Tonalité : C-Moll -. Par CHERUBINI LUIGI. Gattungen: Requiem - Verwendung / Anlässe: Trauer, Tod - Langue : Latin/ Répertoire / Choeur SATB, 2 Hautbois, 2 Clarinettes, 2 Bassons,

Tonalité : C-Moll -. Par CHERUBINI LUIGI. Gattungen: Requiem - Verwendung / Anlässe: Trauer, Tod - Langue : Latin / Requiem / Répertoire / Choeur SATB, 2 Hautbois, 2 Clarinettes, 2 Bassons,

Tonalité : C-Moll -. Par CHERUBINI LUIGI. Gattungen: Requiem - Verwendung / Anlässe: Trauer, Tod - Langue : Latin / Requiem / Répertoire / Choeur SATB, 2 Hautbois, 2 Clarinettes, 2 Bassons,

Symphonic Highlights-With some brilliant new themes along with familar strains from the first two films this third and final chapter promises to be the best yet. Hans Zimmer's powerful musical backdrop sets the adventure level at an all-time highfor those orchestras who love to play film music. Includes: Hoist the Colors Drink Up Me Hearties I See Dead People in Boats and Up Is Down.

An easy calypso beat sets the mood for this lively Caribbean folk carol. The piano is important at the beginning and in transition while giving support to the rhythmic pulse throughout. Optional auxiliary percussion is included to add effect. An easy piece to learn and a great crowd-pleaser.

Cherubini owes his fame as a church composer primarily to the 'Requiem in C minor? of 1817. It was held in extraordinarily high esteem by such composers as Beethoven and Schumann and served as a model for early 19th-century Requiem settings. Dispensing entirely with solo voices, it captivates with its rigorous formal concentration and its restrained use of musical resources in both choir and orchestra.This Urtext edition takes into account not only the autograph score with 'spartitino? (additional instruments written in by hand) but also the first edition and a copyist's manuscript.Rounding off this exemplary Urtext publication is an informative Introduction and a Critical Commentary (Eng).- Cherubini's well-known Requiem in a definitive Urtext edition- Bilingual Foreword (Eng/Ger)- Idiomatic, uncluttered piano reduction / Alto II

Missa Pro Defunctis-Cherubini owes his fame as a church composer primarily to the Requiem in C minor of 1817. It was held in extraordinarily high esteem by such composers as Beethoven and Schumann and served as a model for early 19th-century Requiem settings.Dispensing entirely with solo voices it captivates with its rigorous formal concentration and its restrained use of musical resources in both Choir and Orchestra.This Urtext edition takes into account not only the autograph score with spartitino (additional instruments written in by hand) but also the first edition and a copyist’s manuscript. Rounding off this exemplary Urtext publication is an informativeIntroduction and a Critical Commentary (Eng).

Missa Pro Defunctis-Cherubini owes his fame as a church composer primarily to the Requiem in C minor of 1817. It was held in extraordinarily high esteem by such composers as Beethoven and Schumann and served as a model for early 19th-century Requiem settings.Dispensing entirely with solo voices it captivates with its rigorous formal concentration and its restrained use of musical resources in both Choir and Orchestra.This Urtext edition takes into account not only the autograph score with spartitino (additional instruments written in by hand) but also the first edition and a copyist’s manuscript. Rounding off this exemplary Urtext publication is an informativeIntroduction and a Critical Commentary (Eng).

Missa Pro Defunctis-Cherubini owes his fame as a church composer primarily to the Requiem in C minor of 1817. It was held in extraordinarily high esteem by such composers as Beethoven and Schumann and served as a model for early 19th-century Requiem settings.Dispensing entirely with solo voices it captivates with its rigorous formal concentration and its restrained use of musical resources in both Choir and Orchestra.This Urtext edition takes into account not only the autograph score with spartitino (additional instruments written in by hand) but also the first edition and a copyist’s manuscript. Rounding off this exemplary Urtext publication is an informativeIntroduction and a Critical Commentary (Eng).

für Waldhorn (oder Englisch Horn) und Streichorchester-For English Horn and string orchestra

This concerto a new addition to the literature for guitar and orchestra casts the guitar almost as a member of the percussion family from the very beginning explosive in its energy easing into song for its secondtheme.An extensive cadenza takes the soloist to the highest note before plunging into an appropriately hectic ending. A simple (but all the more telling) guitar solo opens and closes the middle movement a nocturne withanother extended cadenza. The movement starts in meditation grows into a broad chorale-like melody and moves into rage before the orchestra intervenes to return to the calm of the beginning. The boisterous and carefree flavourof the last movement sketched while on holiday in Antigua during Carnival gives the concerto its nickname.This riotous and exuberant finale generates an irresistible rumba bringing together themes first heard at thevery beginning of the work particularly the rasqueado strumming and the tamburo percussive effects. The moods and flavour of the Caribbean are very acutely captured not in a tourist photograph but in an obviously loving spiritual portrait.????????????Eduardo?Fern?ndezThe Guitar Concerto ?Caribbean? has been recorded by Eduardo Fern?ndez withthe English Chamber Orchestra conducted by Barry Wordsworth.