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Opera Non classifié 308 Piano & claviers Piano, Voix 410 Piano Facile 143 Piano seul 128 Piano, Voix et Guitare 79 Instruments en Do 24 1 Piano, 4 mains 12 Piano Trio: piano, violon, violoncelle 4 Piano grosses notes 4 2 Pianos, 4 mains 3 Accordéon, Voix 2 Piano Quatuor: piano, violon, alto, violoncelle 2 Orgue 2 Piano Quintette: piano, 2 violons, alto, violoncelle 1 Clavecin 1 Piano Quatuor: piano, 2 violons, violoncelle 1 Vents Flûte traversière et Piano 74 Clarinette et Piano 67 Hautbois, Piano (duo) 55 Saxophone Alto et Piano 35 Clarinette 33 Quatuor de Saxophones: 4 saxophones 32 Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor 29 Flûte traversière 26 Saxophone Soprano et Piano 22 Hautbois (partie séparée) 20 Quatuor de Flûtes : 4 flûtes 17 Quatuor de Clarinettes: 4 clarinettes 16 2 Saxophones (duo) 15 2 Flûtes traversières (duo) 15 Cor anglais, Piano 13 Flûte, Hautbois, Clarinette, Basson 12 Saxophone Tenor et Piano 11 Quintette de Clarinettes: 5 clarinettes 8 2 Clarinettes (duo) 8 Ensemble de Clarinettes 7 Quintette de Saxophone: 5 saxophones 6 3 Saxophones (trio) 6 Ensemble de Flûtes 5 Saxophone Alto 5 3 Clarinettes (trio) 5 Quintette de Flûte : 5 flûtes 4 2 Saxophones, Piano 4 Saxophone Baryton, Piano 4 Hautbois, Clarinette, Basson (trio d'anches) 4 Flûte, Clarinette (duo) 4 Saxophone Tenor 3 5 Flûtes à bec 3 Trio de Flûtes: 3 flûtes 3 Clarinette Basse, Piano 3 Hautbois, Basson (duo) 2 Flûte à Bec 2 Flûte et Guitare 2 Saxophone (partie séparée) 2 Flûte, Clarinette, Piano (trio) 2 Flûte, Clarinette et Basson 2 Clarinette, Basson (duo) 2 Quatuor de Flûtes à bec 2 Flûte, Hautbois, Basson 2 Clarinette, Violoncelle (duo) 2 2 Flûte à bec (duo) 2 Saxophone, Clarinette (duo) 2 2 Hautbois (duo) 2 Flûte, Hautbois, Piano (trio) 1 2 Flûtes traversières, Piano 1 Flûte traversière, Basse continue 1 Ensemble de saxophones 1 Flûte, Violon et Violoncelle 1 Flûte à bec, Guitare (duo) 1 Clarinette, Violon (duo) 1 3 Flûtes à bec (trio) 1 Flûte de Pan 1 Quintette de Clarinette: Clarinette, Quatuor à Cordes 1 Flûte à bec Alto 1 Hautbois, Harpe 1 Flûte, Violoncelle 1 Saxophone 1 Flûte, Saxophone (duo) 1 Clarinette, Harpe (duo) 1 2 Flûtes à bec, Guitare 1 Flûte, Violon 1 Piccolo, Piano 1 Flûte, Violon, Piano 1 Clarinette (partie séparée) 1 2 Clarinettes, Piano 1 Flûte à bec Soprano 1 Flûte, Hautbois, Clarinette (trio) 1 Clarinette, Trompette (duo) 1 Flûte à Bec, Piano 1 Cuivres Cor et Piano 46 Cor 41 Trompette, Piano 40 Trombone et Piano 38 Trompette 34 Tuba et Piano 27 Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba 24 Quatuor de Cuivres : 2 trompettes, trombone, tuba 19 Tuba 18 Trombone 18 Cor anglais, Piano 13 Ensemble de Trombones 9 2 Trombones (duo) 8 Euphonium, Piano (duo) 7 Quatuor de cuivres: 4 trombones 7 Ensemble de Trompettes 4 2 Trompettes (duo) 4 Ensemble de Cors 3 Quatuor de cuivres: 4 cors 3 Trompette, Trombone (duo) 3 Quatuor de cuivres: 4 trompettes 2 2 Cors (duo) 2 4 Tubas 2 3 Tubas (trio) 2 3 Cors (trio) 2 3 Trombones (trio) 2 Trompette (partie séparée) 2 Trombone, Cor (duo) 1 Tuba et Orgue 1 2 Euphoniums (duo) 1 Quatuor de Cuivres: 2 trompettes, Cor, trombone 1 Trompette, Saxophone (duo) 1 Quatuor de Cuivres 1 Euphonium, Tuba (duo) 1 Trompette, Trombone, Piano 1 2 Tubas (duo) 1 Trompette, Cor (duo) 1 Cor (partie séparée) 1 Cordes Violon et Piano 75 Violoncelle, Piano 61 Alto, Piano 58 Quatuor à cordes: 2 violons, alto, violoncelle 52 Violon 35 Violoncelle 25 Contrebasse, Piano (duo) 22 Contre Basse 19 Alto seul 16 Violon, Violoncelle (duo) 16 Harpe, Flûte (duo) 12 Harpe 11 Trio à Cordes: violon, alto, violoncelle 9 Alto (partie séparée) 8 Violon, Alto (duo) 7 4 Violoncelles 7 2 Violoncelles (duo) 6 2 Violons (duo) 6 2 Altos (duo) 5 Trio à Cordes: 3 violoncelles 4 Alto, Violoncelle (duo) 3 Quatuor à cordes: 4 violons 3 Trio à Cordes: 2 violons, violoncelle 3 Trio à cordes: 3 violins 2 Quatuor à cordes : 4 altos 2 Quintette à cordes: 2 violons, alto, violoncelle, basse 2 Violon, Basson (duo) 1 Piano Trio: Violon, Alto, Piano 1 2 Violons, Piano 1 Violon (partie séparée) 1 Flûte, Contrebasse (duo) 1 Harpe, Violon (duo) 1 Violon, Basse continue 1 Violon, Guitare (duo) 1 Trio à cordes: 3 altos 1 Autres
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Offenbach - Can-Can - Violin and Piano (Individual Parts)
# Violon et Piano# FACILE# Jacques Offenbach# César Madeira# Offenbach - Can-Can - Violin a# Sheet Music To Play Editions# SheetMusicPlus
Piano,Violin - Level 2 - SKU: A0.1397136 Composed by Jacques Offenbach. Arranged by César Madeira. Classical,Film/TV,Multicultural,Opera,Romantic Per...(+)
Piano,Violin - Level 2 - SKU: A0.1397136 Composed by Jacques Offenbach. Arranged by César Madeira. Classical,Film/TV,Multicultural,Opera,Romantic Period,World. 6 pages. Sheet Music To Play Editions #980470. Published by Sheet Music To Play Editions (A0.1397136). Can-Can by Jacques Offenbach. Arrangement for Violin and Piano. With Individual Parts. Enjoy it!This file DOES NOT contain Full Score. Individual Parts only.Jacques Offenbach (1819 – 1880) was a German-born French composer, cellist and impresario of the Romantic period. He is remembered for his nearly 100 operettas of the 1850s to the 1870s, and his uncompleted opera The Tales of Hoffmann.For Tutorials, Play Alongs or request New Arrangements, visit the YouTube Channel: Sheet Music To Play
O Holy Night for Violin & Piano
# Violon et Piano# FACILE# Noël# Adam# James M# O Holy Night for Violin & # jmsgu3# SheetMusicPlus
Piano,Violin - Level 2 - SKU: A0.548680 Composed by Adam. Arranged by James M. Guthrie, ASCAP. Christian,Christmas. 10 pages. Jmsgu3 #3410445. Published...(+)
Piano,Violin - Level 2 - SKU: A0.548680 Composed by Adam. Arranged by James M. Guthrie, ASCAP. Christian,Christmas. 10 pages. Jmsgu3 #3410445. Published by jmsgu3 (A0.548680). Duration: 4:56. Score 5 pg. 44 ms. Solo part: 2 pg. Piano part: 3 pg. Cantique de Noël The French composer Adolphe Adam was already famous as a composer of many successful ballets and operas. Then, in the 1840’s he wrote his most famous work - O Holy Night. The original song title was Minuit Chretiens or Cantique de Noël. Placide Cappeau provided the original song lyrics. The song was first performed in Roquemaure by the opera singer Emily Laurey at midnight mass in 1847. It became very popular among the French, much the way that Silent Night was famous elsewhere. In the 1850’s John S. Dwight, a Unitarian minister and music teacher translated the song into English. Adolphe Adam In his younger years, Adam studied organ and composition at the Paris Conservatoire. He also played the timpani in the Conservatoire orchestra. Adam used his savings and borrowed money to open a new opera house - the fourth opera house in Paris in 1847. Unfortunately, the Revolution of 1848 forced him to close. He taught composition at the Paris Conservatoire from 1849 until his death in 1856. Placide Cappeau The poet Cappeau was an advocate of the French Enlightenment philosopher Voltaire. Voltaire was renowned for criticizing the Catholic church, religious intolerance, and dogma in general. Consequently, Cappeau made the Redeemer figure in his song a kind of reformer of injustices, in particular, the problem of original sin. To begin with, people recognized Cappeau’s theology as eccentric, probably even doubtful. Theology In the earlier form of Minuit, the Christ figure descends to intervene with His Father’s plan to punish mankind. Traditional doctrine pronounces that Christ came from love, not to intervene. This version also declares that Christ appeared to expunge the original sin of Adam. Cappeau removed this part from his poem years later, because he just didn’t believe it. He preferred to portray Christ as the reformer of disparity and unfairness. Before long, the writer/politician Alphonse de Lamartine referred to the Minuit as the the Marseillaise of religion. Most French churchmen agreed with this idea but certainly did not consider it a tribute. Register for free lifetime updates and revisions at www.jamesguthrie.com
Claude Debussy: Sérénade for violin and piano
# Violon et Piano# INTERMÉDIAIRE/AVANCÉ# Classique# Claude Debussy/Robert Orledge# Claude Debussy: Sér&eac# Musik Fabrik Music Publishing# SheetMusicPlus
Piano,Violin - Level 4 - SKU: A0.534583 Composed by Claude Debussy/Robert Orledge. 20th Century,Concert,Romantic Period,Standards. 21 pages. Musik Fabri...(+)
Piano,Violin - Level 4 - SKU: A0.534583 Composed by Claude Debussy/Robert Orledge. 20th Century,Concert,Romantic Period,Standards. 21 pages. Musik Fabrik Music Publishing #4727479. Published by Musik Fabrik Music Publishing (A0.534583). Preface:In the early 1890s, Debussy composed the opening of a lyrical piece in E major for violin and piano, perhaps as a shorter companion piece for the violin Nocturne he was planning for the Belgian violinist Eugène Ysaÿe. After Debussy’s death in 1918, his second wife Emma often gave away sketch pages to performers or composers as memorials to her beloved husband , and this particular page was given to the Cuban born pianist and composer Joaquin Nin (1879-1949). It came up for sale in the catalogue of the British antiquarian dealer Lisa Cox in 2010 and although it might possibly be an early song for contralto and piano, the more dynamic idea in bar 12 strongly suggests the violin, especially as it begins on an open D string. Moreover, there is no text and in pieces of this length, Debussy usually wrote at least one word in, if only to remind himself where he had got to in any song. So my starting point was a complete 12-bar melody gently undulating in the violin’s lowest register over a sensual accompaniment, rising to a climax in bar 12 and giving me a contrasting idea that I could use as a link between sections and in the cadenza. As the B section (bars 14-26) derives directly from Debussy’s opening theme by metamorphosis, my own additions were restricted to the central section (bars 27-57) - comprising a new scherzando idea (C) and the more lyrical D (bars 36-46). C returns at bar 47, followed by the opening sections in reverse order, so that the Sérénade begins and ends with Debussy’s material and is cast in arch form (ABCDCBA). Robert OrledgeBrighton, 19 June 2019Robert Orledge was born in Bath in 1948 and educated at Clare College, Cambridge, where he gained his doctorate for his study of the composer Charles Kœchlin in 1973. Between 1971 and 1991 He rose from Lecturer to Professor in the Music Department of the University of Liverpool, publishing books on Gabriel Fauré, Claude Debussy, Charles Kœchlin and Erik Satie, as well as numerous articles, editions and reviews. As a historical musicologist, Professor Orledge specialized in the way composers composed, ,and since taking early retirement in 2004, he has concentrated on completing and orchestrating Debussy’s unfinished works, and especially his theatre projects. His completion of Debussy’s opera The Fall of the House of Usher (1908-17) was successfully premiered at the Bregenz Opera Festival in Austria in August 2006 and has since been performed in America, Portugal Germany and Holland, as well as being broadcast throughout Europe. A DVD of the Bregenz premier is available on Capriccio 93517, produced by Phylida Lloyd and conducted by Lawrence Foster. His completion of the Chinese ballet No-ja-li ou Le Palais du Silence (1914) was also premiered in 2006 in Los Angeles and other completions include La Saulaie and the Nocturne and Poème for violin and orchestra as well as Debussy’s other Poe opera Le Diable dans le Beffroi.Préface en français : Au debut des années 1890, Debussy a composé le debut d’une pièce lyrique en Mi majeur pour violon et piano, peut-être pour accompagner la Nocturne pour violon que Debussy a destinée pour le violoniste belge Eugène Ysaÿe. Après la morte de Debussy en 1918, sa deuxième femme Emma avait l’habitude d’offrir ses pages d’esquisses aux intérpètes et compositeurs en souvenir de son regreté mari. Cette page d’esquisse a été offerte aux compositeur et pianiste cubain Joaquin Nin (1879-1949). Cette page a été mise en vente dans la catalogue de l’antiquaire britannique Lisa Cox en 2010 et malgré que cette esquisse est peut-être le début d‘une mélodie pour contralto et piano, l‘idée dynamique dans la douzième mesure suggère la violon, surtout qu‘elle commence sur la.
Rachmaninoff - Etude-Tableau in G minor op. 33 no. 7 arr. for Piano and Violin
# Violon et Piano# AVANCÉ# Sergei Rachmaninoff# Nicole Elyse DiPaolo# Rachmaninoff - Etude-Tableau i# Nicole Elyse DiPaolo# SheetMusicPlus
Piano,Violin - Level 5 - SKU: A0.799602 Composed by Sergei Rachmaninoff. Arranged by Nicole Elyse DiPaolo. 20th Century,Romantic Period. 9 pages. Nicole...(+)
Piano,Violin - Level 5 - SKU: A0.799602 Composed by Sergei Rachmaninoff. Arranged by Nicole Elyse DiPaolo. 20th Century,Romantic Period. 9 pages. Nicole Elyse DiPaolo #3125333. Published by Nicole Elyse DiPaolo (A0.799602). This is my own arrangement of one of my favorite Rachmaninoff pieces, his Etude-Tableau in G minor from the op. 33 set (labeled no. 5 or no. 7 in the set, depending on whom you ask), written in 1911. Suitable for early advanced players, this arrangement is a great addition to your next recital program. The violin part contains numerous parallel sixths, making this a fruitful study in double-stopped 6ths for the high-school or college-age violinist. In addition, the piano accompaniment might also work well on the harp.Both the score and the violin part are included with your purchase. About the Arranger:Praised as a sensitive pianist and outstanding accompanist who delivers powerful interpretations, Nicole Elyse DiPaolo is a versatile pianist, composer, and scholar currently based in Bloomington, Indiana. She holds a B.Mus in Music Theory from the University of Michigan-Ann Arbor, where she studied piano under Michele Cooker and Louis Nagel; she also studied composition with Bright Sheng and basso continuo/harpsichord accompaniment with Edward Parmentier. In 2006 and 2007, Nicole appeared as a concerto soloist with the Ambassador Chamber Players, featuring works of J. S. Bach and Mozart alongside two performances of her own Piano Trio in C minor. Following her graduation from Michigan, Nicole completed an MM in Music Theory from Indiana University-Bloomington, where she has recently become a PhD candidate in the same field; her dissertation research will explore relationships between selected early partimenti (instructional sketches used by Italian composition teachers) and George Frideric Handel’s compositional techniques. Currently, Nicole is a sought-after private instructor of piano, music theory, and composition on the IU campus, where she is also an active mostly-vocal accompanist. Nicole continues to enjoy musical partnerships with students of nearly every current IU voice department faculty member (and she unashamedly absorbs and borrows teaching/coaching/performing tips from all these professors). In addition, she has taken French and German diction courses with Prof. Gary Arvin. Notable recent engagements include the 2016 and 2017 National Society of Arts and Letters Vocal Competitions (multiple entrants); the Opera Night at North benefit concert with students of IU's top-ranked opera program (among them Accidental Tenor Andrew Lunsford); and two long-term cruise ship performing contracts with violinist Amy Schlicher as the Duo del Mare.When not working on one of her many concurrent musical projects, Nicole might be found maintaining The Collaborative Pianists’ Community on Facebook, cuddling the nearest dog, looking for opportunities to maintain her Spanish and Italian language skills, and raising and releasing monarch butterflies. To learn more about Nicole’s many and varied performing, teaching, research, and publishing pursuits, please visit her website at http://ndipaolo.musicaneo.com .
Chopin - Waltz in E minor op. posth. arr. for Piano and Violin, B.56 KK IVa/15
# Violon et Piano# INTERMÉDIAIRE/AVANCÉ# Classique# Frederic Chopin# Nicole Elyse DiPaolo# Chopin - Waltz in E minor op. # Nicole Elyse DiPaolo# SheetMusicPlus
Piano,Violin - Level 4 - SKU: A0.799603 Composed by Frederic Chopin. Arranged by Nicole Elyse DiPaolo. Romantic Period. 7 pages. Nicole Elyse DiPaolo #3...(+)
Piano,Violin - Level 4 - SKU: A0.799603 Composed by Frederic Chopin. Arranged by Nicole Elyse DiPaolo. Romantic Period. 7 pages. Nicole Elyse DiPaolo #3123257. Published by Nicole Elyse DiPaolo (A0.799603). This is my own arrangement of one of my favorite Chopin waltzes for the piano. As the Duo del Mare, violinist Amy Schlicher and I performed this arrangement aboard the ms Zaandam cruise liner, where it proved very popular. Because Amy and I did not have extra time or venues in which to rehearse, I intentionally made this arrangement very accessible (so that we could play it well without rehearsal or an intermediate-level duo could master it with some practice). This waltz would make a great encore or showpiece on your next program.About the Arranger:Praised as a sensitive pianist and outstanding accompanist who delivers powerful interpretations, Nicole Elyse DiPaolo is a versatile pianist, composer, and scholar currently based in Bloomington, Indiana. She holds a B.Mus in Music Theory from the University of Michigan-Ann Arbor, where she studied piano under Michele Cooker and Louis Nagel; she also studied composition with Bright Sheng and basso continuo/harpsichord accompaniment with Edward Parmentier. In 2006 and 2007, Nicole appeared as a concerto soloist with the Ambassador Chamber Players, featuring works of J. S. Bach and Mozart alongside two performances of her own Piano Trio in C minor. Following her graduation from Michigan, Nicole completed an MM in Music Theory from Indiana University-Bloomington, where she has recently become a PhD candidate in the same field; her dissertation research will explore relationships between selected early partimenti (instructional sketches used by Italian composition teachers) and George Frideric Handel’s compositional techniques. Currently, Nicole is a sought-after private instructor of piano, music theory, and composition on the IU campus, where she is also an active mostly-vocal accompanist. Nicole continues to enjoy musical partnerships with students of nearly every current IU voice department faculty member (and she unashamedly absorbs and borrows teaching/coaching/performing tips from all these professors). In addition, she has taken French and German diction courses with Prof. Gary Arvin. Notable recent engagements include the 2016 and 2017 National Society of Arts and Letters Vocal Competitions (multiple entrants); the Opera Night at North benefit concert with students of IU's top-ranked opera program (among them Accidental Tenor Andrew Lunsford); and two long-term cruise ship performing contracts with violinist Amy Schlicher as the Duo del Mare.When not working on one of her many concurrent musical projects, Nicole might be found maintaining The Collaborative Pianists’ Community on Facebook, cuddling the nearest dog, looking for opportunities to maintain her Spanish and Italian language skills, and raising and releasing monarch butterflies. To learn more about Nicole’s many and varied performing, teaching, research, and publishing pursuits, please visit her website at http://ndipaolo.musicaneo.com .
Sullivan: The Lost Chord for Violin & Piano
# Violon et Piano# INTERMÉDIAIRE# Sir Arthur Seymour Sullivan# James M# Sullivan: The Lost Chord for V# jmsgu3# SheetMusicPlus
Piano,Violin - Level 3 - SKU: A0.549439 Composed by Sir Arthur Seymour Sullivan. Arranged by James M. Guthrie, ASCAP. Instructional,Romantic Period,Sacr...(+)
Piano,Violin - Level 3 - SKU: A0.549439 Composed by Sir Arthur Seymour Sullivan. Arranged by James M. Guthrie, ASCAP. Instructional,Romantic Period,Sacred,Standards. 14 pages. Jmsgu3 #3494667. Published by jmsgu3 (A0.549439). Score: 9 pages, solo part: 2 pages, piano part: 4 pages. Duration: 4:18. Suitable for a recital of church meditation. School Years First of all, Sullivan attended music school at the Royal Academy of Music. Because Sullivan was so talented, the Academy awarded him the Mendelssohn Scholarship for two years in a row. He, therefore, studied with John Goss, who studied with Thomas Atwood, who in turn studied with Mozart. Sullivan similarly studied the piano at the Academy with Arthur O’Leary. Study Abroad During his first year, he also earned money by singing solos in the Chapel Royal. At the end of his second year, the Academy consequently continued his scholarship and sent him to study at the Leipzig Conservatoire. He certainly studied composition, and likewise counterpoint and piano. Hence, during his final year in Leipzig, Sullivan finally completed his graduation composition project: Incidental Music for Shakespeare’s The Tempest. Association with Gilbert It seems like Sullivan built the bulk of his composing career largely in the 1860s. As a result, he became famous for his incidental music for the Tempest and his Irish Symphony. He, therefore, began collaborating with the poet W. S. Gilbert in the 1870s. Rather than focus on serious opera, Gilbert and Sullivan, in contrast, concentrated on comic operas such as H. M. S. Pinafore, the Pirates of Penzance, and the Mikado. Therefore, certainly as a result of his education and experience, Sullivan composed a total of 24 operas, 11 symphonic works, and 10 choral pieces. Even more, he wrote a large number of noteworthy hymns such as Onward Christian Soldiers. Lost Chord The general style of his music is maybe similar to Mendelssohn, Schumann, and perhaps Liszt. It seems like Sullivan was fond of writing distinct melodies for each character in his operettas. His melodies combine together as the characters did. Furthermore, he was a master orchestrator, and therefore played the flute, clarinet, trumpet, and trombone fluently. The Lost Chord Sullivan wrote his most noteworthy song the Lost Chord in 1877. As a result, it was a great success and was certainly performed all over the world by a variety of singers such as Enrico Caruso. Because Sullivan was the most famous composer in England, the Lost Chord became the most famous of all British or American songs of the 1870s and 1890s. Consequently, in 1888 Thomas Edison recorded The Lost Chord for the phonograph. It was one of the first songs ever recorded. Furthermore, Queen Victoria knighted Sullivan in 1883. Â
Ode to Joy by Beethoven for Violin and Piano
# Violon et Piano# DÉBUTANT# Classique# Classique# Ludwig van Beethoven# Ander# Ode to Joy by Beethoven for Vi# Woods Only, Arrangements# SheetMusicPlus
Piano,Violin - Level 1 - SKU: A0.1241138 Composed by Ludwig van Beethoven. Arranged by Ander. Classical,March,Opera,Romantic Period. 5 pages. Woods Only...(+)
Piano,Violin - Level 1 - SKU: A0.1241138 Composed by Ludwig van Beethoven. Arranged by Ander. Classical,March,Opera,Romantic Period. 5 pages. Woods Only, Arrangements #836533. Published by Woods Only, Arrangements (A0.1241138). This arrangement adapted for violin and piano was written keeping the characteristics of the original work, that is, inspiring and significant to the already known choral symphony by Beethoven, indicated to be performed by young music students, who want to enter the symphonic music, moreover, it can also be used by professional musicians, for recitals, repertoire, academic presentations and didactic material. As much as it is a funeral march, it is well suited for any musical performance occasion. The transcription is faithful to the structure, with only one change in key, so that it is comfortable for all instruments in the formation, thus maintaining the essence of the striking melody, as well as using it for ensemble practice among musicians of different traditions.Beethoven's Ninth Symphony Op. 125 incorporates part of the poem An die Freude (To Joy), a hymn written by Friedrich Schiller, with the text sung by soloists and a choir in its last movement. It was the first example of a major composer using the human voice as prominently as the instruments in a symphony, thus creating a far-reaching work that set the tone for the symphonic form that was to be adopted by Romantic composers. This is the last complete symphony composed by Ludwig van Beethoven. The choral symphony, better known as the Ninth Symphony or The Ninth, is one of the best known works in the Western repertoire, considered both an icon and predecessor of Romantic music, and one of Beethoven's great masterpieces, where it was first performed on May 7, 1824, the same year it was completed, at the Kärntnertortheater in Vienna, Austria. The conductor was Michael Umlauf, the theater's music director, and Beethoven - dissuaded from conducting by the advanced stage of his deafness - was given a special place on the stage next to the conductor. It was later rearranged by Herbert von Karajan to become the anthem of the European Union in 1972, the national anthem of Rhodesia from 1974 until 1979, Rise, O Voices of Rhodesia, used the tune Ode to Joy.
