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T Man Music
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Flute and Piano
Sheetmusic to print
3 sheet music found
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You Can't Stop The Beat
You Can't Stop The Beat
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Flute and Piano
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ADVANCED
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Cast of Hairspray
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Caroline Venter
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You Can't Stop The Beat
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Caroline Venter
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SheetMusicPlus
Piano,Soprano Flute - Level 5 - Digital Download SKU: A0.1456443 By Cast of Hairspray. By Marc Shaiman and Scott Wittman. Arranged by Caroline Venter. 21...
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Piano,Soprano Flute - Level 5 - Digital Download SKU: A0.1456443 By Cast of Hairspray. By Marc Shaiman and Scott Wittman. Arranged by Caroline Venter. 21st Century,Broadway,Musical/Show. Score and part. 8 pages. Caroline Venter #1035526. Published by Caroline Venter (A0.1456443). An arrangement for advanced solo instrument with piano accompaniment. Contains ornaments, key changes and difficult rhythms. Would suit grade 7 standard. Score and part.
$5.50 ≈
4.96€
Flûte en suite
Flûte en suite
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Flute and Piano
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ADVANCED
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Joerg Widmann
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Flûte en suite
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Schott Music - Digital
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SheetMusicPlus
Flute and orchestra - difficult - Digital Download SKU: S9.Q25027 For flute and orchestral groups. Composed by Joerg Widmann. This edition: piano ...
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Flute and orchestra - difficult - Digital Download SKU: S9.Q25027 For flute and orchestral groups. Composed by Joerg Widmann. This edition: piano reduction with solo part. Il Flauto traverso. Downloadable, Piano reduction with solo part. Duration 22 minutes. Schott Music - Digital #Q25027. Published by Schott Music - Digital (S9.Q25027). This ‚Suite’ is not one of my ‘epic’ instrumental concertos such as the concertos for cello, violin or oboe, but a substantially smaller-structured series of dance forms arranged into a suite. Sunken worlds suddenly emerge here, only to reach the surface, hover in dangerously distorted fashion and then sink back to the bottom. Almost every individual movement allots the solo flute a specific tonal colouring and an instrumental group from the orchestra: in the opening Allemande, the flutes of the orchestra (including alto and bass flute and later also piccolo to include the entire flute family); the string section in the Sarabande; in both chorales (extremely muted in the first and brutalist in the second), the brass etc.; and it is only in the concluding Badinerie that all orchestral groups are combined, although they are terraced in the Baroque style, one following another, seldom all playing simultaneously. This permits the flute to remain the provider of all impulses; it attaches itself to the wide variety of instrumental colours, becomes suffused with these colours and thereby shines in different lights – acerbic, pale and radiant. This first performance marks the conclusion of my two-year residence with the Cleveland Orchestra. The immense versatility of this fine body of sound (which is indeed treated as such with the sum of its parts) and the exciting dark timbre of its principal flautist Joshua Smith have to a great extent determined the form and tonal character of my Flûte en suite. Jörg WidmannThis ‚Suite’ is not one of my ‘epic’ instrumental concertos such as the concertos for cello, violin or oboe, but a substantially smaller-structured series of dance forms arranged into a suite. Sunken worlds suddenly emerge here, only to reach the surface, hover in dangerously distorted fashion and then sink back to the bottom. Every individual movement allots the solo flute an instrumental group from the orchestra: in the opening Allemande, the flutes of the orchestra; the string section in the Sarabande; in both chorales the brass etc.; and it is only in the concluding Badinerie that all orchestral groups are combined, although they are terraced in the Baroque style, one following another, seldom all playing simultaneously. This first performance marks the conclusion of my two-year residence with the Cleveland Orchestra. The immense versatility of this fine body of sound and the exciting dark timbre of its principal flautist Joshua Smith have to a great extent determined the form and tonal character of my Flûte en suite. Jörg Widmann3 (2. auch Altfl., 3. auch Bassfl., alle auch Picc.) · 3 (2. auch Ob. d’am., 3. auch Engl. Hr.) · 0 · 3 (3. auch Kfg.) - 4 · 4 · 3 · 1 - S. (Glsp. · Vibr. · 3 hg. Beck. [h./m./t.] · chin. Beck. · 4 Gongs · 4 Buckelgongs · 2 Tamt. [m./t.] · Wassertamt. · gr. Tr. · Metal Chimes · Peitsche) (2 Spieler) - Hfe. · Cel. (auch Cemb.) - Str. (10 · 8 · 6 · 4 · 3).
$55.99 ≈
50.51€
Thérèse Brenet: Sonata for flute and piano
Thérèse Brenet: Sonata for flute and piano
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Flute and Piano
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ADVANCED
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Therese Brenet
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Thérèse Brenet: Sonata for f
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Musik Fabrik Music Publishing
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SheetMusicPlus
Flute,Piano - Level 5 - Digital Download SKU: A0.533397 Composed by Therese Brenet. Concert,Contemporary,Standards. Score and part. 30 pages. Musik Fabri...
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Flute,Piano - Level 5 - Digital Download SKU: A0.533397 Composed by Therese Brenet. Concert,Contemporary,Standards. Score and part. 30 pages. Musik Fabrik Music Publishing #2894443. Published by Musik Fabrik Music Publishing (A0.533397). A sonata in three movements for flute and piano: I. EphémèreII. La lune s'éteignitIII. Miroirs The sonata lasts aproximately 13 minutes. Thérèse BRENET, born 22 October 1935 in Paris, France began her musical studies at a very early age, receiving her first prize in Piano from the Conservatoire de Reims.At the Paris Conservatory, her prinicipal teachers were Jean Rivier, Darius Milhaud, Maurice Duruflé, Noël Gallon and Henri Dutilleux and she obtained First Prizes in Harmony, Counterpoint, and Fugue. She finished her studies in 1965, receiving a First Prize in Orchestration, A First Prize with highest honors in Composition and the First Grand Prix de Rome in musical composition.She also won the Halphen Prize for Composition and the Fugue, a grant from the Coplay Foundation of Chigaco and was named honorable member of the National Academy of History of Reims. In 1971, she received the Stéphane Chapelier-Clergue-Gabriel Marie Prize from the SACEM and in 1973, the Silver Medal from the City of Paris.After her stay at the French Academy at the Villa Médicis in Rome, Thérèse Brenet undertook several post-graduate voyages for study, notably to Poland. Upon her return in Paris in 1970, she was immediately named to the Faculty of the Paris Conservatory (CNSMD de Paris) where she also was frequently part of the juries for music theory and composition, as well as electroacoustical music.Thérèse Brenet receiving her definitive SACEM membership from Georges Auric She retired from the Paris Conservatory in 2000 and has since devoted her time to musical composition. She uses both tonal and atonal musical language, which she uses to suit her personal style. Her works are strongly influenced by literature, by painting and by science (especially astronomy). She believes that a composer should use all technical means at his or her disposal and use them rather than be used by them.Her first commission from the French National Radio, Clamavit, for Narrator, Chorus and Orchestra which was premièred by the Orchestre Lyrique de l'O.R.T.F., under the direction of André Girard, with Michel Bouquet as the Narrator, was selected to represent France in the Composer's Forum of 'U.N.E.S.C.O., and was performed in many countries. Many other works have also been performed outside of France in countries such as Switzerland, England, Germany, Belgium, Ireland, the former Yugoslavia, Italy, Portugal, the Netherlands, Libya, Canada, Uruguay, Japan and the United States etc...
$16.95 ≈
15.29€
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