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Vous avez sélectionné:
Noël à la française
SheetMusicPlus
Partitions à imprimer
10 partitions trouvées
<
1
Noël à la française (4 harps)
Noël à la française (4 harps)
#
Harpe
#
FACILE
#
Scott Warren
#
Noël à la fran&cce
#
Scott Warren
#
SheetMusicPlus
Small Ensemble Harp - Level 2 - SKU: A0.1008044 Arranged by Scott Warren. Christian,Christmas,Folk,Sacred,World. Score and parts. 26 pages. Scott Warren...
(+)
Small Ensemble Harp - Level 2 - SKU: A0.1008044 Arranged by Scott Warren. Christian,Christmas,Folk,Sacred,World. Score and parts. 26 pages. Scott Warren #4574673. Published by Scott Warren (A0.1008044). Here are four French Christmas tunes arranged for four harps of varying difficulties. Harps 3 and 4 can be played as a duet. Harp 1 contains the melody only. The tunes are Noël nouvelet, Il est né le divin enfant, À la venue de Noël, and Les anges dans nos campagnes.
$3.99 ≈
3.68€
Op. 1, No. 12: La nuit après l’orage from Songs of Gouvy, V2 (Downloadable)
Op. 1, No. 12: La nuit après l’orage from Songs of Gouvy, V2 (Downloadable)
#
Piano, Voix
#
INTERMÉDIAIRE
#
MeeAe Cecilia Nam and Theodore
#
Op. 1, No. 12: La nuit apr&egr
#
E. C. Schirmer Music Company - Digital
#
SheetMusicPlus
Voice and piano - Medium - SKU: MQ.8492-36E Composed by MeeAe Cecilia Nam and Theodore Gouvy. Instrument part. 5 pages. E. C. Schirmer Music Company - D...
(+)
Voice and piano - Medium - SKU: MQ.8492-36E Composed by MeeAe Cecilia Nam and Theodore Gouvy. Instrument part. 5 pages. E. C. Schirmer Music Company - Digital #8492-36E. Published by E. C. Schirmer Music Company - Digital (MQ.8492-36E). French.Gouvy was known for writing some of the most beautiful melodies of the Romantic period. His style is a combination of German forms and an early French romantic harmonic structure. His writing for the piano in the songs is totally unified in mood and description with the voice, just as the piano is in Schubert’s songs. The equal partnership of the vocal line and piano interact closely to bring the poetry vividly into life with unimaginable artistic heights and unbridled passion.This volume includes Gouvy songs set to 18 poems of Philippe Desportes (1546–1606), and 18 poems of Moritz Hartmann (1821–1872). The elements of Romantic love poetry, such as enchanting love and its pain, and the personifying of nature, are fluently described with a great sensitivity in both voice and piano. Gouvy’s melody stir up the imagination because of his special treatment of words through a distinguishable and melodious vocal line, and his story telling and poetic treatment and development of the piano accompaniment. His compositional artistry places him in the upper echelons of art-song composers. One should note that Gouvy had a special fondness for the 16th Century poetry of La Pléiade (a group of Renaissance French poets, led by Pièrre de Ronsard (1524–1585). Desportes was truly the heir to Ronsard; however his work, when compared to that of Ronsard, is filled with greater abstraction and greater fluidity. Desportes seems to avoid any of the passionate anger that is occasionally characteristic of La Pléiade. This may be an indication that Desportes lived in a less distressed time. It also seems necessary to point out that he learned much in his early career by copying and studying the earlier works of La Pléiade. This has led some scholars to label him as a plagiarist, but it is important to realize that all the members of La Pléiade copied from each other when they wished to learn something new, and truly understand the style of the other poets in the group. Gouvy’s only choice of poems from his contemporaries, were the works of Moritz Hartmann (1821–1872), a good friend of Gouvy’s. Much of his poetry was strongly political in support of freedom of the individual. He traveled to Leipzig in 1845, but when the authorities discovered a volume of patriotic poems entitled Kelch und Schwert (Chalice and Sword), he fled to Belgium and France. It is at this time that he possibly met Théodore Gouvy. Eighteen poems of Hartmann were translated from German to French by the French poet, Adolph Larmande, of whom very little is known. Pierre Toussaint Adolphe Larmande seems to have been a rather obscure poet and musician. We know that he taught music theory at the Paris Conservatory at the same time Anton Reicha and Michele Carafa were on the faculty. We also know that in 1847 he married an English woman by the name of Marie Caroline Bradley. There are random documents, such as a Certificate of Arrival in London, England, in 1837, but there are no birth and death dates given, and that includes his obituary notice. Contents:18 Sonnets et Chansons de Desportes pour ténor ou soprano et piano, Op. 45 Six poésies allemandes de Moritz Hartmann pour baryton et piano, Op. 21 Douze poésies allemandes de Moritz Hartmann pour ténor et piano, Op. 26 (Poésies françaises d’Adolphe Larmande).
$3.00 ≈
2.77€
Op. 45, No. 2: Je te l’avais bien dit from Songs of Gouvy, V2 (Downloadable)
Op. 45, No. 2: Je te l’avais bien dit from Songs of Gouvy, V2 (Downloadable)
#
Piano, Voix
#
INTERMÉDIAIRE
#
MeeAe Cecilia Nam and Theodore
#
Op. 45, No. 2: Je te l’a
#
E. C. Schirmer Music Company - Digital
#
SheetMusicPlus
Voice and piano - Medium - SKU: MQ.8492-02E Composed by MeeAe Cecilia Nam and Theodore Gouvy. Instrument part. 4 pages. E. C. Schirmer Music Company - D...
(+)
Voice and piano - Medium - SKU: MQ.8492-02E Composed by MeeAe Cecilia Nam and Theodore Gouvy. Instrument part. 4 pages. E. C. Schirmer Music Company - Digital #8492-02E. Published by E. C. Schirmer Music Company - Digital (MQ.8492-02E). French.Gouvy was known for writing some of the most beautiful melodies of the Romantic period. His style is a combination of German forms and an early French romantic harmonic structure. His writing for the piano in the songs is totally unified in mood and description with the voice, just as the piano is in Schubert’s songs. The equal partnership of the vocal line and piano interact closely to bring the poetry vividly into life with unimaginable artistic heights and unbridled passion.This volume includes Gouvy songs set to 18 poems of Philippe Desportes (1546–1606), and 18 poems of Moritz Hartmann (1821–1872). The elements of Romantic love poetry, such as enchanting love and its pain, and the personifying of nature, are fluently described with a great sensitivity in both voice and piano. Gouvy’s melody stir up the imagination because of his special treatment of words through a distinguishable and melodious vocal line, and his story telling and poetic treatment and development of the piano accompaniment. His compositional artistry places him in the upper echelons of art-song composers. One should note that Gouvy had a special fondness for the 16th Century poetry of La Pléiade (a group of Renaissance French poets, led by Pièrre de Ronsard (1524–1585). Desportes was truly the heir to Ronsard; however his work, when compared to that of Ronsard, is filled with greater abstraction and greater fluidity. Desportes seems to avoid any of the passionate anger that is occasionally characteristic of La Pléiade. This may be an indication that Desportes lived in a less distressed time. It also seems necessary to point out that he learned much in his early career by copying and studying the earlier works of La Pléiade. This has led some scholars to label him as a plagiarist, but it is important to realize that all the members of La Pléiade copied from each other when they wished to learn something new, and truly understand the style of the other poets in the group. Gouvy’s only choice of poems from his contemporaries, were the works of Moritz Hartmann (1821–1872), a good friend of Gouvy’s. Much of his poetry was strongly political in support of freedom of the individual. He traveled to Leipzig in 1845, but when the authorities discovered a volume of patriotic poems entitled Kelch und Schwert (Chalice and Sword), he fled to Belgium and France. It is at this time that he possibly met Théodore Gouvy. Eighteen poems of Hartmann were translated from German to French by the French poet, Adolph Larmande, of whom very little is known. Pierre Toussaint Adolphe Larmande seems to have been a rather obscure poet and musician. We know that he taught music theory at the Paris Conservatory at the same time Anton Reicha and Michele Carafa were on the faculty. We also know that in 1847 he married an English woman by the name of Marie Caroline Bradley. There are random documents, such as a Certificate of Arrival in London, England, in 1837, but there are no birth and death dates given, and that includes his obituary notice. Contents:18 Sonnets et Chansons de Desportes pour ténor ou soprano et piano, Op. 45 Six poésies allemandes de Moritz Hartmann pour baryton et piano, Op. 21 Douze poésies allemandes de Moritz Hartmann pour ténor et piano, Op. 26 (Poésies françaises d’Adolphe Larmande).
$3.00 ≈
2.77€
Op. 21, No. 1: À L’Absente from Songs of Gouvy, V2 (Downloadable)
Op. 21, No. 1: À L’Absente from Songs of Gouvy, V2 (Downloadable)
#
Piano, Voix
#
INTERMÉDIAIRE
#
MeeAe Cecilia Nam and Theodore
#
Op. 21, No. 1: À L&rsqu
#
E. C. Schirmer Music Company - Digital
#
SheetMusicPlus
Voice and piano - Medium - SKU: MQ.8492-19E Composed by MeeAe Cecilia Nam and Theodore Gouvy. Instrument part. 6 pages. E. C. Schirmer Music Company - D...
(+)
Voice and piano - Medium - SKU: MQ.8492-19E Composed by MeeAe Cecilia Nam and Theodore Gouvy. Instrument part. 6 pages. E. C. Schirmer Music Company - Digital #8492-19E. Published by E. C. Schirmer Music Company - Digital (MQ.8492-19E). French.Gouvy was known for writing some of the most beautiful melodies of the Romantic period. His style is a combination of German forms and an early French romantic harmonic structure. His writing for the piano in the songs is totally unified in mood and description with the voice, just as the piano is in Schubert’s songs. The equal partnership of the vocal line and piano interact closely to bring the poetry vividly into life with unimaginable artistic heights and unbridled passion.This volume includes Gouvy songs set to 18 poems of Philippe Desportes (1546–1606), and 18 poems of Moritz Hartmann (1821–1872). The elements of Romantic love poetry, such as enchanting love and its pain, and the personifying of nature, are fluently described with a great sensitivity in both voice and piano. Gouvy’s melody stir up the imagination because of his special treatment of words through a distinguishable and melodious vocal line, and his story telling and poetic treatment and development of the piano accompaniment. His compositional artistry places him in the upper echelons of art-song composers. One should note that Gouvy had a special fondness for the 16th Century poetry of La Pléiade (a group of Renaissance French poets, led by Pièrre de Ronsard (1524–1585). Desportes was truly the heir to Ronsard; however his work, when compared to that of Ronsard, is filled with greater abstraction and greater fluidity. Desportes seems to avoid any of the passionate anger that is occasionally characteristic of La Pléiade. This may be an indication that Desportes lived in a less distressed time. It also seems necessary to point out that he learned much in his early career by copying and studying the earlier works of La Pléiade. This has led some scholars to label him as a plagiarist, but it is important to realize that all the members of La Pléiade copied from each other when they wished to learn something new, and truly understand the style of the other poets in the group. Gouvy’s only choice of poems from his contemporaries, were the works of Moritz Hartmann (1821–1872), a good friend of Gouvy’s. Much of his poetry was strongly political in support of freedom of the individual. He traveled to Leipzig in 1845, but when the authorities discovered a volume of patriotic poems entitled Kelch und Schwert (Chalice and Sword), he fled to Belgium and France. It is at this time that he possibly met Théodore Gouvy. Eighteen poems of Hartmann were translated from German to French by the French poet, Adolph Larmande, of whom very little is known. Pierre Toussaint Adolphe Larmande seems to have been a rather obscure poet and musician. We know that he taught music theory at the Paris Conservatory at the same time Anton Reicha and Michele Carafa were on the faculty. We also know that in 1847 he married an English woman by the name of Marie Caroline Bradley. There are random documents, such as a Certificate of Arrival in London, England, in 1837, but there are no birth and death dates given, and that includes his obituary notice. Contents:18 Sonnets et Chansons de Desportes pour ténor ou soprano et piano, Op. 45 Six poésies allemandes de Moritz Hartmann pour baryton et piano, Op. 21 Douze poésies allemandes de Moritz Hartmann pour ténor et piano, Op. 26 (Poésies françaises d’Adolphe Larmande).
$3.00 ≈
2.77€
Op. 1, No. 2: Barque légère, mon coeur from Songs of Gouvy, V2 (Downloadable)
Op. 1, No. 2: Barque légère, mon coeur from Songs of Gouvy, V2 (Downloadable)
#
Piano, Voix
#
INTERMÉDIAIRE
#
MeeAe Cecilia Nam and Theodore
#
Op. 1, No. 2: Barque lé
#
E. C. Schirmer Music Company - Digital
#
SheetMusicPlus
Voice and piano - Medium - SKU: MQ.8492-26E Composed by MeeAe Cecilia Nam and Theodore Gouvy. Instrument part. 7 pages. E. C. Schirmer Music Company - D...
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Voice and piano - Medium - SKU: MQ.8492-26E Composed by MeeAe Cecilia Nam and Theodore Gouvy. Instrument part. 7 pages. E. C. Schirmer Music Company - Digital #8492-26E. Published by E. C. Schirmer Music Company - Digital (MQ.8492-26E). French.Gouvy was known for writing some of the most beautiful melodies of the Romantic period. His style is a combination of German forms and an early French romantic harmonic structure. His writing for the piano in the songs is totally unified in mood and description with the voice, just as the piano is in Schubert’s songs. The equal partnership of the vocal line and piano interact closely to bring the poetry vividly into life with unimaginable artistic heights and unbridled passion.This volume includes Gouvy songs set to 18 poems of Philippe Desportes (1546–1606), and 18 poems of Moritz Hartmann (1821–1872). The elements of Romantic love poetry, such as enchanting love and its pain, and the personifying of nature, are fluently described with a great sensitivity in both voice and piano. Gouvy’s melody stir up the imagination because of his special treatment of words through a distinguishable and melodious vocal line, and his story telling and poetic treatment and development of the piano accompaniment. His compositional artistry places him in the upper echelons of art-song composers. One should note that Gouvy had a special fondness for the 16th Century poetry of La Pléiade (a group of Renaissance French poets, led by Pièrre de Ronsard (1524–1585). Desportes was truly the heir to Ronsard; however his work, when compared to that of Ronsard, is filled with greater abstraction and greater fluidity. Desportes seems to avoid any of the passionate anger that is occasionally characteristic of La Pléiade. This may be an indication that Desportes lived in a less distressed time. It also seems necessary to point out that he learned much in his early career by copying and studying the earlier works of La Pléiade. This has led some scholars to label him as a plagiarist, but it is important to realize that all the members of La Pléiade copied from each other when they wished to learn something new, and truly understand the style of the other poets in the group. Gouvy’s only choice of poems from his contemporaries, were the works of Moritz Hartmann (1821–1872), a good friend of Gouvy’s. Much of his poetry was strongly political in support of freedom of the individual. He traveled to Leipzig in 1845, but when the authorities discovered a volume of patriotic poems entitled Kelch und Schwert (Chalice and Sword), he fled to Belgium and France. It is at this time that he possibly met Théodore Gouvy. Eighteen poems of Hartmann were translated from German to French by the French poet, Adolph Larmande, of whom very little is known. Pierre Toussaint Adolphe Larmande seems to have been a rather obscure poet and musician. We know that he taught music theory at the Paris Conservatory at the same time Anton Reicha and Michele Carafa were on the faculty. We also know that in 1847 he married an English woman by the name of Marie Caroline Bradley. There are random documents, such as a Certificate of Arrival in London, England, in 1837, but there are no birth and death dates given, and that includes his obituary notice. Contents:18 Sonnets et Chansons de Desportes pour ténor ou soprano et piano, Op. 45 Six poésies allemandes de Moritz Hartmann pour baryton et piano, Op. 21 Douze poésies allemandes de Moritz Hartmann pour ténor et piano, Op. 26 (Poésies françaises d’Adolphe Larmande).
$3.00 ≈
2.77€
Édith Piaf - La foule - Piano Solo
Édith Piaf - La foule - Piano Solo
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Piano seul
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INTERMÉDIAIRE/AVANCÉ
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Chanson Française
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Chanson Française
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Edith Piaf
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Mario Stallbaumer
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Édith Piaf - La foule - Piano
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Mario Stallbaumer
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SheetMusicPlus
Piano Solo - Advanced Intermediate - Digital Download By Edith Piaf. Arranged by Mario Stallbaumer. 3 pages. Published by Mario Stallbaumer...
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Piano Solo - Advanced Intermediate - Digital Download By Edith Piaf. Arranged by Mario Stallbaumer. 3 pages. Published by Mario Stallbaumer
With this sheet music, you can play "La Foule" by Édith Piaf on piano!
It's an accurate, carefully created piano arrangement of the full song.
The entire melody is included in the piano part, so it makes for a perfect instrumental / piano solo cover.
Originally, "La Foule" was an Argentine song titled "Que nadie sepa mi sufrir" ("Let no one know my suffering"). It was composed by tango legend Ángel Cabral, with lyrics
by Enrique Dizeo.
The original Spanish version of the song has been recorded by many artists, including Alberto Castillo, Julio Iglesias and María Dolores Pradera.
Édith Piaf recorded a French version of the song in 1957, with new lyrics by Michel Rivgauche. Under its new title "La Foule", it became one of her most famous chansons!
The combination of Spanish tango rhythms and the softness of French chansons makes "La Foule" a timeless classic.
It's also a wonderful piece to play on the piano!
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Avec cette partition, vous pouvez jouer "La Foule" par Édith Piaf au piano!
C'est un arrangement pour piano précis et soigneusement créé de la chanson complète.
La mélodie entière est incluse dans la partie piano, ce qui en fait une parfaite reprise de solo instrumental / piano.
À l'origine, "La Foule" était une chanson argentine intitulée "Que nadie sepa mi sufrir" ("Ne laissez personne connaître ma souffrance"). Il a été composé par la légende du tango Ángel Cabral, avec des paroles
par Enrique Dizeo.
La version espagnole originale de la chanson a été enregistrée par de nombreux artistes, dont Alberto Castillo, Julio Iglesias et María Dolores Pradera.
Édith Piaf a enregistré une version française de la chanson en 1957, avec de nouvelles paroles de Michel Rivgauche. Sous son nouveau titre "La Foule", elle est devenue l'une de ses chansons les plus célèbres!
La combinaison des rythmes du tango espagnol et de la douceur des chansons françaises fait de "La Foule" un classique intemporel.
C'est aussi une pièce magnifique à jouer au piano!
$4.99 ≈
4.61€
Satie: La Belle Excentrique - Grand ritournelle - wind quintet
Satie: La Belle Excentrique - Grand ritournelle - wind quintet
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Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
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INTERMÉDIAIRE
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Classique
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Contemporain
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Erik Satie
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Ray Thompson
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Satie: La Belle Excentrique -
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RayThompsonMusic
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SheetMusicPlus
Woodwind Ensemble,Woodwind Quintet Bassoon,Clarinet,Flute,Horn,Oboe,Piccolo - Level 3 - SKU: A0.1298050 Composed by Erik Satie. Arranged by Ray Thompson...
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Woodwind Ensemble,Woodwind Quintet Bassoon,Clarinet,Flute,Horn,Oboe,Piccolo - Level 3 - SKU: A0.1298050 Composed by Erik Satie. Arranged by Ray Thompson. 20th Century,Chamber. 12 pages. RayThompsonMusic #887972. Published by RayThompsonMusic (A0.1298050). La belle excentrique (The Eccentric Beauty) is a dance suite for small orchestra by French composer Erik Satie. A parody of music hall clichés, it was conceived as a choreographic stage work and by modern standards can be considered a ballet.Satie gave it the whimsical subtitle fantaisie sérieuse (A Serious Fantasy). It was premiered at the Théâtre du Colisée in Paris on June 14, 1921, conducted by Vladimir Golschmann. The composer later arranged it for piano four hands.Satie composed this set of solo dances between July and October 1920. It was a high-spirited throwback to his turn-of-the-century cabaret idiom after a brief serious period that had produced the cantata Socrate (1918) and the piano Nocturnes (1919). The suite consists of three dances (march, waltz, can-can) and an instrumental ritornello.1. Grande ritournelle (Grand Ritornello) (This one)2. Marche franco-lunaire (Franco-Lunar March)3. Valse du mysterieux baiser dans l'œil (Waltz of the Mysterious Kiss in the Eye)4. Cancan Grand-Mondain (High-Society Cancan)Arranged wind quintet with piccolo,but could be played on flute if no piccolo available.
$7.95 ≈
7.34€
Fantaisie sur La Flûte enchantée” de Mozart
Fantaisie sur La Flûte enchantée” de Mozart
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Violoncelle, Piano
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Classique
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Auguste Joseph Franchomme
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he died in Paris in 1884
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Fantaisie sur La Flûte e
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Schott Music - Digital
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SheetMusicPlus
Cello and piano - intermediate to advanced - SKU: S9.Q53290 Op. 40. Composed by Auguste Joseph Franchomme. Edited by Beverley Ellis and Rainer Mo...
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Cello and piano - intermediate to advanced - SKU: S9.Q53290 Op. 40. Composed by Auguste Joseph Franchomme. Edited by Beverley Ellis and Rainer Mohrs. This edition: Sheet music. (c) 2020 Schott Music GmbH & Co. KG, Mainz. Classical. Downloadable. Op. 40. 16 pages. Schott Music - Digital #Q53290. Published by Schott Music - Digital (S9.Q53290). English • German.Auguste Joseph Franchomme was born in Lille on 10.4.1808; he died in Paris in 1884. One of his first cello teachers in Lille was Pierre Baumann, who also taught Edouard Lalo. Giving up the study of Law in favour of the cello, he studied with Jean-Henri Levasseur and Louis-Pierre Norblin from 1825 at the Paris Conservatoire. After that he played in various orchestras until he was eventually able to establish himself as a soloist and chamber musician in Paris. Together with violinist Jean-Delphin Alard he founded the Alard Quartet, one of the few string quartets of the time whose members were all professional musicians. Alongside his concert career, Franchomme was a popular and successful professor at the Conservatoire for almost forty years. His compositions include numerous pieces and studies for the cello, a cello concerto and many transcriptions. Franchomme was a close friend of Chopin: he also composed the cello part to Chopin’s Duo concertante and reworked the cello part for the Polonaise Brillante. Chopin dedicated his Cello Sonata op. 65 to Franchomme. Chopin’s influence is clearly recognisable in Franchomme’s work and particularly evident, for example, in his Étude in C# minor op. 35/11. In 1884 Franchomme was awarded the Légion d’honneur for his services to music. This Fantaisie based on themes from Mozart’s Magic Flute was published in 1873 (plate no. 20425).
$3.99 ≈
3.68€
In An English Garden
In An English Garden
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Guitare
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AVANCÉ
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Contemporain
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Dusan Bogdanovic
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In An English Garden
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Les Editions Doberman-Yppan
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SheetMusicPlus
Guitar - Advanced - SKU: ZY.DO-1529 Composed by Dusan Bogdanovic. Score. 8 pages. Les Editions Doberman-Yppan (digital) #DO 1529. Published by Les Editi...
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Guitar - Advanced - SKU: ZY.DO-1529 Composed by Dusan Bogdanovic. Score. 8 pages. Les Editions Doberman-Yppan (digital) #DO 1529. Published by Les Editions Doberman-Yppan (digital) (ZY.DO-1529). Homage to the English guitarist-composer John Duarte, In an English Garden, is a short Neo-Baroque triptych based on a charming harmonic fragment from the second movement of the composer?s well-known work English Suite. The blueprint for the Prelude is in the French Overture style and Sarabande with the accompanying Double is modelled after Bach?s Partita no.1 in B minor. The quote Sitting in an English garden, waiting for the sun, is from one of my favorite songs by John Lennon, I Am The Walrus.Hommage au guitariste-compositeur anglais John Duarte, In an English Garden est un court triptyque néo-baroque basé sur un charmant fragment harmonique du deuxième mouvement de l??uvre bien connue du compositeur English Suite. Le plan du Prélude est dans le style de l?Ouverture française et la Sarabande accompagnée du Double est calquée sur la Partita n°1 en si mineur de Bach. La citation « Assis dans un jardin anglais, attendant le soleil » est tirée d?une de mes chansons préférées de John Lennon, I Am The Walrus.
$5.95 ≈
5.50€
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Noël à la française
