Partitions Numériques de Mozart Opera pour Guitare

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Mozart Opera
Non classifié 61

Piano & claviers
Piano seul 42
Piano, Voix 35
1 Piano, 4 mains 5
Piano Trio: piano, violon, violoncelle 4
Piano, Voix et Guitare 3

Orgue 2
Piano Facile 2
Instruments en Do 1
Piano Quatuor: piano, violon, alto, violoncelle 1

+ 4 instrumentations

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Guitares
Guitare 3

Guitare notes et tablatures 2
2 Guitares (duo) 1
Ligne De Mélodie, (Paroles) et Accords 1

Voix
Voix Soprano, Piano 5
Chorale SATB 3
Voix Tenor, Piano 3
Voix duo, Piano 2
Voix Baryton, Piano 2

Voix basse, Piano 2
Voix Mezzo-Soprano, Piano 2
Chorale SSAA 1

+ 3 instrumentations

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Vents
Flûte traversière et Piano 25
Clarinette et Piano 23
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor 19
Flûte, Hautbois, Clarinette, Basson 19
Saxophone Alto et Piano 11

Hautbois, Piano (duo) 11
Quatuor de Saxophones: 4 saxophones 9
2 Saxophones (duo) 8
Clarinette 7
Quintette de Saxophone: 5 saxophones 6
2 Flûtes traversières (duo) 5
Quatuor de Clarinettes: 4 clarinettes 5
Saxophone Soprano et Piano 4
Flûte à bec Soprano 4
Quatuor de Flûtes : 4 flûtes 4
2 Clarinettes (duo) 4
Flûte et Guitare 4
Quintette de Clarinettes: 5 clarinettes 4
Saxophone Tenor et Piano 4
Cor anglais, Piano 4
Saxophone Alto 3
Flûte, Violoncelle, Piano (trio) 3
Flûte traversière 2
Hautbois (partie séparée) 2
Quintette de Flûte : 5 flûtes 2
Ensemble de Flûtes 2
2 Hautbois (duo) 1
Hautbois, Basson (duo) 1
Clarinette Basse, Piano 1
3 Clarinettes (trio) 1
Flûte, Clarinette (duo) 1
Ensemble de Clarinettes 1
Quatuor de Flûtes à bec 1
Saxophone, Clarinette (duo) 1
2 Clarinettes, Piano 1
Saxophone Baryton, Piano 1
Clarinette, Basson, Piano (trio) 1
Clarinette, Violoncelle, Piano (trio) 1

+ 33 instrumentations

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Cuivres
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba 18
Quatuor de Cuivres: 2 trompettes, Cor, trombone 9
Cor et Piano 6
Quatuor de Cuivres : 2 trompettes, trombone, tuba 5
Trompette, Piano 5

Trombone et Piano 5
Cor anglais, Piano 4
Tuba et Piano 3
2 Trompettes (duo) 3
Quatuor de cuivres: 4 cors 2
Trombone 2
Ensemble de Cors 2
Euphonium, Piano (duo) 2
Quatuor de cuivres: 4 trombones 1
Trio de Cuivres 1
Trompette 1
2 Cors (duo) 1
Tuba 1
Cor 1

+ 14 instrumentations

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Cordes
Violon et Piano 27
Alto, Piano 23
Quatuor à cordes: 2 violons, alto, violoncelle 22
Violoncelle, Piano 21
Violon 7

2 Harpes (duo) 6
2 Violoncelles (duo) 6
Alto seul 5
Violoncelle 4
2 Violons (duo) 4
2 Altos (duo) 3
Contrebasse, Piano (duo) 3
Violon, Violoncelle (duo) 3
Quatuor à cordes: 4 violons 1
Trio à Cordes: 3 violoncelles 1
Harpe 1
4 Violoncelles 1
Flûte, Contrebasse (duo) 1
Quintette à cordes: 2 violons, alto, violoncelle, basse 1
Quintette à cordes: 2 violons, 2 altos, violoncelle 1
Trio à Cordes: violon, alto, violoncelle 1

+ 16 instrumentations

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Percussions & orchestre
Orchestre à Cordes 18
Orchestre d'harmonie 13
Orchestre 8
Orchestre de chambre 3
Ensemble de cuivres 2

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Mozart Opera

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Guitare

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Excerpt from the Last Part of Ariadne Auf Naxos

Excerpt from the Last Part of Ariadne Auf Naxos #Guitare #INTERMÉDIAIRE #Classique #Richard Strauss #Rod Whittle #Excerpt from the Last Part of #Maggie Creek Music #SheetMusicPlus

Solo Guitar - Level 3 - SKU: A0.899127 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 4 pages. Maggie Creek Music ...(+)

Solo Guitar - Level 3 - SKU: A0.899127 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 4 pages. Maggie Creek Music #3037161. Published by Maggie Creek Music (A0.899127). Transcription for solo classical guitar. 4 pages. Richard Strauss (1864 -1949) Strauss's music amounts to a huge body of symphonic and operatic work written over 60 years. Full of vitality, endlessly melodic, brilliantly orchestrated, it begins and ends in the romantic tradition, but for the most part expresses something more modern and individualistic, not without controversy in its time. Variation of style and structure is drawn from the descriptive (literary) nature of compositions, and an extraordinary inventiveness enlivens the scenes, moods and situations. Strauss said once that he produced music the way cows give milk, and indeed his music rarely seems contrived. The opera Strauss wrote 15 operas on a variety of subjects and across the whole spectrum of drama. He acknowledged being enchanted by the soprano voice, and his writing for it highlights many of the works, including Adriane auf Naxos (composed in 1912). The opera has been described as 'sparkling', which sums it up well, and passages influenced by Bach, Mozart, Puccini, and Wagner add to the interest. The storyline is a play within a play, the second part being the mythological 'Opera' staged in the story. The three pieces transcribed* are from this Opera. The guitar arrangements All classical guitar pieces are compromises. The instrument has only six strings, the left hand four fingers able to be used, and with the right hand its rare to use more than three fingers and the thumb. So, despite the amount of noise possible, it's inevitable that passages occur where either harmony, bass or fragments of counterpoint that would be beneficial are left out. In particular, the higher up the neck music is played the simpler it tends to be, if harder to play, and unless the low bass is an open string there wont be any. So I think the main part of attaining a fair transcription (better to be called an arrangement if the original musical structure is not strictly followed, as in this case) is determining how a good compromise can be reached. Melody, counterpoint, bass and main harmonies demand inclusion, and register is important. One may generally assume the original score can't be improved on. However, if the music may sound well on guitar, and the above elements can be incorporated without the playing becoming very difficult, something enjoyable to play and worthwhile listening to should be able to be achieved. Overture; 'A golden time â€¦' Here the Mozart influence, better, inspiration, is wonderfully evident. A gentle waltz time (only the first section of the overture is transcribed) carries the colourful harmonies, strong melodic threads and connecting flourishes that stamp both pieces. The aria is alluded to in the Overture several times, which as you would expect, is intricately woven with the hints themes later to be established in the Opera. It has a kind of 'jazzy' freedom, and it's always miraculous to me that composition so involved can retain its musical line, here done in Strauss's inimitable way. The aria, sung not far into the Opera, has the perfect inevitability of Mozart, but again it is Strauss. As explained, keys have been changed to suit the guitar. Chorus and Aria This selection from the finale has features well worth trying to translate. The device of having a strong chorus, in the style of a Bach chorale, stated and then counterpointed by a solo voice in a restatement, is potent, and that in the opera the chorus (of the three nymphs) isn't immediately followed by the accompanying aria (of Ariadne) means the latter comes as a moment of surprising beauty. Neither parts are complicated, and lovely arpeggios, a feature Strauss's music, often impart the assured progressions. A problem was to capture the distinct register of the soprano voices, som.

$7.00

Selected Operatic Fantasies of Mertz

Selected Operatic Fantasies of Mertz #Guitare #INTERMÉDIAIRE #Classique #Johann Kaspar Mertz #Selected Operatic Fantasies of #Mel Bay Publications - Digital Sheet Music #SheetMusicPlus

By Johann Kaspar Mertz (1806-1856). For Guitar (Classical). Classic. 56 pages. Published by Mel Bay Publications - Digital Sheet Music ...(+)

By Johann Kaspar Mertz (1806-1856). For Guitar (Classical). Classic. 56 pages. Published by Mel Bay Publications - Digital Sheet Music
ISBN 9781609743260. This collection is drawn from the Portefeuille Guitarre-Spieler series and is intended for intermediate to advanced guitarists.The works in this collection:Fantasy on themes from Don Giovanni, Op. 28Don Giovanni has long been famous among enthusiasts of fretted instruments for Mozart's sublime use of the mandolin in Don Juans' aria Deh, vieni alla finestra. Mertz himself took note of Mozart's 'mandolin serenade' for he employed as a catalyst a brief quote of the mandolin introduction in his Op. 28 for a modulatory transition based upon the theme. Mertz also included a simple arrangement of the aria as number 76 in his Kukuk, a 'musical panorama' of 136 short pieces.Martha, Op. 16Martha, oder Der Markt zu Richmond by German composer Friedrich Flotow (1812-1883) was first produced in Vienna in 1847. In the second act of Martha Flotow incorporates 'Tis the Last Rose of Summer (Qui sola, verginrosa), a traditional Irish melody to which the poet Thomas Moore wrote lyrics. It was one of the most popular songs of the nineteenth century. In addition to Beethoven, Mendelssohn, and Thalberg, guitar composers to produce works based upon the famous song include Giuliani, Ferranti, Holland, and Foden. Preceding Ah! che a voi perdoni Iddio in his Op. 16, Mertz quotes a brief passage from his Elegie.The Prophet, Op. 21Giacomo Meyerbeer was the leading composer of French grand opera during Mertz's professional career. Following studies in Italy, the German composer was chiefly active in Paris and Berlin, although he traveled Europe extensively producing his operas. Le prophete premiered in Paris in 1849 after a long delay due to casting problems. Mertz's Op. 21 was published shortly thereafter.Nabucco, Op. 62 and Rigoletto, Op. 63Giuseppe Verdi's first major triumph as an opera composer was with the biblical opera Nabucodonosor (more commonly known as Nabucco). The opera was premiered in Milan in 1842 and its subsequent revivals throughout Europe spread Verdi?s fame at an astounding rate. Consequently, Verdi was commissioned to compose 14 operas in the following decade. Among these operas was Rigoletto, first produced in Venice in 1851. Mertz frequently turned to the music of Verdi for his operatic fantasies, producing no fewer than four distinct works based on themes from Rigoletto alone.

$14.99

Andantino for Guitar

Andantino for Guitar #Guitare #INTERMÉDIAIRE #Fernando Sor #Arte Nova Music Lab #Andantino for Guitar #Arte Nova Music Lab #SheetMusicPlus

Solo Guitar - Level 3 - SKU: A0.742430 Composed by Fernando Sor. Arranged by Arte Nova Music Lab. Concert,Romantic Period,Standards,World. Individual pa...(+)

Solo Guitar - Level 3 - SKU: A0.742430 Composed by Fernando Sor. Arranged by Arte Nova Music Lab. Concert,Romantic Period,Standards,World. Individual part. 4 pages. Arte Nova Music Lab #3684051. Published by Arte Nova Music Lab (A0.742430). Fernando Sor or Josep Ferran Sorts i Muntades (baptized 14 February 1778 â€“ died 10 July 1839) was a Spanishclassical guitarist and composer. While he is best known for his guitar compositions, he also composed music for a wide range of genres, including opera, orchestra, string quartet, piano, voice, and ballet. His ballet score Cendrillon(Cinderella) received over one hundred performances. Sor's works for guitar range from pieces for beginning players to advanced players such as Variations on a Theme of Mozart. Sor's contemporaries considered him to be the best guitarist in the world,[1] and his works for guitar have been widely played and reprinted since his death.[2] Although modern classical guitar players usually do, Sor rarely used his ring finger and refused the usage of nails when playing.[3]As Sor's works were published in various countries, his name was translated, leading to variations in the spelling. Variations have included Joseph Fernando Macari Sors, Fernando Sor, Ferran Sor, Ferdinand Sor, and Ferdinando Sor. Taken from https://en.wikipedia.org/wiki/Fernando_Sor

$3.99

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