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28 Opera
Not classified 37

Piano & keyboards
Easy Piano 4
Piano solo 2
Organ 1

Guitars
Guitar 2

Melody line, (Lyrics) and Chords 1

Voice
Choral SATB 4
Vocal duet, Piano 2
Choral TTBB 1
Soprano voice, Piano 1

Woodwind
Saxophone Quartet: 4 saxophones 4
Alto Saxophone and Piano 4
Saxophone Quintet: 5 Saxophones 3
Clarinet Quartet: 4 clarinets 3
Clarinet Ensemble 3

Clarinet and Piano 3
Soprano Saxophone and Piano 3
English horn, Piano 2
Flute, Oboe, Clarinet, Bassoon 2
Oboe, Piano (duet) 2
Woodwind Quintet: flute, oboe, bassoon, clarinet, horn 2
Alto Saxophone 1
Tenor Saxophone 1
Flute and Piano 1
Flute ensemble 1
Flute Quartet: 4 flutes 1
2 Flutes (duet) 1
Oboe (band part) 1

+ 13 instrumentations

- Retract

Woodbrass
Brass quartet : 2 trumpets, trombone, tuba 5
English horn, Piano 2
Brass Quintet: 2 trumpets, horn, trombone, tuba 2
Trumpet ensemble 1
Trumpet 1

Strings
String Quartet: 2 violins, viola, cello 5
Cello, Piano 2
Cello 2
Violin and Piano 1
Violin 1

Viola, Piano 1
Viola 1
Harp, Flute (duet) 1

+ 3 instrumentations

- Retract

Percussion & orchestra
Concert band 12
Orchestra 7
Chamber Orchestra 6
String Orchestra 5
Brass ensemble 3

Jazz Ensemble 2
Jazz combo 2

+ 2 instrumentations

- Retract

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28 Opera

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2 sheet music found

Selected Operatic Fantasies of Mertz

Selected Operatic Fantasies of Mertz #Guitar #INTERMEDIATE #Classical #Johann Kaspar Mertz #Selected Operatic Fantasies of #Mel Bay Publications - Digital Sheet Music #SheetMusicPlus

By Johann Kaspar Mertz (1806-1856). For Guitar (Classical). Classic. 56 pages. Published by Mel Bay Publications - Digital Sheet Music ...(+)

By Johann Kaspar Mertz (1806-1856). For Guitar (Classical). Classic. 56 pages. Published by Mel Bay Publications - Digital Sheet Music
ISBN 9781609743260. This collection is drawn from the Portefeuille Guitarre-Spieler series and is intended for intermediate to advanced guitarists.The works in this collection:Fantasy on themes from Don Giovanni, Op. 28Don Giovanni has long been famous among enthusiasts of fretted instruments for Mozart's sublime use of the mandolin in Don Juans' aria Deh, vieni alla finestra. Mertz himself took note of Mozart's 'mandolin serenade' for he employed as a catalyst a brief quote of the mandolin introduction in his Op. 28 for a modulatory transition based upon the theme. Mertz also included a simple arrangement of the aria as number 76 in his Kukuk, a 'musical panorama' of 136 short pieces.Martha, Op. 16Martha, oder Der Markt zu Richmond by German composer Friedrich Flotow (1812-1883) was first produced in Vienna in 1847. In the second act of Martha Flotow incorporates 'Tis the Last Rose of Summer (Qui sola, verginrosa), a traditional Irish melody to which the poet Thomas Moore wrote lyrics. It was one of the most popular songs of the nineteenth century. In addition to Beethoven, Mendelssohn, and Thalberg, guitar composers to produce works based upon the famous song include Giuliani, Ferranti, Holland, and Foden. Preceding Ah! che a voi perdoni Iddio in his Op. 16, Mertz quotes a brief passage from his Elegie.The Prophet, Op. 21Giacomo Meyerbeer was the leading composer of French grand opera during Mertz's professional career. Following studies in Italy, the German composer was chiefly active in Paris and Berlin, although he traveled Europe extensively producing his operas. Le prophete premiered in Paris in 1849 after a long delay due to casting problems. Mertz's Op. 21 was published shortly thereafter.Nabucco, Op. 62 and Rigoletto, Op. 63Giuseppe Verdi's first major triumph as an opera composer was with the biblical opera Nabucodonosor (more commonly known as Nabucco). The opera was premiered in Milan in 1842 and its subsequent revivals throughout Europe spread Verdi?s fame at an astounding rate. Consequently, Verdi was commissioned to compose 14 operas in the following decade. Among these operas was Rigoletto, first produced in Venice in 1851. Mertz frequently turned to the music of Verdi for his operatic fantasies, producing no fewer than four distinct works based on themes from Rigoletto alone.

$14.99 ≈ $20.26

Intavolatura per chitarra e chitarriglia

Intavolatura per chitarra e chitarriglia #Guitar #EASY #Carlo Calvi #Pasquale Di Caro #Intavolatura per chitarra e ch #Pasquale Di Caro #SheetMusicPlus

Solo Guitar - Level 2 - Digital Download SKU: A0.1504269 Composed by Carlo Calvi. Arranged by Pasquale Di Caro. Baroque,Renaissance. Individual part. 28 ...(+)

Solo Guitar - Level 2 - Digital Download SKU: A0.1504269 Composed by Carlo Calvi. Arranged by Pasquale Di Caro. Baroque,Renaissance. Individual part. 28 pages. Pasquale Di Caro #1079727. Published by Pasquale Di Caro (A0.1504269). Questa pubblicazione contiene tutta la sezione pertinente alla «chitarra a cinque cori in stile pizzicato», trascritta da una parte impiegando il sistema integrale (fedele all’originale), per consentire al lettore un’attenta comparazione, dall’altra il sistema interpretativo, contenente gli interventi adattivi e ricostruttivi. L’obiettivo di questo lavoro didattico-pratico è quello di presentare l’opera ai chitarristi interessati alla cosiddetta musica antica e di adattare le musiche alla chitarra di uso comune.Per le difficoltà sopra descritte e per l’atto stesso del trascrivere da uno strumento ad un altro, non è possibile ottenere con la chitarra moderna gli stessi effetti di quell’antica, per cui ho deciso di trattare queste intavolature cercando le migliori soluzioni per lo strumento di destinazione, evitando la strada filologica che comporterebbe il rischio di ottenere un risultato ambiguo che non riconosca la lezione originaria né tantomeno una moderna chiave di lettura.Le “suonate” sono numerate secondo l’ordine usato nella pubblicazione originaria. Le legature sono state aggiunte e possono essere modificate secondo il proprio gusto. Non ho inserito gli abbellimenti che possono essere usati a piacere come prevedeva la prassi esecutiva del tempo. Mancano gli andamenti che sono intrinsechi della forma e desumibili dal carattere musicale. I segni di ripetizione sono inseriti anche dove non erano previsti, per cui è stato necessario aggiungere alcune battute di raccordo, lasciando libera scelta all’esecutore. In alcuni casi ho preferito omettere e/o inserire delle note di riempimento e portare al basso alcune voci. Tra gli interventi apportati, i più significativi riguardano le modifiche di alcune note, l’uniformazione simmetrica di passaggi melodico-ritmici come nei casi degli incipit e dei valori di durata. Le modifiche sono state effettuate per rendere i brani più omogenei e simmetrici, laddove non era possibile eseguirli senza incorrere in sincopi armoniche o in ambigue riprese di ritornello, a volte modificando addirittura il tempo da 4/4 a 2/4. Per evidenziare il disegno ritmico ho preferito il tempo 3/4 al 3/2; in alcuni casi il 2/4 al 2/2 e così via, con la conseguente riduzione ritmica dei valori. Per tutti coloro che desiderino effettuare uno studio più attento e particolareggiato, consiglio vivamente di comparare la trascrizione integrale con quella interpretativa e di consultare l’intavolatura originale.

$5.99 ≈ $8.10