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Lento Sostenuto
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Vous avez sélectionné:
Lento Sostenuto
Partitions à imprimer
9 partitions trouvées
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1
Lento Sostenuto (from Preludes & Lessons, Op. 33)
Lento Sostenuto (from Preludes & Lessons, Op. 33)
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Guitare notes et tablatures
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FACILE
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Classique
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Sterndale Bennett
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Mark Phillips
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Lessons, Op
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Lento Sostenuto
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A. J. Cornell Publications
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SheetMusicPlus
Guitar - Level 2 - SKU: A0.692221 Composed by Sterndale Bennett. Arranged by Mark Phillips. Romantic Period. Guitar Tab. 1 pages. A. J. Cornell Publicat...
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Guitar - Level 2 - SKU: A0.692221 Composed by Sterndale Bennett. Arranged by Mark Phillips. Romantic Period. Guitar Tab. 1 pages. A. J. Cornell Publications #6340565. Published by A. J. Cornell Publications (A0.692221). Sterndale Bennett’s Lento Sostenuto (from Preludes & Lessons, Op. 33) for easy classical guitar solo
$1.99 ≈
1.79€
Eugene Ysaye : Sonate pour violoncelle seul en ut mineur, Opus 28 - I. Grave, Lento e sempre sostenuto
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Violoncelle
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AVANCÉ
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Classique
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Eugene Ysaye
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Sonate pour violoncelle seul e
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Tomplay
Telechargez la partition Violoncelle Sonate pour violoncelle seul en ut mineur, Opus 28 - I. Grave, Lento e sempre sostenuto de Ysaÿe. Partition pour Violo...
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Telechargez la partition Violoncelle Sonate pour violoncelle seul en ut mineur, Opus 28 - I. Grave, Lento e sempre sostenuto de Ysaÿe. Partition pour Violoncelle seul -- Classique
3.99€
Eugene Ysaye : Sonate pour violon n° 3 en ré mineur, Opus 27, Georges Enesco - I. «Ballades» : Lento molto sostenuto - II. Allegro in tempo giusto e con bravura
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Violon
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AVANCÉ
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Classique
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Eugene Ysaye
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Sonate pour violon n° 3 en rÃ
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Tomplay
Telechargez la partition Violon Sonate pour violon n° 3 en re mineur, Opus 27, Georges Enesco - I. «Ballades» : Lento molto sostenuto - II. Alle...
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Telechargez la partition Violon Sonate pour violon n° 3 en re mineur, Opus 27, Georges Enesco - I. «Ballades» : Lento molto sostenuto - II. Allegro in tempo giusto e con bravura de Ysaÿe. Partition pour Violon seul -- Classique
3.99€
Chopin Nocturn 16 Lento sostenuto Trombone Solo Posaune Soli Stück Stücke Piece Pieces Stück Trom
Chopin Nocturn 16 Lento sostenuto Trombone Solo Posaune Soli Stück Stücke Piece Pieces Stück Trom
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Trombone
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Classique
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Frederic Chopin
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wenner
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Chopin Nocturn 16 Lento sosten
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christoph
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SheetMusicPlus
Trombone Solo - SKU: A0.935856 Composed by Frederic Chopin. Arranged by wenner. Classical,Romantic Period. Individual part. 2 pages. Christoph #5303823....
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Trombone Solo - SKU: A0.935856 Composed by Frederic Chopin. Arranged by wenner. Classical,Romantic Period. Individual part. 2 pages. Christoph #5303823. Published by christoph (A0.935856).
$1.99 ≈
1.79€
Consolation No. 3 in D Flat Major, S. 172
Consolation No. 3 in D Flat Major, S. 172
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Piano seul
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Franz Liszt
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Arte Nova Music Lab
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Consolation No. 3 in D Flat Ma
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Arte Nova Music Lab
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SheetMusicPlus
Piano Solo - Level 4 - SKU: A0.742468 Composed by Franz Liszt. Arranged by Arte Nova Music Lab. Concert,Romantic Period,Standards. Score. 7 pages. Arte ...
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Piano Solo - Level 4 - SKU: A0.742468 Composed by Franz Liszt. Arranged by Arte Nova Music Lab. Concert,Romantic Period,Standards. Score. 7 pages. Arte Nova Music Lab #4412089. Published by Arte Nova Music Lab (A0.742468). The Consolations are a set of six solo piano works by Franz Liszt. The compositions take the musical style of Nocturnes with each having its own distinctive style. Each Consolation is composed in either the key of E major or D-flat major. E major is a key regularly used by Liszt for religious themes. There exist two versions of the Consolations. The first (S.171a) was composed by Liszt between 1844 and 1849 and published in 1992 by G. Henle Verlag. The second (S.172) was composed between 1849 and 1850 and published in 1850 by Breitkopf & Härtel, containing the familiar Consolation No. 3, Lento placido, in D-flat Major. The third Consolation is in D-flat major and initially marked as Lento placido. It is the most popular of the Consolations and also a favorite encore piece. Its style is similar to the Chopin Nocturnes, in particular, it seems to have been inspired by Chopin’s Nocturne Op. 27 No. 2. The similarity between the two works has been interpreted as a tribute to Chopin who died in 1849, a year before the Consolations were published. This third Consolation is however one of several of Liszt's works that take a style reminiscent of Chopin; some examples include Liszt's Polonaises, Berceuse, Mazurka brillante, and his Ballades. In 1883, years after composing the Consolation, Liszt received a Grand piano from the Steinway Company with a design that included a sostenuto pedal. Liszt began transcribing this Consolation for the new sostenuto pedal and in a letter to Steinway he wrote: In relation to the use of your welcome tone-sustaining pedal I inclose two examples: Danse des Sylphes, by Berlioz, and No. 3 of my Consolations. I have today noted down only the introductory bars of both pieces, with this proviso, that, if you desire it, I shall gladly complete the whole transcription, with exact adaptation of your tone-sustaining pedal. Liszt recommended sparing usage of the sostenuto pedal in the interpretation of this Consolation and opined on the positive effect it would have on the more tranquil passages. Notes taken from https://en.wikipedia.org/wiki/Consolations_(Liszt)#cite_note-
$5.00 ≈
4.50€
"Tania's Portrait" for violin solo
"Tania's Portrait" for violin solo
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Violon
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AVANCÉ
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Panagiotis Theodossiou
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"Tania's Portrait" f
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Panagiotis Theodossiou
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SheetMusicPlus
Violin Solo - Level 5 - SKU: A0.886691 Composed by Panagiotis Theodossiou. Concert,Contemporary,Standards. 10 pages. Panagiotis Theodossiou #3574435. Pu...
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Violin Solo - Level 5 - SKU: A0.886691 Composed by Panagiotis Theodossiou. Concert,Contemporary,Standards. 10 pages. Panagiotis Theodossiou #3574435. Published by Panagiotis Theodossiou (A0.886691). Tania's Portrait for violin solo (2011)I.Elegy (Lento espressivo)II.Ostinato i (L' istesso tempo e marcato)III.Recitativo i (Poco piu mosso)IV.Dialogue i (L' istesso tempo)V.Ostinato ii (Largo sostenuto)VI.Recitativo ii (Tempo primo)VII.Dialogue ii, Finale (L' istesso tempo) Musical portrait of Greek violonist Tania Sikelianou who gave the premier performance at Cabaret Voltaire Cultural Center, Athens, Greece in 2012. The work is inspired from her violonistic artistry.
$10.00 ≈
9.01€
String Quartet No.2
String Quartet No.2
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Quatuor à cordes: 2 violons, alto, violoncelle
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AVANCÉ
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Contemporain
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Frederick Paul Naftel
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String Quartet No.2
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Frederick Naftel
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SheetMusicPlus
String Quartet String Quartet - Level 5 - SKU: A0.987079 Composed by Frederick Paul Naftel. Contemporary. Score and parts. 41 pages. Frederick Naftel #6...
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String Quartet String Quartet - Level 5 - SKU: A0.987079 Composed by Frederick Paul Naftel. Contemporary. Score and parts. 41 pages. Frederick Naftel #6255501. Published by Frederick Naftel (A0.987079). My 2nd String Quartet was composed during the current Coronavirus pandemic and its style is definitely affected by this period. I would describe the music as a strong statement of mind. In complete contrast to my relatively straightforward 1st Quartet, which is in 4 movements, the present work is in one uninterrupted movement, divided into five parts, with an epilogue. The intervals of the major 7th and minor 2nd are a strong feature of the music, which contrasts intensely static passages, which are nevertheless uneasily tranquil, with furious and violent sections, often marked triple forte in certain passages. The opening Lento flows serenely but mysteriously as if awaiting some kind of resolution, using motifs rather than fully-fledged themes(of which there are very few). The viola makes an urgent and violent protest, later to be imitated by cello, as if to disrupt the serenity, until the second section bursts in with barely-controlled energy and fury. This Allegro feroce is strongly accented and relentless in its forward momentum, the tension manintained almost throughout until the music suddenly quietens down, pizzicato passages leading to the next section. The Adagio Sostenuto initially resembles plainsong, all four instruments in unison(muted) playing a smooth line which rises and falls, the dynamics remaining pp and senza vibrato. The line breaks into harmony based on the interval of a perfect 5th, eventually leading to a passage reminiscent of the very opening of the work. A brief crescendo leads to another quiet unison passage which becomes more fragmented and unsettled, first and second violins announcing an aggressive idea which becomes the initial impetus for the fourth section. This Presto Furioso is even more violently energetic than the second section and at one point, alternates between 3/8 and 4/8, making the music sound even more unsettled. This is music with a strong sense of purpose as well as absolute fury. After a very short scalic passage, the final section begins Grave and pp with a sustained unison C, growing in power with exaggerated vibrato to a series of crunching discords and a wildly disconcerting episode featuring swirling upper strings and impassioned cello solo. The music dies away to the Epilogue. The concluding part of the work calls for a recorded cello playing a pizzicato pedal, over which violins and viola play a series of overlapping (tonal) triads, giving the music a slightly warmer but still mysterious sound. The recorded cello’s pedal notes slow down until a final powerful discord from the 4 instruments dies away, leaving the sighing motif of the very opening of the work to have the last word. This note may be reprinted in programmes with the following details: (c) 2020 Frederick Naftel
$19.99 ≈
18.00€
Quintet
Quintet
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Hermann Schroeder
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Quintet
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Schott Music - Digital
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SheetMusicPlus
Flute, oboe, clarinet, horn and bassoon - advanced - SKU: S9.Q6632 Composed by Hermann Schroeder. This edition: score and parts. Das Quintett op. 50 zei...
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Flute, oboe, clarinet, horn and bassoon - advanced - SKU: S9.Q6632 Composed by Hermann Schroeder. This edition: score and parts. Das Quintett op. 50 zeichnet sich aus durch neoklassizistische Formgebung, freie Tonalität sowie motorisch bewegte Rhythmik und stellt dem Interpreten dankbare instrumentale Aufgaben. Downloadable, Score and parts. Op. 50. Schott Music - Digital #Q6632. Published by Schott Music - Digital (S9.Q6632). Hermann Schroeder (1904-1984) studied composition with Walter Braunfels and Heinrich Lemacher. He taught as a professor of music theory at the Conservatoire of Cologne and ranks among the most important German church and organ music composers of the 20th century. His extensive chamber music oeuvre which shows parallels to contemporary composers such as Hindemith, Genzmer or Pepping is little known. The Quintet Op. 50 is characterised by its neoclassical form, free tonality as well as rhythm in motion, setting the performer rewarding instrumental tasks. The Wind Quintet Op. 50 was composed in 1981 and is now published for the first time. The movements are: 1. Molto sostenuto/Allegro - 2. Adagio molto - 3. Scherzo - 4. Lento/Allegro.
$35.99 ≈
32.41€
Giovanni Bononcini - Anthem (for the Funeral of John Duke of Marlborough)
Giovanni Bononcini - Anthem (for the Funeral of John Duke of Marlborough)
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Chorale SATB
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INTERMÉDIAIRE/AVANCÉ
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Giovanni Bononcini
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Giovanni Bononcini, Giovanni B
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Guido Menestrina
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Giovanni Bononcini - Anthem
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Guido Menestrina
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SheetMusicPlus
Choral Choir (SATB) - Level 4 - SKU: A0.828704 Composed by Giovanni Bononcini, Giovanni Battista Bononcini. Arranged by Guido Menestrina. Baroque,Contem...
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Choral Choir (SATB) - Level 4 - SKU: A0.828704 Composed by Giovanni Bononcini, Giovanni Battista Bononcini. Arranged by Guido Menestrina. Baroque,Contemporary,Sacred. Octavo. 44 pages. Guido Menestrina #368381. Published by Guido Menestrina (A0.828704). Anthem which was performed in King Henry the Seventh's Chappel at the Funeral of the most Noble & Victorious Prince John Duke of Marlborough By Giovanni Bononcini (1670-1747) transcribed by Guido Menestrina Il padre, Giovanni Maria Bononcini (Buononcini) (1642-1678), era stato violinista e compositore: attivo alla corte di Modena, aveva scritto un trattato, Musico prattico, pubblicato nel 1673. Il fratello minore di Giovanni, Antonio Maria, fu anch'egli musicista. Proprio dal padre Giovanni ricevette la prima educazione musicale; quando questi morì, nel 1678, divenne studente di Giovanni Paolo Colonna a Bologna, dove vennero eseguiti i suoi primi lavori. Proprio grazie al Colonna entrò a far parte dell'Accademia dei Filarmonici in veste di compositore. Nel 1685 aveva giàpreparato e pubblicato le sue prime opere. Ottenne nel 1688 il posto di musicista presso la basilica di San Petronio, e più tardi divenne maestro di cappella nella chiesa di San Giovanni in Monte. Sempre a Bologna fece la conoscenza del librettista Silvio Stampiglia, assieme al quale, tra il 1692 e il 1696, produrràcinque opere. A partire dal 1692 si recò a Milano, Roma (dove fu apprezzato e sostenuto da Filippo II Colonna e dalla sua consorte Olimpia Pamphilj) e Venezia; infine, dal 1698 al 1711 si stabilì a Vienna, dove godette i favori degli imperatori Leopoldo I e Giuseppe I. Di passaggio a Berlino nel 1702, incontrò Georg Friedrich Händel, di quindici anni più giovane di lui, di cui riconobbe il talento precoce: lo avrebbe rincontrato alcuni anni più tardi. Dal 1714 al 1719 fu di nuovo a Roma, al servizio di Johann Wenzel, Conte di Gallas, Ambasciatore dell'Imperatore d'Austria a Roma, molto noto per il suo amore per la musica. Al Conte di Gallas, Bononcini dedicò la Favola Pastorale Erminia, rappresentata al Teatro della Pace nella Stagione del Carnevale del 1719. Il dramma musicale ebbe grandissimo successo sia per la musica, sia per gli interpreti, fra cui si segnalarono Domenico Gizzi (1687-1758), Musico Soprano della Real Cappella di Napoli ed il celebre contralto napoletano Francesco Vitale. Sempre nella Stagione del Carnevale 1719 al Teatro della Pace, Bononcini rappresentò il dramma per musica L'Etearco, dal librettista Silvio Stampiglia dedicato alla Contessa Ernestina di Gallas, moglie dell'Ambasciatore austriaco. Anche in questo dramma per musica Domenico Gizzi e Francesco Vitale fecero apprezzare tutte le spezie più ricercate del virtuosismo canoro. Poi, dal 1720 si stabilì a Londra, sotto la protezione del John Churchill, I duca di Marlborough. Qui si esibì anche al violoncello in numerosi concerti, molto apprezzati dall'aristocrazia inglese. Divenne membro della prestigiosa Royal Academy of Music.[senza fonte] Il pubblico londinese era, all'epoca, totalmente ignorante dell'opera italiana, e Händel stava muovendo i primi passi della sua prestigiosa carriera. Fra i due compositori si accese un forte spirito di competizione, sia che collaborassero alla realizzazione della medesima impresa (i tre atti dell'opera Muzio Scevola furono composti il primo da Filippo Amadi, il secondo da Bononcini, il terzo da Händel, al fine di soddisfare tutti e tre gli artisti), sia che, più spesso, si impegnassero in produzioni rivali. Le opere di maggior successo di Bononcini in quegli anni furono Astarto (1720), Crispo (1722), Griselda (1722), che si rivelò un vero e proprio trionfo, Erminia (1723), Calfurnia (1724). A favore dell'italiano era anche una certa ostilitàverso Händel dovuta alle sue origini tedesche e alla contemporanea presenza sul trono inglese della poco amata dinastia di Hannover. Ma nel 1727-1728 scoppiò uno scandalo che compromise il successo di Bononcini e lo costrinse a lasciare Londra: il compositore Antonio Lotti accusò il madrigale di Bononcini In una siepe ombrosa di essere un plagio di un brano dei suoi Duetti, terzetti e madrigali. Fuggito a Parigi nel 1733, a causa di speculazion.
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