo Ma and Kathryn Stott) for VIOLIN and
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Violin and Piano
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INTERMEDIATE
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Jazz
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YO YO MA and Kathryn Stott
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Flavio Regis Cunha
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Rachmaninoff: Zdes' Khorosho,
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Flavio Regis Cunha
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SheetMusicPlus
Small Ensemble Piano,Violin - Level 3 - Digital Download SKU: A0.601828 By YO YO MA and Kathryn Stott. By Sergei Rachmaninoff. Arranged by Flavio Regis C...
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Small Ensemble Piano,Violin - Level 3 - Digital Download SKU: A0.601828 By YO YO MA and Kathryn Stott. By Sergei Rachmaninoff. Arranged by Flavio Regis Cunha. 20th Century,Classical,Contemporary,Contest,Festival,Instructional. 8 pages. Flavio Regis Cunha #6669111. Published by Flavio Regis Cunha (A0.601828). Rachmaninoff: Zdes' Khorosho, Op. 21, No. 7 (as played by Yo Yo Ma and Kathryn Stott) ARRANGED for VIOLIN and Piano.___________________________________________ЗдеÑÑŒ хорошо (Zdes' khorosho, How nice is here) was written in April 1902, in a sweet moment in the composer's life: he had overcome a creative block and had just married his cousin Natalia Sarina. Zdes' khorosho is n. 7 from Twelve Romances, op. 21, a beautiful song that talks about the bond between man, nature and God. It’s also a love song; One of the things I like the most is the balance between contemplation and passion that Rachmaninov accomplishes. The poem, by the Countess Glafira Adolfovna Einerling, a contemporary writer of the composer who wrote under the pseudonym of Galina, simply describes a sunset. I don't know if the landscape portrayed is similar to what Rachmaninov could see from his home but no doubt he felt it part of his own; he even changed the beginning of the poem so he said that the nice place was here. Zdes' khorosho is a song full of lyricism, seemingly simple but demanding for the singer (please pay attention to the pianissimo at the last verse, which seems to arise from nowhere), with an exquisite accompaniment. Some scholars think that the true essence of Rachmaninov is found in songs like that, rather than in his athletic piano concerts.Songs of Comfort and Hope is inspired by the series of recorded-at-home musical offerings that Ma began sharing in the first days of the COVID-19 lockdown in the United States. Over the course of the last year, Yo-Yo Ma’s #SongsofComfort grew from a self-shot video of AntonÃn Dvořák’s Goin’ Home into a worldwide effort that has reached more than 20 million people. Ma and Stott marked the next chapter in the project with this album, offering consolation and connection in the face of fear and isolation. The album includes 21 new recordings, which span modern arrangements of traditional folk tunes, canonical pop songs, jazz standards, and mainstays from the western classical repertoire.Official Video by Yo-Yo Ma and Kathryn Stott, performing Rachmaninoff 'Zdes' khorosho' from Songs of Comfort and Hopehttps://youtu.be/bcBcXV3lmKs 8 pages.
$7.99
Siryen' / Siren' / The Lilacs Op.21 No.5 Lower Key (E-flat) DICTION SCORE with IPA and translation
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Piano, Voice
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INTERMEDIATE/ADVANCED
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Sergei Rachmaninoff
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Russian for Singers
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Siryen' / Siren' / The Lilacs
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Natalia Melnik
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SheetMusicPlus
Piano,Vocal,Voice - Level 4 - Digital Download SKU: A0.1160647 By Sergei Rachmaninoff. By Sergei Rachmaninoff. Arranged by Russian for Singers. 19th Cent...
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Piano,Vocal,Voice - Level 4 - Digital Download SKU: A0.1160647 By Sergei Rachmaninoff. By Sergei Rachmaninoff. Arranged by Russian for Singers. 19th Century,20th Century,Classical,Opera,Romantic Period. Score. 3 pages. Natalia Melnik #760943. Published by Natalia Melnik (A0.1160647). S. Rachmaninoff. Сирень / Siryen' / Siren' / The Lilacs Op.21 No.5. Lower key E-flat majorDiction 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) is available at https://www.russian4singers.com/product-page-2/s-rachmaninoff-lilacs-op-21-n5-lower-key-e-flat-full-pack We 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
Siryen' / Siren' / The Lilacs Op.21 No.5 Original key DICTION SCORE with IPA and translation
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Piano, Voice
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INTERMEDIATE/ADVANCED
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Sergei Rachmaninoff
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Russian for Singers
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Siryen' / Siren' / The Lilacs
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Natalia Melnik
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SheetMusicPlus
Piano,Vocal,Voice - Level 4 - Digital Download SKU: A0.503128 By Sergei Rachmaninoff. By Sergei Rachmaninoff. Arranged by Russian for Singers. Classical,...
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Piano,Vocal,Voice - Level 4 - Digital Download SKU: A0.503128 By Sergei Rachmaninoff. By Sergei Rachmaninoff. Arranged by Russian for Singers. Classical,Opera,Romantic Period. Score. 3 pages. Natalia Melnik #115321. Published by Natalia Melnik (A0.503128). S. Rachmaninoff. Сирень / Siryen' / Siren' / The Lilacs Op.21 No.5. 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) is available at https://www.russian4singers.com/product-page-2/s-rachmaninoff-lilacs-op-21-n5-original-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
"A Fragment From A.Musset" Op.21 N6 Original key. DICTION SCORE with IPA and translation
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Piano, Voice
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INTERMEDIATE/ADVANCED
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Sergei Rachmaninoff
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Russian for Singers
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"A Fragment From A.Musset" Op.
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Natalia Melnik
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SheetMusicPlus
Piano,Vocal,Voice - Level 4 - Digital Download SKU: A0.1215805 By Sergei Rachmaninoff. By Sergei Rachmaninoff. Arranged by Russian for Singers. 19th Cent...
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Piano,Vocal,Voice - Level 4 - Digital Download SKU: A0.1215805 By Sergei Rachmaninoff. By Sergei Rachmaninoff. Arranged by Russian for Singers. 19th Century,20th Century,Classical,Opera,Romantic Period. Score. 5 pages. Natalia Melnik #812536. Published by Natalia Melnik (A0.1215805). Rachmaninoff. Отрывок из Ð.МюÑÑе / Otryvok iz A.Musset / A Fragment from A.Musset (Loneliness) Op 21 No.6. Original keyRange:C#4 - A5 (Soprano)C#3 - A4 (Tenor)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/s-rachmaninoff-a-fragment-from-a-musset-op-21-n6-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 and watch the free diction guidehttps://youtu.be/07F1pnT908o
$8.50
"A Fragment From A.Musset" Op.21 N6 Lower key. DICTION SCORE with IPA and translation
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Piano, Voice
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INTERMEDIATE/ADVANCED
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Sergei Rachmaninoff
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Russian for Singers
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"A Fragment From A.Musset" Op.
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Natalia Melnik
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SheetMusicPlus
Piano,Vocal,Voice - Level 4 - Digital Download SKU: A0.1214664 By Sergei Rachmaninoff. By Sergei Rachmaninoff. Arranged by Russian for Singers. 19th Cent...
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Piano,Vocal,Voice - Level 4 - Digital Download SKU: A0.1214664 By Sergei Rachmaninoff. By Sergei Rachmaninoff. Arranged by Russian for Singers. 19th Century,20th Century,Classical,Opera,Romantic Period. Score. 5 pages. Natalia Melnik #811651. Published by Natalia Melnik (A0.1214664). Rachmaninoff. Отрывок из Ð.МюÑÑе / Otryvok iz A.Musset / A Fragment from A.Musset (Loneliness) Op 21 No.6. Lower keyRange:B4 - G5 (Mezzo-Soprano)B3 - G4 (Baritone)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/s-rachmaninoff-a-fragment-from-a-musset-op-21-n6-lower-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 and watch the free diction guidehttps://youtu.be/07F1pnT908o
$8.50
Siryen' / Siren' / The Lilacs Op.21 No.5 Lower Key (F) DICTION SCORE with IPA and translation
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Piano, Vocal and Guitar
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INTERMEDIATE/ADVANCED
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Opera
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Classical
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Sergei Rachmaninoff
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Russian for Singers
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Siryen' / Siren' / The Lilacs
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Natalia Melnik
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SheetMusicPlus
Guitar,Piano,Vocal,Voice - Level 4 - Digital Download SKU: A0.505743 By Sergei Rachmaninoff. By Sergei Rachmaninoff. Arranged by Russian for Singers. Cla...
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Guitar,Piano,Vocal,Voice - Level 4 - Digital Download SKU: A0.505743 By Sergei Rachmaninoff. By Sergei Rachmaninoff. Arranged by Russian for Singers. Classical,Opera,Romantic Period. Score. 3 pages. Natalia Melnik #117403. Published by Natalia Melnik (A0.505743). S. Rachmaninoff. Сирень / Siryen' / Siren' / The Lilacs Op.21 No.5.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) is available at https://www.russian4singers.com/product-page-2/s-rachmaninoff-lilacs-op-21-n5-lower-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
Holst: A Somerset Rhapsody Op.21 - symphonic wind dectet
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Classical
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Contemporary
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Gustav Holst
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Ray Thompson
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Holst: A Somerset Rhapsody Op.
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RayThompsonMusic
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SheetMusicPlus
A Clarinet,Bassoon,Double Bass,Flute,Horn,Oboe,Piccolo - Level 4 - Digital Download SKU: A0.1319293 Composed by Gustav Holst. Arranged by Ray Thompson. 2...
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A Clarinet,Bassoon,Double Bass,Flute,Horn,Oboe,Piccolo - Level 4 - Digital Download SKU: A0.1319293 Composed by Gustav Holst. Arranged by Ray Thompson. 20th Century,Chamber,Folk. 50 pages. RayThompsonMusic #907927. Published by RayThompsonMusic (A0.1319293). A Somerset Rhapsody Op.21Arranged symphonic wind dectet/bass(Double wind quintet)NB Clarinets in A as in original orchestra (Parts in Bb also provided)Holst: A Somerset Rhapsody, Op. 21, was composed by Gustav HOLST in 1906, and was dedicated to Cecil Sharp, the renowned collector of English folksong music. It began as a work for orchestra called Folk Songs of Somerset, making use of 10 songs from the collections of Sharp. That work (on manuscript)was rediscovered in 2017 in New Zealand Holst reworked four of the tunes from that piece into the Rhapsody:The Sheep-Shearing Song (also known as It’s a Rosebud in June), invokes idyllic pastoral settings and is played at the beginning by the oboe d’amore (English Horn in the wind band version). High Germany, is a song about marching off to war, and is also used by Holst’s colleague, Ralph Vaughan Williams, in his own Folk Song Suite.True Love’s Farewell, is a song about lovers saying goodbye, and is sometimes also known as Ten Thousand Miles. The final tune used is The Cuckoo.Curiously, The Cuckoo does not seem to be recognised as one of the folk tunes used in this piece...the program note in the transcription refers only to the three other folk melodies, and many program notes omit any reference to The Cuckoo whatsoever.Though not a programmatic work, the composer once divulged to a colleague that the work told a story:Into a quiet country scene comes the sound of approaching soldiers. A youth who is courting a girl is persuaded to enlist and go to war. The soldiers march into the distance and the pastoral quietness returns. The girl is left alone.â€It works well for wind dectet.
$24.95
Op. 21, No. 3: Le Matin au bord de la mer from Songs of Gouvy, V2 (Downloadable)
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Piano, Voice
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INTERMEDIATE
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MeeAe Cecilia Nam and Theodore
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Op. 21, No. 3: Le Matin au bor
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E. C. Schirmer Music Company - Digital
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SheetMusicPlus
Voice and piano - Medium - Digital Download SKU: MQ.8492-21E Composed by MeeAe Cecilia Nam and Theodore Gouvy. Instrument part. 5 pages. E. C. Schirmer M...
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Voice and piano - Medium - Digital Download SKU: MQ.8492-21E Composed by MeeAe Cecilia Nam and Theodore Gouvy. Instrument part. 5 pages. E. C. Schirmer Music Company - Digital #8492-21E. Published by E. C. Schirmer Music Company - Digital (MQ.8492-21E). 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
Op. 21, No. 5: Feuilles qui chuchotez from Songs of Gouvy, V2 (Downloadable)
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Piano, Voice
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INTERMEDIATE
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MeeAe Cecilia Nam and Theodore
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Op. 21, No. 5: Feuilles qui ch
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E. C. Schirmer Music Company - Digital
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SheetMusicPlus
Voice and piano - Medium - Digital Download SKU: MQ.8492-23E Composed by MeeAe Cecilia Nam and Theodore Gouvy. Instrument part. 9 pages. E. C. Schirmer M...
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Voice and piano - Medium - Digital Download SKU: MQ.8492-23E Composed by MeeAe Cecilia Nam and Theodore Gouvy. Instrument part. 9 pages. E. C. Schirmer Music Company - Digital #8492-23E. Published by E. C. Schirmer Music Company - Digital (MQ.8492-23E). 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
Op. 21, No. 4: Dans les bois from Songs of Gouvy, V2 (Downloadable)
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Piano, Voice
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INTERMEDIATE
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MeeAe Cecilia Nam and Theodore
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Op. 21, No. 4: Dans les bois f
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E. C. Schirmer Music Company - Digital
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SheetMusicPlus
Voice and piano - Medium - Digital Download SKU: MQ.8492-22E Composed by MeeAe Cecilia Nam and Theodore Gouvy. Instrument part. 5 pages. E. C. Schirmer M...
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Voice and piano - Medium - Digital Download SKU: MQ.8492-22E Composed by MeeAe Cecilia Nam and Theodore Gouvy. Instrument part. 5 pages. E. C. Schirmer Music Company - Digital #8492-22E. Published by E. C. Schirmer Music Company - Digital (MQ.8492-22E). 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
Op. 21, No. 6: Amour brisé from Songs of Gouvy, V2 (Downloadable)
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Piano, Voice
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INTERMEDIATE
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MeeAe Cecilia Nam and Theodore
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Op. 21, No. 6: Amour brisé fr
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E. C. Schirmer Music Company - Digital
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SheetMusicPlus
Voice and piano - Medium - Digital Download SKU: MQ.8492-24E Composed by MeeAe Cecilia Nam and Theodore Gouvy. Instrument part. 5 pages. E. C. Schirmer M...
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Voice and piano - Medium - Digital Download SKU: MQ.8492-24E Composed by MeeAe Cecilia Nam and Theodore Gouvy. Instrument part. 5 pages. E. C. Schirmer Music Company - Digital #8492-24E. Published by E. C. Schirmer Music Company - Digital (MQ.8492-24E). 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
Op. 21, No. 2: Consolation from Songs of Gouvy, V2 (Downloadable)
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Piano, Voice
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INTERMEDIATE
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MeeAe Cecilia Nam and Theodore
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Op. 21, No. 2: Consolation fro
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E. C. Schirmer Music Company - Digital
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SheetMusicPlus
Voice and piano - Medium - Digital Download SKU: MQ.8492-20E Composed by MeeAe Cecilia Nam and Theodore Gouvy. Instrument part. 4 pages. E. C. Schirmer M...
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Voice and piano - Medium - Digital Download SKU: MQ.8492-20E Composed by MeeAe Cecilia Nam and Theodore Gouvy. Instrument part. 4 pages. E. C. Schirmer Music Company - Digital #8492-20E. Published by E. C. Schirmer Music Company - Digital (MQ.8492-20E). 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
Op. 21, No. 1: À L’Absente from Songs of Gouvy, V2 (Downloadable)
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Piano, Voice
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INTERMEDIATE
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MeeAe Cecilia Nam and Theodore
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Op. 21, No. 1: À L’Absente
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E. C. Schirmer Music Company - Digital
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SheetMusicPlus
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 M...
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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
Wedding Processional, Op. 21 for String Quartet
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String Quartet: 2 violins, viola, cello
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INTERMEDIATE/ADVANCED
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Alexander Glazunov
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Joel Jacklich (A
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Wedding Processional, Op. 21 f
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Joel Jacklich
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SheetMusicPlus
String Quartet Cello,String Quartet,Viola,Violin - Level 4 - Digital Download SKU: A0.1073447 Composed by Alexander Glazunov. Arranged by Joel Jacklich (...
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String Quartet Cello,String Quartet,Viola,Violin - Level 4 - Digital Download SKU: A0.1073447 Composed by Alexander Glazunov. Arranged by Joel Jacklich (A.S.C.A.P.). Romantic Period,Wedding. Score and parts. 21 pages. Joel Jacklich #677698. Published by Joel Jacklich (A0.1073447). Alexander Glazunov’s Wedding Processional, Op. 21, (1889), here arranged for string quartet by Joel Jacklich (A.S.C.A.P.), providing a welcome change from the traditional Wagner and Mendelssohn when looking for wedding marches.
$12.99
Wieniawski Polonaise No. 2 Op 21 for Violin and String Orchestra
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String Orchestra
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INTERMEDIATE/ADVANCED
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Classical
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Henri Wieniawski
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Paul Wood
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Wieniawski Polonaise No. 2 Op
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MyMusicScores.com
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SheetMusicPlus
String Orchestra - Level 4 - Digital Download SKU: A0.1386062 Composed by Henri Wieniawski. Arranged by Paul Wood. Romantic Period. 65 pages. MyMusicScor...
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String Orchestra - Level 4 - Digital Download SKU: A0.1386062 Composed by Henri Wieniawski. Arranged by Paul Wood. Romantic Period. 65 pages. MyMusicScores.com #970008. Published by MyMusicScores.com (A0.1386062). Henri Wieniawski composed two Polonaises The Polonaise No. 1, Op.4 in D-major, emerges as a youthful endeavor, while the Op.21 in A-major stands as one of his final compositions.Completed in 1870, the Polonaise in A-major debuted with orchestral accompaniment in St. Petersburg, followed by a piano-accompanied performance in Warsaw, showcasing Wieniawski's adaptability. The piece received critical acclaim from its inception, lauded as a magnificent piece, a sentiment echoed in subsequent reviews across Russian and Western European publications.Published by Schott Publishers in Mainz around 1875, the Polonaise in A-major reveals a well-developed concert piece. The solo violin assumes a dominant role, with the orchestra primarily providing harmonic support. The middle fragment introduces contrast through a change in key and tempo, featuring a balanced dialogue between the instruments.The PDF document includes both the score and individual instrument parts.
$24.99
Wieniawski Polonaise No. 2 Op 21 for Violin and Orchestra
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Orchestra
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INTERMEDIATE/ADVANCED
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Classical
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Henri Wieniawski
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Paul Wood
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Wieniawski Polonaise No. 2 Op
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MyMusicScores.com
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SheetMusicPlus
Full Orchestra - Level 4 - Digital Download SKU: A0.1382116 Composed by Henri Wieniawski. Arranged by Paul Wood. Romantic Period. 118 pages. MyMusicScore...
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Full Orchestra - Level 4 - Digital Download SKU: A0.1382116 Composed by Henri Wieniawski. Arranged by Paul Wood. Romantic Period. 118 pages. MyMusicScores.com #966642. Published by MyMusicScores.com (A0.1382116). Henri Wieniawski composed two Polonaises The Polonaise No. 1, Op.4 in D-major, emerges as a youthful endeavor, while the Op.21 in A-major stands as one of his final compositions.Completed in 1870, the Polonaise in A-major debuted with orchestral accompaniment in St. Petersburg, followed by a piano-accompanied performance in Warsaw, showcasing Wieniawski's adaptability. The piece received critical acclaim from its inception, lauded as a magnificent piece, a sentiment echoed in subsequent reviews across Russian and Western European publications.Published by Schott Publishers in Mainz around 1875, the Polonaise in A-major reveals a well-developed concert piece. The solo violin assumes a dominant role, with the orchestra primarily providing harmonic support. The middle fragment introduces contrast through a change in key and tempo, featuring a balanced dialogue between the instruments.The PDF document includes both the score and individual instrument parts. To make navigation easy within the file, all instrument parts have been bookmarked for quick access.
$39.99
Petit Minuet in A minor, Op. 21
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Harp
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INTERMEDIATE
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Tyler J
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Petit Minuet in A minor, Op. 2
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TJHoltMusic
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SheetMusicPlus
Harp - Level 3 - Digital Download SKU: A0.1021628 Composed by Tyler J. Holt. 20th Century,Concert,Contemporary,Sacred,Standards. Score. 4 pages. TJHoltMu...
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Harp - Level 3 - Digital Download SKU: A0.1021628 Composed by Tyler J. Holt. 20th Century,Concert,Contemporary,Sacred,Standards. Score. 4 pages. TJHoltMusic #6137735. Published by TJHoltMusic (A0.1021628). Petit Minuet in A minor, Op. 21 was written for solo harp and is targeted primarily towards intermediate harpists. The piece is in ternary form, all of which are symmetrical in the length of phrasing. This piece was originally intended to be a part of the Sonata for Harp, Op. 17, but did not have the means to elaborate on the material at the time.Composed by Tyler J. HoltPublished by TJHoltMusicCopyright © Tyler J. Holt, Composer
$10.00
Spanish Dances, Op. 21 - No. 2 Habanera
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Violin
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INTERMEDIATE
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Classical
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Pablo de Sarasate
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Danses espagnoles, Op. 21, N°
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Tomplay
Download this music sheet with backing tracks recorded by professional musicians. Free Unlimited Access to 80,000 music sheets for 14 days (cancel anytime). Pla...
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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
5.99€
Spanish Dances, Op. 21 - No. 2 Habanera
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Piano solo
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INTERMEDIATE
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Classical
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Pablo de Sarasate
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Danses espagnoles, Op. 21, N°
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Tomplay
Download this music sheet with backing tracks recorded by professional musicians. Free Unlimited Access to 80,000 music sheets for 14 days (cancel anytime). Pla...
(+)
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
5.99€
Pot-pourri for Cello and Guitar Op. 21
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Cello, Guitar (duet)
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INTERMEDIATE
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Justus Johann Friedrich Dotzau
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Emanuele Buono, Josephine Vain
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Pot-pourri for Cello and Guita
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Artistic Score Engraving di Galvagno Michele
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SheetMusicPlus
Cello,Guitar,Instrumental Duet - Level 3 - Digital Download SKU: A0.1468192 Composed by Justus Johann Friedrich Dotzauer. Arranged by Emanuele Buono, Jos...
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Cello,Guitar,Instrumental Duet - Level 3 - Digital Download SKU: A0.1468192 Composed by Justus Johann Friedrich Dotzauer. Arranged by Emanuele Buono, Josephine Vains, and Michele Galvagno. 19th Century,Classical,Instructional,Romantic Period. 36 pages. Artistic Score Engraving di Galvagno Michele #1046502. Published by Artistic Score Engraving di Galvagno Michele (A0.1468192). The production for Cello and Guitar is, in general, quite scarce, and while one could be repelled from this instrumentation because of the potential sound balance issues, the actual result is, in truth, remarkable and surprising at the same time.During the 1810s, Dotzauer wrote three opuses involving the guitar, making us assume there could have been a player to serve as source for his inspiration. This Pot-pourri, Op. 21, composed around 1811 and marked for publication by Breitkopf & Härtel only in 1817, is a 9-minutes-long piece in five parts in the key of E minor. A dramatic, long introduction leads the way to a Gavotte-like Andante, whose melody is constantly varied and developed to put the singing qualities of the soloist in the spotlight. A dreaming Larghetto, in G major, prepares us for the coming back of the Andante, and for the closing, rushing Presto. This edition comes in a full score and cello part that closely follow Dotzauer’s instructions, plus several bonuses: A guitar part with annotations by Emanuele Buono, 1st-prize winner of the “Michele Pittaluga” competition in 2013Two additional cello parts, one with historical performance suggestions by Australian cellist Josephine Vains, and one with modern performance suggestions by Michele Galvagno.
$19.95
Chopin - Piano Concerto No. 2 Op.21 In F Minor II.Larghetto - Original With Fingering For Piano Solo
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Piano solo
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ADVANCED
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Classical
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Frédéric François Chopin
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poon
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Chopin - Piano Concerto No. 2
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poon
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SheetMusicPlus
Piano Solo - Level 5 - Digital Download SKU: A0.1452870 Composed by Frédéric François Chopin. Arranged by poon. Classical. Score. 13 pages. Poon #1032...
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Piano Solo - Level 5 - Digital Download SKU: A0.1452870 Composed by Frédéric François Chopin. Arranged by poon. Classical. Score. 13 pages. Poon #1032154. Published by poon (A0.1452870). Frédéric François Chopin - Piano Concerto No. 2 Op.21 In F Minor : II - Larghetto - Original With Fingering - For Piano Solo.
$2.99
Wie Ulfru fischt, by Schubert, Op.21 No.3, in f minor
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Piano, Voice
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INTERMEDIATE
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Classical
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Franz Schubert
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Editions Dao
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Wie Ulfru fischt, by Schubert,
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Editions Dao
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SheetMusicPlus
Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.1417632 Composed by Franz Schubert. Arranged by Editions Dao. Classical. Score. 7 pages. Editions ...
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Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.1417632 Composed by Franz Schubert. Arranged by Editions Dao. Classical. Score. 7 pages. Editions Dao #999171. Published by Editions Dao (A0.1417632). Wie Ulfru fischt by Schubert, Op.21 No.3, for Voice and Piano.7 Pages.
$6.69
Wie Ulfru fischt, by Schubert, Op.21 No.3, in d minor
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Piano, Voice
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INTERMEDIATE
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Classical
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Franz Schubert
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Editions Dao
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Wie Ulfru fischt, by Schubert,
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Editions Dao
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SheetMusicPlus
Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.1417629 Composed by Franz Schubert. Arranged by Editions Dao. Classical. Score. 7 pages. Editions ...
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Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.1417629 Composed by Franz Schubert. Arranged by Editions Dao. Classical. Score. 7 pages. Editions Dao #999167. Published by Editions Dao (A0.1417629). Wie Ulfru fischt by Schubert, Op.21 No.3, for Voice and Piano.7 Pages.
$6.69
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