| Concerto - Piano And Orchestra - Solo Part Schott
Piano and orchestra - difficult SKU: HL.49046544 For piano and orchest...(+)
Piano and orchestra -
difficult SKU:
HL.49046544 For
piano and orchestra.
Composed by Gyorgy
Ligeti. This edition:
Saddle stitching. Sheet
music. Edition Schott.
Softcover. Composed
1985-1988. Duration 24'.
Schott Music #ED23178.
Published by Schott Music
(HL.49046544). ISBN
9781705122655. UPC:
842819108726.
9.0x12.0x0.224
inches. I composed
the Piano Concerto in two
stages: the first three
movements during the
years 1985-86, the next
two in 1987, the final
autograph of the last
movement was ready by
January, 1988. The
concerto is dedicated to
the American conductor
Mario di Bonaventura. The
markings of the movements
are the following: 1.
Vivace molto ritmico e
preciso 2. Lento e
deserto 3. Vivace
cantabile 4. Allegro
risoluto 5. Presto
luminoso.The first
performance of the
three-movement Concerto
was on October 23rd, 1986
in Graz. Mario di
Bonaventura conducted
while his brother,
Anthony di Bonaventura,
was the soloist. Two days
later the performance was
repeated in the Vienna
Konzerthaus. After
hearing the work twice, I
came to the conclusion
that the third movement
is not an adequate
finale; my feeling of
form demanded
continuation, a
supplement. That led to
the composing of the next
two movements. The
premiere of the whole
cycle took place on
February 29th, 1988, in
the Vienna Konzerthaus
with the same conductor
and the same pianist. The
orchestra consisted of
the following: flute,
oboe, clarinet, bassoon,
horn, trumpet, tenor
trombone, percussion and
strings. The flautist
also plays the piccoIo,
the clarinetist, the alto
ocarina. The percussion
is made up of diverse
instruments, which one
musician-virtuoso can
play. It is more
practical, however, if
two or three musicians
share the instruments.
Besides traditional
instruments the
percussion part calls
also for two simple wind
instruments: the swanee
whistle and the
harmonica. The string
instrument parts (two
violins, viola, cello and
doubles bass) can be
performed soloistic since
they do not contain
divisi. For balance,
however, the ensemble
playing is recommended,
for example 6-8 first
violins, 6-8 second, 4-6
violas, 4-6 cellos, 3-4
double basses. In the
Piano Concerto I realized
new concepts of harmony
and rhythm. The first
movement is entirely
written in bimetry:
simultaneously 12/8 and
4/4 (8/8). This relates
to the known triplet on a
doule relation and in
itself is nothing new.
Because, however, I
articulate 12 triola and
8 duola pulses, an
entangled, up till now
unheard kind of polymetry
is created. The rhythm is
additionally complicated
because of asymmetric
groupings inside two
speed layers, which means
accents are
asymmetrically
distributed. These
groups, as in the talea
technique, have a fixed,
continuously repeating
rhythmic structures of
varying lengths in speed
layers of 12/8 and 4/4.
This means that the
repeating pattern in the
12/8 level and the
pattern in the 4/4 level
do not coincide and
continuously give a
kaleidoscope of renewing
combinations. In our
perception we quickly
resign from following
particular rhythmical
successions and that what
is going on in time
appears for us as
something static,
resting. This music, if
it is played properly, in
the right tempo and with
the right accents inside
particular layers, after
a certain time 'rises, as
it were, as a plane after
taking off: the rhythmic
action, too complex to be
able to follow in detail,
begins flying. This
diffusion of individual
structures into a
different global
structure is one of my
basic compositional
concepts: from the end of
the fifties, from the
orchestral works
Apparitions and
Atmospheres I
continuously have been
looking for new ways of
resolving this basic
question. The harmony of
the first movement is
based on mixtures, hence
on the parallel leading
of voices. This technique
is used here in a rather
simple form; later in the
fourth movement it will
be considerably
developed. The second
movement (the only slow
one amongst five
movements) also has a
talea type of structure,
it is however much
simpler rhythmically,
because it contains only
one speed layer. The
melody is consisted in
the development of a
rigorous interval mode in
which two minor seconds
and one major second
alternate therefore nine
notes inside an octave.
This mode is transposed
into different degrees
and it also determines
the harmony of the
movement; however, in
closing episode in the
piano part there is a
combination of diatonics
(white keys) and
pentatonics (black keys)
led in brilliant,
sparkling quasimixtures,
while the orchestra
continues to play in the
nine tone mode. In this
movement I used isolated
sounds and extreme
registers (piccolo in a
very low register,
bassoon in a very high
register, canons played
by the swanee whistle,
the alto ocarina and
brass with a harmon-mute'
damper, cutting sound
combinations of the
piccolo, clarinet and
oboe in an extremely high
register, also
alternating of a
whistle-siren and
xylophone). The third
movement also has one
speed layer and because
of this it appears as
simpler than the first,
but actually the rhythm
is very complicated in a
different way here. Above
the uninterrupted, fast
and regular basic pulse,
thanks to the asymmetric
distribution of accents,
different types of
hemiolas and inherent
melodical patterns appear
(the term was coined by
Gerhard Kubik in relation
to central African
music). If this movement
is played with the
adequate speed and with
very clear accentuation,
illusory
rhythmic-melodical
figures appear. These
figures are not played
directly; they do not
appear in the score, but
exist only in our
perception as a result of
co-operation of different
voices. Already earlier I
had experimented with
illusory rhythmics,
namely in Poeme
symphonique for 100
metronomes (1962), in
Continuum for harpsichord
(1968), in Monument for
two pianos (1976), and
especially in the first
and sixth piano etude
Desordre and Automne a
Varsovie (1985). The
third movement of the
Piano Concerto is up to
now the clearest example
of illusory rhythmics and
illusory melody. In
intervallic and chordal
structure this movement
is based on alternation,
and also inter-relation
of various modal and
quasi-equidistant harmony
spaces. The tempered
twelve-part division of
the octave allows for
diatonical and other
modal interval
successions, which are
not equidistant, but are
based on the alternation
of major and minor
seconds in different
groups. The tempered
system also allows for
the use of the
anhemitonic pentatonic
scale (the black keys of
the piano). From
equidistant scales,
therefore interval
formations which are
based on the division of
an octave in equal
distances, the
twelve-tone tempered
system allows only
chromatics (only minor
seconds) and the six-tone
scale (the whole-tone:
only major seconds).
Moreover, the division of
the octave into four
parts only minor thirds)
and three parts (three
major thirds) is
possible. In several
music cultures different
equidistant divisions of
an octave are accepted,
for example, in the
Javanese slendro into
five parts, in Melanesia
into seven parts, popular
also in southeastern
Asia, and apart from
this, in southern Africa.
This does not mean an
exact equidistance: there
is a certain tolerance
for the inaccurateness of
the interval tuning.
These exotic for us,
Europeans, harmony and
melody have attracted me
for several years.
However I did not want to
re-tune the piano
(microtone deviations
appear in the concerto
only in a few places in
the horn and trombone
parts led in natural
tones). After the period
of experimenting, I got
to pseudo- or
quasiequidistant
intervals, which is
neither whole-tone nor
chromatic: in the
twelve-tone system, two
whole-tone scales are
possible, shifted a minor
second apart from each
other. Therefore, I
connect these two scales
(or sound resources), and
for example, places occur
where the melodies and
figurations in the piano
part are created from
both whole tone scales;
in one band one six-tone
sound resource is
utilized, and in the
other hand, the
complementary. In this
way whole-tonality and
chromaticism mutually
reduce themselves: a type
of deformed
equidistancism is formed,
strangely brilliant and
at the same time
slanting; illusory
harmony, indeed being
created inside the
tempered twelve-tone
system, but in sound
quality not belonging to
it anymore. The
appearance of such
slantedequidistant
harmony fields
alternating with modal
fields and based on
chords built on fifths
(mainly in the piano
part), complemented with
mixtures built on fifths
in the orchestra, gives
this movement an
individual, soft-metallic
colour (a metallic sound
resulting from
harmonics). The fourth
movement was meant to be
the central movement of
the Concerto. Its
melodc-rhythmic elements
(embryos or fragments of
motives) in themselves
are simple. The movement
also begins simply, with
a succession of
overlapping of these
elements in the mixture
type structures. Also
here a kaleidoscope is
created, due to a limited
number of these elements
- of these pebbles in the
kaleidoscope - which
continuously return in
augmentations and
diminutions. Step by
step, however, so that in
the beginning we cannot
hear it, a compiled
rhythmic organization of
the talea type gradually
comes into daylight,
based on the simultaneity
of two mutually shifted
to each other speed
layers (also triplet and
duoles, however, with
different asymmetric
structures than in the
first movement). While
longer rests are
gradually filled in with
motive fragments, we
slowly come to the
conclusion that we have
found ourselves inside a
rhythmic-melodical whirl:
without change in tempo,
only through increasing
the density of the
musical events, a
rotation is created in
the stream of successive
and compiled, augmented
and diminished motive
fragments, and increasing
the density suggests
acceleration. Thanks to
the periodical structure
of the composition,
always new but however of
the same (all the motivic
cells are similar to
earlier ones but none of
them are exactly
repeated; the general
structure is therefore
self-similar), an
impression is created of
a gigantic, indissoluble
network. Also, rhythmic
structures at first
hidden gradually begin to
emerge, two independent
speed layers with their
various internal
accentuations. This
great, self-similar whirl
in a very indirect way
relates to musical
associations, which came
to my mind while watching
the graphic projection of
the mathematical sets of
Julia and of Mandelbrot
made with the help of a
computer. I saw these
wonderful pictures of
fractal creations, made
by scientists from Brema,
Peitgen and Richter, for
the first time in 1984.
From that time they have
played a great role in my
musical concepts. This
does not mean, however,
that composing the fourth
movement I used
mathematical methods or
iterative calculus;
indeed, I did use
constructions which,
however, are not based on
mathematical thinking,
but are rather craftman's
constructions (in this
respect, my attitude
towards mathematics is
similar to that of the
graphic artist Maurits
Escher). I am concerned
rather with intuitional,
poetic, synesthetic
correspondence, not on
the scientific, but on
the poetic level of
thinking. The fifth, very
short Presto movement is
harmonically very simple,
but all the more
complicated in its
rhythmic structure: it is
based on the further
development of ''inherent
patterns of the third
movement. The
quasi-equidistance system
dominates harmonically
and melodically in this
movement, as in the
third, alternating with
harmonic fields, which
are based on the division
of the chromatic whole
into diatonics and
anhemitonic pentatonics.
Polyrhythms and harmonic
mixtures reach their
greatest density, and at
the same time this
movement is strikingly
light, enlightened with
very bright colours: at
first it seems chaotic,
but after listening to it
for a few times it is
easy to grasp its
content: many autonomous
but self-similar figures
which crossing
themselves. I present my
artistic credo in the
Piano Concerto: I
demonstrate my
independence from
criteria of the
traditional avantgarde,
as well as the
fashionable
postmodernism. Musical
illusions which I
consider to be also so
important are not a goal
in itself for me, but a
foundation for my
aesthetical attitude. I
prefer musical forms
which have a more
object-like than
processual character.
Music as frozen time, as
an object in imaginary
space evoked by music in
our imagination, as a
creation which really
develops in time, but in
imagination it exists
simultaneously in all its
moments. The spell of
time, the enduring its
passing by, closing it in
a moment of the present
is my main intention as a
composer. (Gyorgy
Ligeti). $34.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Watermelon Sugar Ensemble De Flûte à bec - Intermédiaire De Haske Publications
Recorder Ensemble, Piano Acc., Guitar, Percussion - intermediate SKU: BT.DHP-...(+)
Recorder Ensemble, Piano
Acc., Guitar, Percussion
- intermediate SKU:
BT.DHP-1216339-070
Arranged by Ralf
Bienioschek. De Haske
Recorder Series. Pop and
Rock. Set (Score and
Parts). Composed 2021. De
Haske Publications #DHP
1216339-070. Published by
De Haske Publications
(BT.DHP-1216339-070).
ISBN 9789043161039.
English-German-French-Dut
ch. Harry Styles'
Watermelon Sugar
was a summer hit in 2020
and proved to be a fun
song to groove to! This
arrangement was made by
the renowned German
recorder soloist and
teacher Ralf Bienioschek
for his special Ralf
Bienioschek Signature
Editionâ?? series. The
arrangement is for a
standard quartet of
Soprano, Alto, Tenor and
Great Bass Recorder, with
additional parts provided
Bass Recorder and Sub
Bass (Contrabass)
Recorder. Optional parts
for (Electric) Piano,
(Electric) Guitar,
Western Guitar, Electric
Bass Guitar, (Electric)
Drum Set, Cajon/Shaker,
Cowbell and a playback
(available on our website
www.bandmusicshop.com)
are also included. You
can also find a Score
Play demo and a How to
play video on our YouTube
channel Hal Leonard
Europe Ensemble. There
are several ways to play
the song. In principle,
many options are
conceivable, e.g. - with
a band: (E)-Piano,
(E)-Guitar, Western
Guitar, E-Bass Guitar,
(E)-Drum Set, Cowbell -
with an acoustic band:
Western Guitar, E-Bass
Guitar, Cajon/Shaker,
Cowbell - or just with
the Recorders, a Western
Guitar and with (or
without) the playback.
Have fun with it!
Watermelon
Sugar van Harry
Styles, een groovy song
waar het plezier van
afstraalt, was in 2020
een grote zomerhit. Dit
arrangement werd
geschreven door de
gerenommeerde Duitse
blokfluitsolist en
-docent Ralf Bienioschek,
speciaal voor zijn serie
Ralf Bienioschek
Signature Edition. Het
arrangement is geschreven
voor een standaardkwartet
van sopraan-, alt-,
tenor- en
grootbasblokfluit, met
aanvullende partijen voor
basblokfluit en
contrabasblokfluit. Er
worden ook optionele
partijen voor
(elektrische) piano,
(elektrische) gitaar,
westerngitaar,
elektrische basgitaar,
(elektrische) drumset,
cajon/shaker, cowbell en
een playbackversie
(beschikbaar op onze
website
www.bandmusicshop.com)
meegeleverd. Op ons
YouTube-kanaal Hal
Leonard Europe Ensemble
zijn een demo met
partituur en een How to
play-video te vinden. Er
zijn verschillende
opzetten mogelijk om de
song te spelen,
bijvoorbeeld - met een
band: (e)-piano,
(e)-gitaar,
westerngitaar,
e-basgitaar, (e)-drumset,
cowbell - met een
akoestische band:
westerngitaar,
e-basgitaar,
cajon/shaker, cowbell -
of met alleen de
blokfluiten, een
westerngitaar en met (of
zonder) de
playbackversie. Heel veel
plezier!
Harry
Styles' Song
Watermelon Sugar
war 2020 ein Sommerhit
und es macht einfach
SpaÃ?, den Song zu
spielen. Der renommierte
deutsche Blockflötist
und Lehrer Ralf
Bienioschek hat dieses
Arrangement für seine
Serie Ralf Bienioschek
Signature Editionâ??
erstellt. Das Arrangement
ist für ein
Standardquartett mit
Sopran-, Alt-, Tenor- und
Gro�bassblockflöte
gedacht, mit
zusätzlichen Stimmen
für Bassblockflöte und
Subbassblockflöte.
Optionale Stimmen für
(elektronisches) Klavier,
(elektrische) Gitarre,
Westerngitarre, E-Bass,
(elektronisches) Drumset,
Cajón/Shaker, Cowbell
und ein Play-back
(verfügbar auf unserer
Website
www.bandmusicshop.com)
sind ebenfalls enthalten.
Auf unserem YouTube-Kanal
Hal Leonard Europe
Ensemble finden Sie auch
ein Score Play Demoâ??
(Partitur mit
Probeaufnahme) und ein
How to playâ??-Video
(Erklärvideo zu dem
Arrangement). Es gibt
unterschiedliche
Besetzungsmöglichkeiten,
um den Song zu spielen,
z. B.: - mit einer Band:
(E-)Piano, (E-)Gitarre,
Westerngitarre, E-Bass,
(E-)Drumset, Cowbell -
mit einer Akustikband:
Westerngitarre, E-Bass,
Cajón/Shaker, Cowbell -
oder einfach nur mit
Blockflöten, einer
Westerngitarre und mit
(oder ohne) Play-back
Viel SpaÃ? beim
Musizieren!
Watermelon
Sugar, la chanson de
Harry Styles, est un tube
de lâ??été 2020 et son
rythme funky est
irrésistible. Cet
arrangement a été
réalisé par Ralf
Bienioschek, un célèbre
soliste et professeur de
fl te bec allemand, pour
sa série « Ralf
Bienioschek Signature
Edition ».
Lâ??arrangement est
destiné un quatuor
standard comprenant
soprano, alto, ténor et
grande-basse, avec des
parties supplémentaires
fournies pour basse et
soubasse (contrebasse).
Le présent ouvrage
comprend des parties
optionnelles pour piano
(électrique), guitare
(électrique), guitare
western, basse
électrique, batterie
(électronique),
cajon/shaker, cloche et
un play-back (tous
disponibles sur notre
site web
www.bandmusicshop.com).
Vous trouverez aussi une
démo Score Play et une
vidéo « Comment jouer
» sur notre chaîne
YouTube Hal Leonard
Europe Ensemble. Cette
pièce peut être
interprétée de
différentes manières.
En principe, de
nombreuses options
sâ??offrent vous, par
exemple : - avec un
groupe amplifié:
clavier, guitare et basse
électriques, guitare
western, batterie
électronique, cloche -
avec un groupe
acoustique: guitare
western, basse
électrique,
cajon/shaker, cloche - ou
simplement fl tes bec et
guitare western avec ou
sans le play-back.
Jâ??espère que vous
prendrez plaisir jouer
cet arrangement ! $24.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Amazing Solos Saxophone Alto et Piano Boosey and Hawkes
Alto Sax and Piano. By Howard Harrison. (Saxophone). Boosey and Hawkes Chamber ...(+)
Alto Sax and Piano. By
Howard Harrison.
(Saxophone). Boosey and
Hawkes Chamber Music. 17
pages. Published by
Boosey and Hawkes.
$22.99 - Voir plus => Acheter | | |
| More Classical Highlights Quatuor à cordes: 2 violons, alto, violoncelle De Haske Publications
String Quartet or String Orchestra - easy SKU: BT.DHP-1135315-070 Arrange...(+)
String Quartet or String
Orchestra - easy SKU:
BT.DHP-1135315-070
Arranged by Nico Dezaire.
De Haske String Orchestra
Series. Set (Score and
Parts). De Haske
Publications #DHP
1135315-070. Published by
De Haske Publications
(BT.DHP-1135315-070).
ISBN 9789043146814.
9x12 inches.
English-German-French-Dut
ch. More
Classical Highlights
is the follow-up to
Classical
Highlights, a
collection featuring
arrangements of classical
themes dating from the
17th century up to
the19th century. The
parts are quite easy and
attractively written, but
the arrangements stay as
faithful as possible to
the original works.
Baroque music is
represented with two
highlights: the
well-known Canon
by Pachelbel may well be
the most performed 17th
century composition. The
power of the piece lies
in a bass line of only
eight notes, above which
the melodic line of the
round itself develops.
Réjouissance from
Music for the Royal
Fireworks is a very
joyful composition bythe
Anglo-German baroque
composer Handel. The 18th
century classical style
gives us the refined
minuet by
Boccherini, the Italian
composer who wrote a
wealth of chamber music.
The 19th century features
in three famous works:
the lively Marche
Militaire No 1 by the
Austrian composer
Schubert originates from
3 Marches
Militaires for
four-handed piano. The
Can Can from
Orphée aux enfers
(Orpheus in the
Underworld) is the
best-known separately
performed piece by the
operetta composer
Offenbach. Following this
exciting dance music
there is the beautiful,
lofty Largo theme
from the second movement
of Czech composer
Dvorákâ??s From the
New World Symphony.
In short: Six varying
arrangements -
challenging and very
suitable for
performances!
More Classical
Highlights is het
vervolg op Classical
Highlights, een
verzameling arrangementen
van klassieke thema´s
die dateren uit de
periode van de 17e eeuw
tot en met de 19e eeuw.
De partijen zijn
eenvoudig en
aantrekkelijk geschreven;
tegelijkertijd blijven de
arrangementen dicht bij
het origineel. De
barokmuziek is
vertegenwoordigd met twee
highlights. De bekende
Canon van
Pachelbel is wellicht de
meest gespeelde
17e-eeuwse compositie. De
kracht ervan ligt in een
baslijn van slechts acht
noten waarboven zich het
lijnenspel van de canon
ontspint.
Réjouissance uit
Music for the Royal
Fireworks is een zeer
opgewekte compositie van
deDuits-Engelse
barokcomponist Händel.
De 18e-eeuwse klassieke
stijl horen we terug in
het verfijnde
menuet van
Boccherini, een
Italiaanse componist die
een schat aan kamermuziek
schreef. De 19e eeuw komt
naar voren in drie
beroemde stukken. De
uitbundige Marche
militaire nr. 1 van
de Oostenrijkse componist
Schubert komt uit 3
Marches militaires
voor vierhandig piano. De
Can Can uit
Orphée aux enfers
(Orpheus in de
onderwereld) is het
beroemdste afzonderlijk
uitgevoerde stuk van de
operettecomponist
Offenbach. Na deze
opzwepende dansmuziek
volgt het prachtige,
gedragen thema uit het
tweede deel van de
symfonie Uit de nieuwe
wereld met de titel
Largo, van de hand
van de Tsjechische
componist Dvorák.
Kortom: zes zeer
afwisselende
arrangementen, uitdagend
en uitermate geschikt
voor uitvoeringen!
More Classical
Highlights ist die
Fortsetzung von
Classical
Highlights, einer
Sammlung von Arrangements
klassischer Themen aus
der Zeit vom 17. bis zum
19. Jahrhundert. Die
Stimmen sind recht
einfach gehalten und
reizvoll ausgearbeitet;
zugleich sind die
Arrangements nah an den
Originalstu cken. Der
Barock ist mit zwei
musikalischen
Höhepunkten vertreten:
Der bekannte Canon
von Pachelbel ist
vielleicht die meist
gespielte Komposition aus
dem 17. Jahrhundert. Die
Kraft dieses Stu ckes
liegt in einer Basslinie
aus nur acht Noten, u ber
der sich das eigentliche
Gefu ge des Kanons
entwickelt.
Réjouissance aus
der
Feuerwerksmusik
ist einesehr fröhliche
Komposition des
deutsch-englischen
Barockkomponisten
Händel. Ein Kleinod der
Klassik aus dem 18.
Jahrhundert ist das
raffinierte
Menuett von
Boccherini, einem
italienischen
Komponisten, der einen
groÃ?en Schatz an
Kammermusik schrieb. Das
19. Jahrhundert ist mit
drei beru hmten Werken
vertreten: Der lebhafte
Marche militaire No.
1 des Ã?sterreichers
Schubert stammt aus 3
Marches militaires fu
r Klavier zu vier
Händen. Der
Can-Can aus
Orphée aux enfers
(Orpheus in der
Unterwelt) ist das beru
hmteste separat aufgefu
hrte Stu ck des
Operettenkomponisten
Offenbach. Nach dieser
mitreiÃ?enden Tanzmusik
folgt ein schönes,
erhabenes Thema aus dem
zweiten Satz der
Sinfonie Aus der Neuen
Welt mit dem Titel
Largo aus der
Feder des tschechischen
Komponisten Dvorák.
More Classical
Highlights, qui fait
suite au recueil
Classical
Highlights, rassemble
une collection
dâ??arrangements de
thèmes classiques
couvrant une période de
trois siècles, du XVIIe
au XIXe siècle. Les
diverses parties
instrumentales sont
faciles et agréables
jouer, mais les
arrangements restent
néanmoins fidèles aux
compositions originales.
La musique baroque est
représentée par deux
oeuvres toujours
appréciées. Parmi
toutes les compositions
du XVIIe siècle, le
célèbre Canon de
Pachelbel est peut-être
celle que lâ??on entend
le plus souvent. Sa
puissance réside dans
une simple ligne de basse
de huit notes par-dessus
laquelle se développe le
motif ducanon lui-même.
Réjouissance,
tirée de Music for
the Royal Fireworks,
est une pièce très
enjouée du compositeur
baroque anglo-allemand
Haendel. Le style
classique du XVIIIe
siècle est inclus sous
la forme dâ??un élégant
menuet de
Boccherini, un
compositeur italien qui a
écrit une quantité de
musique de chambre. Le
XIXe siècle est évoqué
par trois oeuvres
célèbres. La dynamique
Marche militaire n°
1, du compositeur
autrichien Schubert,
extrait des Trois
marches militaires
pour piano quatre mains.
Le Cancan
dâ??Orphée aux
enfers est la plus
connue des oeuvres
dâ??Offenbach, célèbre
pour ses opérettes.
Cette danse endiablée
est suivie du
Largo, admirable
thème du deuxième
mouvement de la
Symphonie du Nouveau
Monde, du compositeur
tchèque Dvorák. En
résumé : six
arrangements variés,
stimulants et parfaits
pour être interprétés
en concert ! $44.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| O Salutaris Contralto Ou Basse/orgue Ou Piano (ed Origin) Piano, Voix Durand
Vocal and Piano (Voice and Piano) SKU: HL.50572404 Composed by Camille Sa...(+)
Vocal and Piano (Voice
and Piano) SKU:
HL.50572404 Composed
by Camille Saint-Saens.
Editions Durand.
Classical. Score Only.
Composed 2001. Editions
Durand #DF3348. Published
by Editions Durand
(HL.50572404).
$8.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
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