Partitions Numériques de The Young Mozart pour Piano, Voix

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The Young Mozart
Non classifié 8

Piano & claviers
Piano seul 2
Piano, Voix 2

Piano Trio: piano, violon, violoncelle 1

Guitares
Piano, Guitare (duo) 1

Voix
Voix Soprano, Piano 2
Voix Soprano 1

Vents
Hautbois, Piano (duo) 2
Clarinette 1
Saxophone Tenor et Piano 1
2 Flûtes traversières (duo) 1
Flûte, Hautbois, Clarinette, Basson 1

Quatuor de Saxophones: 4 saxophones 1
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor 1
Flûte traversière et Piano 1

+ 3 instrumentations

Retracter

Cuivres
Trombone et Piano 3
Trompette 2
Trompette, Piano 2
2 Trombones (duo) 1

Cordes
Violon et Piano 1
Violoncelle, Piano 1
Trio à Cordes: violon, alto, violoncelle 1
Alto, Piano 1

Percussions & orchestre
Orchestre à Cordes 1

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Artistes :
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The Young Mozart

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Piano, Voix

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2 partitions trouvées

Belle luci, che accendete from La disfatta di Dario - Modern Clef Performing Edition (Soprano/Piano)

Belle luci, che accendete from La disfatta di Dario - Modern Clef Performing Edition (Soprano/Piano) #Piano, Voix #INTERMÉDIAIRE/AVANCÉ #Pasquale Cafaro #Nicole Elyse DiPaolo #Belle luci, che accendete from #Nicole Elyse DiPaolo #SheetMusicPlus

Piano,Vocal,Voice - Level 4 - SKU: A0.1173633 Composed by Pasquale Cafaro. Arranged by Nicole Elyse DiPaolo. Classical,Early Music,Opera. Score. 7 pages...(+)

Piano,Vocal,Voice - Level 4 - SKU: A0.1173633 Composed by Pasquale Cafaro. Arranged by Nicole Elyse DiPaolo. Classical,Early Music,Opera. Score. 7 pages. Nicole Elyse DiPaolo #773780. Published by Nicole Elyse DiPaolo (A0.1173633). Accessible Accompaniments is proud to present the first-ever modern-clef performing edition of Pasquale Cafaroâ€™s once enormously popular aria, â€œBelle luci, che accendete,â€ from La disfatta di Dario (1756). As noted in Giorgio Sanguinettiâ€™s The Art of Partimento and other sources, this aria was considered the ideal Galant-era (early Classical) example of aria writing in its day, and its theme was even painted onto pottery to be sold to tourists in Naples.While the aria was written for a castrato role, Alessandro, it is ideal for todayâ€™s young lyric coloratura sopranos who want to prepare for Mozart roles but wish to wait until theyâ€™ve found their mature vocal technique before tackling those roles. Additionally, because this La disfatta di Dario setting is a rarity and singers are unlikely to be hired for this role, it could be sung in transposition by young mezzos and other fachs without causing logistical issues like the need to produce orchestral parts in new keys.Other aspects of this aria that make it a welcome addition to the voice teacherâ€™s library are its widespread orchestral doubling of the vocal line (something that will help students who are still working on intonation and support), its relatively short, Italian-language text for easy memorization and diction acquisition, and its straightforward textual contentâ€”itâ€™s a love song. In audition situations, this aria will be enjoyable for panels to hear, and because they will be very unlikely to know the aria, they wonâ€™t be able to critique it as closely as they would critique an aria they know well. It should also be sight-readable by an audition pianist of middling skill, another important consideration in choosing audition repertoire.This new edition was engraved using Bernardo Mengozziâ€™s piano-vocal reduction from 1804, which preserves the soprano clef voice part and is not widely usable today, and I made some corrections to missing accidentals and articulations by cross-checking with the manuscript full score. Both are available at imslp.org. I also write out the appoggiatura executions and one potentially confusing polyrhythm on ossia staves to assist young singers/collaborative pianists who havenâ€™t done much of this repertoire.Range: Eb4-Bb5 without ornamentationTessitura: around Bb4-F5/G5 Â Text:Belle luci, che accendeteIn quest' alma un dolce foco,Siete voi, e voi sareteLa mia calma, e il mio piacer.SÃ¬, la calma, e il piacer mioTutto, e sempre in voi s'aggira,Per voi solo il cor respira,NÃ¨ piÃ¹ brama il mio pensier.About the Arranger behind Accessible Accompaniments Editions:Praised as a sensitive pianist and outstanding accompanist who delivers powerful interpretations, Nicole Elyse DiPaolo enjoys a multifaceted career as a sought-after collaborative pianist, educational composer, arranger, coach, private teacher, and adjunct music professor. Currently based in the Cleveland area, Ms. DiPaolo has appeared as a concerto soloist with the Ambassador Chamber Players on multiple occasions and as a recitalist, collaborator, and presenter worldwide. Currently, Ms. DiPaolo is an online Adjunct Lecturer in Music at Indiana University; the Principal Theory Teacher at Liberty Park Music, an online-only video subscription-based music school; an invited blog contributor and guest instructor at Tonebase; and a sought-after online instructor of piano, music theory, and composition who includes partimento and historical improvisation in her curricula.Â For more information, please visit http://ndipaolo.musicaneo.com .

$8.95 ≈ 8.25€

Opera Scenes for Women

Opera Scenes for Women #Piano, Voix #INTERMÉDIAIRE/AVANCÉ #Philip Seward #Opera Scenes for Women #Music Anon #SheetMusicPlus

Piano,Vocal,Voice - Level 4 - SKU: A0.1353635 Composed by Philip Seward. 21st Century,Broadway,Chamber,Contemporary,Musical/Show,Opera. Score. 79 pages....(+)

Piano,Vocal,Voice - Level 4 - SKU: A0.1353635 Composed by Philip Seward. 21st Century,Broadway,Chamber,Contemporary,Musical/Show,Opera. Score. 79 pages. Music Anon #938378. Published by Music Anon (A0.1353635). Music by Philip Seward â€¢ Libretti by Joan Mazzonelli & Philip SewardThis volume offers four scenes for women singers for use in opera scene study and performance. There are a wide range of characters represented and various musical styles. The first is from High Fidelity which has been adapted from Anton Chekhovâ€™s The Bear and George Bernard Shawâ€™s How He Lied to Her Husband. There are also references to Wolfgang Amadeus Mozartâ€™s CosÃ fan tutte later in the score. In this opening scene, Aurora Wentworth is practicing the mourning she believes society expects of her while her cousin, Georgina, from Milwaukee arrives to spice up the summer morning.The second scene from Dorabellaâ€™s Daughters finds Anabella trapped in a woodsmanâ€™s cottage the day after her wedding. The opera opens at the wedding reception for her stepsister Cinderella where Annabella is particularly spiteful. In a fury, she marries the next man who walks in the room â€” as it happens, Â a woodsman â€” or so she thinks. In this scene she is mourning her fate. Her younger sister, Brendella comes to visit and the two are joined later by their very happy stepsister, Cinderella.The third scene from The Passion of John presents three women with their own perspectives on Jesus in this stylized presentation of the Gospel of John. The first singer offers the perspective of the gospel, the second presents a firsthand narrative of the Samaritan woman and the third is the woman who was accused of adultery. All three are accompanied by a womenâ€™s choral ensemble, flute, classical guitar and cello.The final scene in this collection comes from The Proposal. The opera is composed as two loosely joined acts where the first is sung by four women and the second by three men. The action concerns the aftermath of a proposal of marriage where the woman, Eve, asks for time to consider. The unexpected response sends Sam into a bit of a tailspin. In this scene, from the end of the first act Eve is arguing with three versions of herself in the middle of the night: the romantic, the maternal and the one focused on career. The scene opens right after Eve-Romantic has just waxed poetic about the perfect fairytale romance.

$45.00 ≈ 41.47€

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