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You've selected:
The Swan,
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Sheetmusic to print
112 sheet music found
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1
26
51
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101
Swanee
Swanee
#
2 Pianos, 4 hands
#
ADVANCED
#
Paul Posnak & Anita Castiglion
#
Paul Posnak
#
Swanee
#
Paul Posnak
#
SheetMusicPlus
2 Pianos,4 Hands,Piano Duet - Level 5 - Digital Download SKU: A0.1175185 By Paul Posnak & Anita Castiglione. By George Gershwin. Arranged by Paul Posnak....
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2 Pianos,4 Hands,Piano Duet - Level 5 - Digital Download SKU: A0.1175185 By Paul Posnak & Anita Castiglione. By George Gershwin. Arranged by Paul Posnak. 20th Century,Classical,Jazz,Standards. Score. 10 pages. Paul Posnak #775326. Published by Paul Posnak (A0.1175185). Arrangement for 2 pianos, 4 hands of Swanee by George Gershwin.Foreword by the arranger:George Gershwin, since his days as a teenage song-plugger in Tin Pan Alley, loved the medium of two pianos. A consummate improviser with a harmonically sophisticated, jazz-influenced,orchestral approach to the treatment of melody, he was born into the great age of touring duo piano teams, such as Bauer and Gabrilowitsch, Josef and Rhosina Levine, Luboshutz and Nemenoff, and Gershwin's favorite team, Arden and Ohman. Gershwin loved the multi-voiced orchestral color, power and range of two pianists playing and improvising together. In his first major show written with brother Ira, the 1924 Lady Be Good, he incorporated the renowned team of Phil Ohman and Victor Arden into the musical theater pit orchestra, not only to add to the orchestra's sound and rhythmic drive, but also to play during breaks in the action and during Intermission. They even played encores! This successful formula was repeated for the 1926 show, Oh, Kay, and for the 1927 show, Funny Face.Gershwin's own bravura improvisations on his songs sound, even to the trained ear, like two pianos. I have transcribed (and digitally re-recorded) a number of these improvisations note-for-note from the old LP-remastered 78 rpm records and radio broadcasts. I have tried to capture his own two-fisted orchestral keyboard style: his love of inner voices, contrapuntal runs, jazz figurations, sophisticated chordal textures, and swing.These arrangements resulted from my appearance in 2003 as one of two soloists in several all-Gershwin concerts with The National Symphony Orchestra under the direction of Marvin Hamlisch. Marvin suggested that I also play a couple of my Gershwin improvisation transcriptions, and we thought it would be a perfect touch for Lorin Hollander, the other soloist, and me to play a short two-piano piece. I was surprised to find very few two-piano arrangements of Gershwin's songs. I became inspired to fill this void in the duo piano repertoire. It is my hope that these settings will offer a worthy challenge and musical reward for intermediate and advanced piano students and amateurs, and a unique addition to the duo piano literature for professional pianists and duo piano teams the world over.Paul Posnak.
$12.00 ≈
11.09€
The Oath of Silence, An Opera in Four Acts, Piano Vocal Score
The Oath of Silence, An Opera in Four Acts, Piano Vocal Score
#
Piano, Vocal and Guitar
#
ADVANCED
#
James Nathaniel Holland
#
The Oath of Silence, An Opera
#
James Nathaniel Holland
#
SheetMusicPlus
Guitar,Piano,Vocal,Voice - Level 5 - Digital Download SKU: A0.1284659 Composed by James Nathaniel Holland. 21st Century,Contemporary,Opera. Score. 143 pa...
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Guitar,Piano,Vocal,Voice - Level 5 - Digital Download SKU: A0.1284659 Composed by James Nathaniel Holland. 21st Century,Contemporary,Opera. Score. 143 pages. James Nathaniel Holland #875835. Published by James Nathaniel Holland (A0.1284659). PIANO VOCAL SCORE.  This four act contemporary opera, original libretto and music, by 21st century American composer James Nathaniel Holland is the story of the triumph of Love over Evil, however delayed, and the power of keeping steadfast to one’s righteous promise.  Based on the German fairy tale The Six Swans, in a kingdom, during Saxon times, the murderous daughter of an evil entity, Ravia, infiltrates and takes over the lives of a royal family due to the King’s rash promise to marry her many years before. The royal children are sent away by their father for safety to a hidden, woodland cottage, but Ravia discovers where they are and hexes the younger siblings, turning them into swallows.  Usha, the eldest, escapes and flees to the wilderness and is visited by the apparition of her dead mother who explains what is going on and that Usha must swear an oath of silence for six years to break the spell and change her siblings back into human form.Five years pass and a dashing and kind king, Rohric, of another kingdom, finds Usha while hunting, falls in love with and marries her, but Usha must remain silent and cannot reveal who she is.  Ravia, who now is sole queen of the old kingdom, is invited by Rohric’s nobles with hope to secure a “proper†wedding for Rohric.  Usha is accused falsely of killing her own child by the two and is sentenced to be burned at the stake, but as the bell tolls she finally can declare her innocence.  To the crowd’s amazement her siblings change back, all truth is revealed, and for Ravia’s failure, she is dragged back to hell by demons.  Singers:  King Alfred (bass), Ravia (soprano), Princess Usha (mezzo), Queen Mother Arna (soprano), the royal siblings (children’s/boy’s chorus), King Rohric (Tenor), The Evil Noble (baritone), An angel/a demon (bass), SATB ChorusScored for full orchestra.  Instrumentation:  picc/treble recorder, fl12, ob12, eh, cl12, bsn12, hrn 123, tpt123, trom12, tba, timp, perc.12 (bd, crash cym, ride cym with soft mallets and stick, glk, chimes, snar, tri), hrp, stringsDuration:  2 hoursFull Orchestral Score (concert pitch), Piano Vocal Score and Instruments Parts 1 (woodwinds, brass, perc.) and Parts 2 (harp and strings) sold separately.
$17.50 ≈
16.17€
Korsakov: Flight of the Bumblebee for Soprano Sax & Piano
Korsakov: Flight of the Bumblebee for Soprano Sax & Piano
#
Soprano Saxophone and Piano
#
ADVANCED
#
Classical
#
Contemporary
#
Nikolay Andreyevich Rimsky-Kor
#
James M
#
Korsakov: Flight of the Bumble
#
jmsgu3
#
SheetMusicPlus
Piano,Soprano Saxophone - Level 5 - Digital Download SKU: A0.549256 Composed by Nikolay Andreyevich Rimsky-Korsakov. Arranged by James M. Guthrie, ASCAP....
(+)
Piano,Soprano Saxophone - Level 5 - Digital Download SKU: A0.549256 Composed by Nikolay Andreyevich Rimsky-Korsakov. Arranged by James M. Guthrie, ASCAP. Instructional,Romantic Period,Standards. Score and part. 15 pages. Jmsgu3 #3473699. Published by jmsgu3 (A0.549256). Flight of the Bumblebee from Korsakov's Tale of Tsar Saltan Score: 9 pages, Solo part: 3 pages, Piano accompaniment part: 3 pages. Duration: ca. 1:15 Amaze your listeners with this short but stunning recital encore! Korsakov: Flight of the Bumblebee Flight of the Bumblebee is, to be sure, an orchestral interlude composed by Nikolai Rimsky-Korsakov for his opera The Tale of Tsar Saltan. Korsakov, of course, intended to musically portray the chaotic flying pattern of a bumblebee. Nowadays, this piece is one of the comparatively more famous classical works because it frequently appears from time to time in popular culture. In the opera, the piece appears notably at the close of Act III, Tableau 1. This is when the magic Swan-Bird, in fact, changes the Prince (the son of the Tsar) into a bee so he can fly away to visit his father. Interestingly, at this point in the drama, his father, in effect, does not know that he is alive.  Korsakov Background Nikolai Rimsky-Korsakov (1844 –1908) was a uniquely famous composer from Russia. He was likewise a member of an infamous assembly of composers called The Five. Korsakov was furthermore an expert in orchestration. His correspondingly most famous orchestral compositions-Capriccio Espagnol, the Russian Easter Festival Overture, and the Scheherazade suite-are important monuments of the standard music repertoire.  Also, comparatively very important are his suites and excerpts from his 15 operas. Korsakov was moreover fond of using Russian folklore and fairy tales in his music, such as Scheherazade. Nationalistic Style Korsakov believed, similarly to fellow outspoken composer Balakirev, in creating a nationalistic, Russia-centric style of classical music. The new style was in fact called Orientalism. It similarly relied on native Russian materials, exotic scales, and experimental harmonic, melodic and rhythmic procedures. This practice, conversely, ran counter to the developments in Western musical culture. Musical Developments Nevertheless, Korsakov developed an appreciation of Western musical techniques after he became a professor of musical composition, harmony, and orchestration at the Saint Petersburg Conservatory in 1871. Moreover, he undertook a rigorous three-year program of self-education and mastered Western methods, incorporating them in conjunction with the influences of Mikhail Glinka and other members of The Five. His techniques of composition and orchestration were additionally enriched by his exposure to the works of Richard Wagner. Naval Service Korsakov combined his music career accordingly with a career in the Russian military. He was in the first place an officer in the Russian Navy. In due time, he was appointed as a civilian Inspector of Naval Bands. As a result, Korsakov expanded his knowledge of woodwind and brass playing, which in turn heightened his capabilities in orchestration. Legacy Korsakov in due time contributed a significant number of Russian nationalist works. He also prepared, from time to time, compositions by The Five for presentation. This brought their works straightaway into the active classical repertoire as well. He also shaped an entire generation of younger composers during his time as a music educator. Therefore, music historians consider Korsakov as the foremost engineer of what the public considers to be the Russian style of composition. He served, all in all, as a transitional figure between The Five and the classically trained composers who became the norm over time. In addition to the Russians, he forthwith influenced non-Russian composers such as Ravel, Debussy, Dukas, and Respighi. Â
$32.95 ≈
30.44€
Korsakov: Flight of the Bumblebee for Viola & Piano
Korsakov: Flight of the Bumblebee for Viola & Piano
#
Viola, Piano
#
ADVANCED
#
Classical
#
Contemporary
#
Nikolay Andreyevich Rimsky-Kor
#
James M
#
Korsakov: Flight of the Bumble
#
jmsgu3
#
SheetMusicPlus
Piano,Viola - Level 5 - Digital Download SKU: A0.549240 Composed by Nikolay Andreyevich Rimsky-Korsakov. Arranged by James M. Guthrie, ASCAP. Instruction...
(+)
Piano,Viola - Level 5 - Digital Download SKU: A0.549240 Composed by Nikolay Andreyevich Rimsky-Korsakov. Arranged by James M. Guthrie, ASCAP. Instructional,Romantic Period,Standards. Score and part. 17 pages. Jmsgu3 #3473581. Published by jmsgu3 (A0.549240). Flight of the Bumblebee from Korsakov's Tale of Tsar Saltan Score: 11 pages, Solo part: 3 pages, Piano accompaniment part: 3 pages. Duration: ca. 1:15 Amaze your listeners with this short but great recital encore! Flight of the Bumblebee Flight of the Bumblebee is, to be sure, an orchestral interlude composed by Nikolai Rimsky-Korsakov for his opera The Tale of Tsar Saltan. Korsakov, of course, intended to musically portray the chaotic flying pattern of a bumblebee. Nowadays, this piece is one of the comparatively more famous classical works because it frequently appears from time to time in popular culture. In the opera, the piece appears notably at the close of Act III, Tableau 1. This is when the magic Swan-Bird, in fact, changes the Prince (the son of the Tsar) into a bee so he can fly away to visit his father. Interestingly, at this point in the drama, his father, in effect, does not know that he is alive.  Korsakov Background Nikolai Rimsky-Korsakov (1844 –1908) was a uniquely famous composer from Russia. He was likewise a member of an infamous assembly of composers called The Five. Korsakov was furthermore an expert in orchestration. His correspondingly most famous orchestral compositions-Capriccio Espagnol, the Russian Easter Festival Overture, and the Scheherazade suite-are important monuments of the standard music repertoire.  Also, comparatively very important are his suites and excerpts from his 15 operas. Korsakov was moreover fond of using Russian folklore and fairy tales in his music, such as Scheherazade. Nationalistic Style Korsakov believed, similarly to fellow outspoken composer Balakirev, in creating a nationalistic, Russia-centric style of classical music. The new style was in fact called Orientalism. It similarly relied on native Russian materials, exotic scales, and experimental harmonic, melodic and rhythmic procedures. This practice, conversely, ran counter to the developments in Western musical culture. Musical Developments Nevertheless, Korsakov developed an appreciation of Western musical techniques after he became a professor of musical composition, harmony, and orchestration at the Saint Petersburg Conservatory in 1871. Moreover, he undertook a rigorous three-year program of self-education and mastered Western methods, incorporating them in conjunction with the influences of Mikhail Glinka and other members of The Five. His techniques of composition and orchestration were additionally enriched by his exposure to the works of Richard Wagner. Naval Service Korsakov combined his music career accordingly with a career in the Russian military. He was in the first place an officer in the Russian Navy. In due time, he was appointed as a civilian Inspector of Naval Bands. As a result, Korsakov expanded his knowledge of woodwind and brass playing, which in turn heightened his capabilities in orchestration. Legacy Korsakov in due time contributed a significant number of Russian nationalist works. He also prepared, from time to time, compositions by The Five for presentation. This brought their works straightaway into the active classical repertoire as well. He also shaped an entire generation of younger composers during his time as a music educator. Therefore, music historians consider Korsakov as the foremost engineer of what the public considers to be the Russian style of composition. He served, all in all, as a transitional figure between The Five and the classically trained composers who became the norm over time. In addition to the Russians, he forthwith influenced non-Russian composers such as Ravel, Debussy, Dukas, and Respighi. Â
$32.95 ≈
30.44€
Korsakov: Flight of the Bumblebee for Alto Sax & Piano
Korsakov: Flight of the Bumblebee for Alto Sax & Piano
#
Alto Saxophone and Piano
#
ADVANCED
#
Classical
#
Contemporary
#
Nikolay Andreyevich Rimsky-Kor
#
James M
#
Korsakov: Flight of the Bumble
#
jmsgu3
#
SheetMusicPlus
Alto Saxophone,Piano - Level 5 - Digital Download SKU: A0.549254 Composed by Nikolay Andreyevich Rimsky-Korsakov. Arranged by James M. Guthrie, ASCAP. In...
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Alto Saxophone,Piano - Level 5 - Digital Download SKU: A0.549254 Composed by Nikolay Andreyevich Rimsky-Korsakov. Arranged by James M. Guthrie, ASCAP. Instructional,Romantic Period,Standards. Score and part. 15 pages. Jmsgu3 #3473685. Published by jmsgu3 (A0.549254). Flight of the Bumblebee Flight of the Bumblebee is, to be sure, an orchestral interlude composed by Nikolai Rimsky-Korsakov for his opera The Tale of Tsar Saltan. Of course, Korsakov intended to portray a bumblebee's chaotic flying pattern musically. Nowadays, this piece is one of the comparatively more famous classical works because it frequently appears occasionally in popular culture. The piece appears notably in the opera at the close of Act III, Tableau 1. This is when the magic Swan-Bird changes the Prince (the son of the Tsar) into a bee so he can fly away to visit his father. Interestingly, at this point in the drama, his father, in effect, does not know that he is alive. Korsakov Background Nikolai Rimsky-Korsakov (1844 –1908) was a uniquely famous composer from Russia. He was likewise a member of an infamous assembly of composers called The Five. Korsakov was furthermore an expert in orchestration. His correspondingly most famous orchestral compositions- Capriccio Espagnol, the Russian Easter Festival Overture, and the Scheherazade suite- are essential monuments of the standard music repertoire. Also comparatively very important are his suites and excerpts from his 15 operas. Korsakov used Russian folklore and fairy tales, such as Scheherazade, in his music. Nationalistic Style Like fellow outspoken composer Balakirev, Korsakov believed in creating a nationalistic, Russia-centric style of classical music. The new style was called Orientalism. It similarly relied on native Russian materials, exotic scales, and experimental harmonic, melodic, and rhythmic procedures. This practice, conversely, ran counter to the developments in Western musical culture. Musical Developments Nevertheless, Korsakov developed an appreciation of Western musical techniques after he became a professor of musical composition, harmony, and orchestration at the Saint Petersburg Conservatory in 1871. Moreover, he undertook a rigorous three-year program of self-education. He mastered Western methods, incorporating them with the influences of Mikhail Glinka and other members of The Five. His techniques of composition and orchestration were additionally enriched by his exposure to the works of Richard Wagner. Naval Service Korsakov combined his music career accordingly with a career in the Russian military. He was in the first place an officer in the Russian Navy. In due time, he was appointed a civilian Inspector of Naval Bands. As a result, Korsakov expanded his knowledge of woodwind and brass playing, which heightened his orchestration capabilities. Legacy In due time, Korsakov contributed a significant number of Russian nationalist works. He also prepared, occasionally, compositions by The Five for presentation. This brought their works straightaway into the active classical repertoire as well. He also shaped an entire generation of younger composers as a music educator. Therefore, music historians consider Korsakov the foremost engineer of what the public considers the Russian composition style. He served as a transitional figure between The Five and the classically trained composers who became the norm over time. In addition to the Russians, he influenced non-Russian composers such as Ravel, Debussy, Dukas, and Respighi. Â
$32.95 ≈
30.44€
Ballet, “THE LITTLE MATCH GIRL”, Op.24, (1977) - (piano score)
Ballet, “THE LITTLE MATCH GIRL”, Op.24, (1977) - (piano score)
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Piano, Vocal and Guitar
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ADVANCED
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An-lun Huang
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Ballet, “THE LITTLE MATCH GI
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DoReMi Edition
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SheetMusicPlus
Guitar,Piano,Vocal,Voice - Level 5 - Digital Download SKU: A0.1009194 Composed by An-lun Huang. 20th Century,Christmas,Classical. Score. 38 pages. DoReMi...
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Guitar,Piano,Vocal,Voice - Level 5 - Digital Download SKU: A0.1009194 Composed by An-lun Huang. 20th Century,Christmas,Classical. Score. 38 pages. DoReMi Edition #594856. Published by DoReMi Edition (A0.1009194). Based on the fairy tale “The Little Match Girl†by Hans Christian Anderson (1805-1875), the famous Danish writer, the Beijing Ballet School of China commissioned An-Lun Huang to compose this ballet in 1977. The play was written by Zhang Dun-yi, and the choreographers were Wu Fu-kang and Huang Buo-hong. The premiere took place in Beijing in 1977. It was performed by the school and the Central Opera House Orchestra, conducted by Zheng Xiao-ying. The music is written in Nineteen Century-Romantic style with some strong Scandinavian flavor. Margot Fonteyn, one of the most important ballet dancers of our age, claimed that “the composer has composed the very, very, very good music for this ballet ! “ She then produced a movie of it, which has been broadcasted by the PBS of U.S.A. in early of eighties. Since the great success of the premiere, this ballet and its music have been widely performed and warmly received. A tape of it was also released in China. This is the story of the ballet: In a little Danish town in the nineteenth century, Betty, a little girl who lost her mother, was selling matches along the street during Christmas time. The sound of the church bell reminded her that the time was quite late, but she was unable to go home until she completed her job. An old man came to light the street lights. He gave her some money and left. Betty tried to sell her matches to a carriage, but the carriage just ran away. Snow fell, cold and hungry, she lit a match on the wall to warm herself. A group of “Fire Fairies†appeared. They danced around her and got her warm. Since they disappeared so quickly, Betty lit another match. She saw a big dining room with a beautiful Christmas tree and a lot of food. While some bus boys were handing her a piece of roasted goose, the typical Danish Christmas food, a nobleman in a portrait hanging on the wall suddenly moved. Everything disappeared again. Betty immediately lit the third match, a “Swan Lake†with a beautiful garden appeared. She met her mother with tears because the mother had passed away for years. Mother got a pair of little red shoes for her as the Christmas gift and danced with her. The “Portrait nobleman†brought the mother out of the scene. Everything was gone but the snow storm. The church bell sounded again, with the morning dawn, the old man came to extinguish the street lights. He found the frozen body of the little girl.
$19.99 ≈
18.47€
Flight of the Bumblebee from “The Tale of Tsar Saltan" (A4)
Flight of the Bumblebee from “The Tale of Tsar Saltan" (A4)
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Concert band
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ADVANCED
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Nikolai Rimsky-Korsakov
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Shinji Kasama
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Flight of the Bumblebee from
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Kasama Music Corporation
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SheetMusicPlus
Concert Band - Level 5 - Digital Download SKU: A0.1276086 Composed by Nikolai Rimsky-Korsakov (1844–1908). Arranged by Shinji Kasama. Classical,Co...
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Concert Band - Level 5 - Digital Download SKU: A0.1276086 Composed by Nikolai Rimsky-Korsakov (1844–1908). Arranged by Shinji Kasama. Classical,Contest,Festival. Score and Parts. 71 pages. Kasama Music Corporation #867843. Published by Kasama Music Corporation (A0.1276086). [This Publication is in A4 size. Letter size (8/5 x 11) is also available.]The opera The Tale of Tsar Saltan (The Tale of Tsar Saltan, of his Son the Renowned and Mighty Bogatyr Prince Gvidon Saltanovich and of the Beautiful Princess-Swan) by Nikolai Rimsky-Korsakov (1844-1908) is based on the fairy-tale poem by Alexander Pushkin, and the libretto is by Vladimir Belsky. The four-act opera was premièred in Moscow in 1900. The Flight of the Bumblebee is a short interlude in Act 3, Scene 1, when the Swan-Bird changes Gvidon, the son of the Tsar, into a bumblebee so that he can fly and visit his father (Tsar), who is unaware of the existence of the prince.This transcription is for concert band with full score (pp. 1–17), 1st flute–percussion (pp. 19–54), and transposed parts (pp. 55–71).A printed score and the parts on CD-ROM are available for purchase at www.kasamamusic.com.
$10.00 ≈
9.24€
Flight of the Bumblebee from “The Tale of Tsar Saltan" (8/5 x 11)
Flight of the Bumblebee from “The Tale of Tsar Saltan" (8/5 x 11)
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Concert band
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ADVANCED
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Nikolai Rimsky-Korsakov
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Shinji Kasama
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Flight of the Bumblebee from
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Kasama Music Corporation
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SheetMusicPlus
Concert Band - Level 5 - Digital Download SKU: A0.1276084 Composed by Nikolai Rimsky-Korsakov (1844–1908). Arranged by Shinji Kasama. Classical,Co...
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Concert Band - Level 5 - Digital Download SKU: A0.1276084 Composed by Nikolai Rimsky-Korsakov (1844–1908). Arranged by Shinji Kasama. Classical,Contest,Festival. Score and Parts. 71 pages. Kasama Music Corporation #867841. Published by Kasama Music Corporation (A0.1276084). [This Publication is in letter size (8/5 x 11). A4 size is also available.]The opera The Tale of Tsar Saltan (The Tale of Tsar Saltan, of his Son the Renowned and Mighty Bogatyr Prince Gvidon Saltanovich and of the Beautiful Princess-Swan) by Nikolai Rimsky-Korsakov (1844-1908) is based on the fairy-tale poem by Alexander Pushkin, and the libretto is by Vladimir Belsky. The four-act opera was premièred in Moscow in 1900. The Flight of the Bumblebee is a short interlude in Act 3, Scene 1, when the Swan-Bird changes Gvidon, the son of the Tsar, into a bumblebee so that he can fly and visit his father (Tsar), who is unaware of the existence of the prince.This transcription is for concert band with full score (pp. 1–17), 1st flute–percussion (pp. 19–54), and transposed parts (pp. 55–71).A printed score and the parts on CD-ROM are available for purchase at www.kasamamusic.com.
$10.00 ≈
9.24€
The Swan for 4 equal voices
The Swan for 4 equal voices
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Contemporary
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David Warin Solomons
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The Swan for 4 equal voices
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David Warin Solomons
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SheetMusicPlus
Small Ensemble Choir,Low Voice,Medium Voice - Level 5 - Digital Download SKU: A0.576142 Composed by David Warin Solomons. 20th Century,Contemporary. Scor...
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Small Ensemble Choir,Low Voice,Medium Voice - Level 5 - Digital Download SKU: A0.576142 Composed by David Warin Solomons. 20th Century,Contemporary. Score and parts. 3 pages. David Warin Solomons #2031595. Published by David Warin Solomons (A0.576142). Quartet for four equal voices (altos or baritones) in a setting of my father S.N. Solomons' English interpretation of Stéphane Mallarmé's poem Le vierge, le vivace et le bel aujoud'hui. Each voice has a chance to use the highest and lowest notes of its range. The sound sample is my own performance (multitracking).
$10.00 ≈
9.24€
The Swan (Le Cygne) by Saint-Saens - Advanced Piano - W/Chords (Full Score)
The Swan (Le Cygne) by Saint-Saens - Advanced Piano - W/Chords (Full Score)
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Piano solo
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ADVANCED
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Classical
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Camille Saint-Saens
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César Madeira
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The Swan
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Sheet Music To Play Editions
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SheetMusicPlus
Piano Solo - Level 5 - Digital Download SKU: A0.1217870 Composed by Camille Saint-Saens. Arranged by César Madeira. 19th Century,20th Century,Film/TV,...
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Piano Solo - Level 5 - Digital Download SKU: A0.1217870 Composed by Camille Saint-Saens. Arranged by César Madeira. 19th Century,20th Century,Film/TV,Romantic Period,Wedding. Score. 6 pages. Sheet Music To Play Editions #814388. Published by Sheet Music To Play Editions (A0.1217870). The Swan (Le Cygne) 13º movement from The Carnival of the Animals Suite. Arrangement for Advanced Piano. With Full Score and Chords. Enjoy it!Camille Saint-Saens (1835 - 1921) was a French composer, pianist and organist. He was one of the greatest composers of his day. He composed lots of music of different kinds. Among his best works are his Symphony no 3 (with organ) , Piano Concerto no 2, Violin Concerto no 3, Cello Concerto no 1, the opera Samson and Delilah and the Danse Macabre. His most popular work, however, is the Carnival of the Animals. Saint-Saens hated being thought of as the composer of the Carnival of the Animals. He said he had only written it for a bit of fun and he did not want anyone to perform it. Today it still remains one of the most popular pieces for children.For Tutorials, Play Alongs or request New Arrangements, visit the YouTube Channel: Sheet Music To Play
$7.99 ≈
7.38€
The Swan (Le Cygne) by Saint-Saens - Advanced Piano (Full Score)
The Swan (Le Cygne) by Saint-Saens - Advanced Piano (Full Score)
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Piano solo
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ADVANCED
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Classical
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Camille Saint-Saens
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César Madeira
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The Swan
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Sheet Music To Play Editions
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SheetMusicPlus
Piano Solo - Level 5 - Digital Download SKU: A0.1217873 Composed by Camille Saint-Saens. Arranged by César Madeira. 19th Century,20th Century,Film/TV,...
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Piano Solo - Level 5 - Digital Download SKU: A0.1217873 Composed by Camille Saint-Saens. Arranged by César Madeira. 19th Century,20th Century,Film/TV,Romantic Period,Wedding. Score. 6 pages. Sheet Music To Play Editions #814391. Published by Sheet Music To Play Editions (A0.1217873). The Swan (Le Cygne) 13º movement from The Carnival of the Animals Suite. Arrangement for Advanced Piano. With Full Score. Enjoy it!Camille Saint-Saens (1835 - 1921) was a French composer, pianist and organist. He was one of the greatest composers of his day. He composed lots of music of different kinds. Among his best works are his Symphony no 3 (with organ) , Piano Concerto no 2, Violin Concerto no 3, Cello Concerto no 1, the opera Samson and Delilah and the Danse Macabre. His most popular work, however, is the Carnival of the Animals. Saint-Saens hated being thought of as the composer of the Carnival of the Animals. He said he had only written it for a bit of fun and he did not want anyone to perform it. Today it still remains one of the most popular pieces for children.For Tutorials, Play Alongs or request New Arrangements, visit the YouTube Channel: Sheet Music To Play
$6.99 ≈
6.46€
Concerto
Concerto
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Piano and Orchestra
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ADVANCED
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Contemporary
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Gyorgy Ligeti
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Concerto
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Schott Music - Digital
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SheetMusicPlus
Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by Gyorgy Ligeti (1923-2006). This edition: solo part. Downloadable. D...
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Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by Gyorgy Ligeti (1923-2006). This edition: solo part. Downloadable. Duration 24 minutes. Schott Music - Digital #Q53630. Published by Schott Music - Digital
I composed the Piano Concerto in two stages: the first three movements during the years 1985-86, the next two in 1987, the final autograph of the last movement was ready by January, 1988. The concerto is dedicated to the American conductor Mario di Bonaventura. .
The markings of the movements are the following: .
1. Vivace molto ritmico e preciso .
2. Lento e deserto .
3. Vivace cantabile .
4. Allegro risoluto .
5. Presto luminoso.
The first performance of the three-movement Concerto was on October 23rd, 1986 in Graz. Mario di Bonaventura conducted while his brother, Anthony di Bonaventura, was the soloist. Two days later the performance was repeated in the Vienna Konzerthaus. After hearing the work twice, I came to the conclusion that the third movement is not an adequate finale. my feeling of form demanded continuation, a supplement. That led to the composing of the next two movements. The premiere of the whole cycle took place on February 29th, 1988, in the Vienna Konzerthaus with the same conductor and the same pianist. .
The orchestra consisted of the following: flute, oboe, clarinet, bassoon, horn, trumpet, tenor trombone, percussion and strings. The flautist also plays the piccoIo, the clarinetist, the alto ocarina. The percussion is made up of diverse instruments, which one musician-virtuoso can play. It is more practical, however, if two or three musicians share the instruments. Besides traditional instruments the percussion part calls also for two simple wind instruments: the swanee whistle and the harmonica. The string instrument parts (two violins, viola, cello and doubles bass) can be performed soloistic since they do not contain divisi. For balance, however, the ensemble playing is recommended, for example 6-8 first violins, 6-8 second, 4-6 violas, 4-6 cellos, 3-4 double basses. .
In the Piano Concerto I realized new concepts of harmony and rhythm. .
The first movement is entirely written in bimetry: simultaneously 12/8 and 4/4 (8/8). This relates to the known triplet on a doule relation and in itself is nothing new. Because, however, I articulate 12 triola and 8 duola pulses, an entangled, up till now unheard kind of polymetry is created. The rhythm is additionally complicated because of asymmetric groupings inside two speed layers, which means accents are asymmetrically distributed. These groups, as in the talea technique, have a fixed, continuously repeating rhythmic structures of varying lengths in speed layers of 12/8 and 4/4. This means that the repeating pattern in the 12/8 level and the pattern in the 4/4 level do not coincide and continuously give a kaleidoscope of renewing combinations. .
In our perception we quickly resign from following particular rhythmical successions and that what is going on in time appears for us as something static, resting. This music, if it is played properly, in the right tempo and with the right accents inside particular layers, after a certain time rises, as it were, as a plane after taking off: the rhythmic action, too complex to be able to follow in detail, begins flying. This diffusion of individual structures into a different global structure is one of my basic compositional concepts: from the end of the fifties, from the orchestral works Apparitions and Atmospheres I continuously have been looking for new ways of resolving this basic question. The harmony of the first movement is based on mixtures, hence on the parallel leading of voices. This technique is used here in a rather simple form. later in the fourth movement it will be considerably developed. .
The second movement (the only slow one amongst five movements) also has a talea type of structure, it is however much simpler rhythmically, because it contains only one speed layer. The melody is consisted in the development of a rigorous interval mode in which two minor seconds and one major second alternate therefore nine notes inside an octave. This mode is transposed into different degrees and it also determines the harmony of the movement. however, in closing episode in the piano part there is a combination of diatonics (white keys) and pentatonics (black keys) led in brilliant, sparkling quasimixtures, while the orchestra continues to play in the nine tone mode. .
In this movement I used isolated sounds and extreme registers (piccolo in a very low register, bassoon in a very high register, canons played by the swanee whistle, the alto ocarina and brass with a harmon-mute' damper, cutting sound combinations of the piccolo, clarinet and oboe in an extremely high register, also alternating of a whistle-siren and xylophone). The third movement also has one speed layer and because of this it appears as simpler than the first, but actually the rhythm is very complicated in a different way here. Above the uninterrupted, fast and regular basic pulse, thanks to the asymmetric distribution of accents, different types of hemiolas and inherent melodical patterns appear (the term was coined by Gerhard Kubik in relation to central African music). If this movement is played with the adequate speed and with very clear accentuation, illusory rhythmic-melodical figures appear. These figures are not played directly. they do not appear in the score, but exist only in our perception as a result of co-operation of different voices. .
Already earlier I had experimented with illusory rhythmics, namely in Poeme symphonique for 100 metronomes (1962), in Continuum for harpsichord (1968), in Monument for two pianos (1976), and especially in the first and sixth piano etude Desordre and Automne a Varsovie (1985). .
The third movement of the Piano Concerto is up to now the clearest example of illusory rhythmics and illusory melody. In intervallic and chordal structure this movement is based on alternation, and also inter-relation of various modal and quasi-equidistant harmony spaces. The tempered twelve-part division of the octave allows for diatonical and other modal interval successions, which are not equidistant, but are based on the alternation of major and minor seconds in different groups. The tempered system also allows for the use of the anhemitonic pentatonic scale (the black keys of the piano). From equidistant scales, therefore interval formations which are based on the division of an octave in equal distances, the twelve-tone tempered system allows only chromatics (only minor seconds) and the six-tone scale (the whole-tone: only major seconds). .
Moreover, the division of the octave into four parts only minor thirds) and three parts (three major thirds) is possible. In several music cultures different equidistant divisions of an octave are accepted, for example, in the Javanese slendro into five parts, in Melanesia into seven parts, popular also in southeastern Asia, and apart from this, in southern Africa. This does not mean an exact equidistance: there is a certain tolerance for the inaccurateness of the interval tuning. .
These exotic for us, Europeans, harmony and melody have attracted me for several years. However I did not want to re-tune the piano (microtone deviations appear in the concerto only in a few places in the horn and trombone parts led in natural tones). After the period of experimenting, I got to pseudo- or quasiequidistant intervals, which is neither whole-tone nor chromatic: in the twelve-tone system, two whole-tone scales are possible, shifted a minor second apart from each other. Therefore, I connect these two scales (or sound resources), and for example, places occur where the melodies and figurations in the piano part are created from both whole tone scales. in one band one six-tone sound resource is utilized, and in the other hand, the complementary. In this way whole-tonality and chromaticism mutually reduce themselves: a type of deformed equidistancism is formed, strangely brilliant and at the same time slanting. illusory harmony, indeed being created inside the tempered twelve-tone system, but in sound quality not belonging to it anymore. .
The appearance of such slantedequidistant harmony fields alternating with modal fields and based on chords built on fifths (mainly in the piano part), complemented with mixtures built on fifths in the orchestra, gives this movement an individual, soft-metallic colour (a metallic sound resulting from harmonics). .
The fourth movement was meant to be the central movement of the Concerto. Its melodc-rhythmic elements (embryos or fragments of motives) in themselves are simple. The movement also begins simply, with a succession of overlapping of these elements in the mixture type structures. Also here a kaleidoscope is created, due to a limited number of these elements - of these pebbles in the kaleidoscope - which continuously return in augmentations and diminutions. .
Step by step, however, so that in the beginning we cannot hear it, a compiled rhythmic organization of the talea type gradually comes into daylight, based on the simultaneity of two mutually shifted to each other speed layers (also triplet and duoles, however, with different asymmetric structures than in the first movement). While longer rests are gradually filled in with motive fragments, we slowly come to the conclusion that we have found ourselves inside a rhythmic-melodical whirl: without change in tempo, only through increasing the density of the musical events, a rotation is created in the stream of successive and compiled, augmented and diminished motive fragments, and increasing the density suggests acceleration. .
Thanks to the periodical structure of the composition, always new but however of the same (all the motivic cells are similar to earlier ones but none of them are exactly repeated. the general structure is therefore self-similar), an impression is created of a gigantic, indissoluble network. Also, rhythmic structures at first hidden gradually begin to emerge, two independent speed layers with their various internal accentuations. .
This great, self-similar whirl in a very indirect way relates to musical associations, which came to my mind while watching the graphic projection of the mathematical sets of Julia and of Mandelbrot made with the help of a computer. I saw these wonderful pictures of fractal creations, made by scientists from Brema, Peitgen and Richter, for the first time in 1984. From that time they have played a great role in my musical concepts. This does not mean, however, that composing the fourth movement I used mathematical methods or iterative calculus. indeed, I did use constructions which, however, are not based on mathematical thinking, but are rather craftman's constructions (in this respect, my attitude towards mathematics is similar to that of the graphic artist Maurits Escher). .I am concerned rather with intuitional, poetic, synesthetic correspondence, not on the scientific, but on the poetic level of thinking. .
The fifth, very short Presto movement is harmonically very simple, but all the more complicated in its rhythmic structure: it is based on the further development of ''inherent patterns of the third movement. The quasi-equidistance system dominates harmonically and melodically in this movement, as in the third, alternating with harmonic fields, which are based on the division of the chromatic whole into diatonics and anhemitonic pentatonics. Polyrhythms and harmonic mixtures reach their greatest density, and at the same time this movement is strikingly light, enlightened with very bright colours: at first it seems chaotic, but after listening to it for a few times it is easy to grasp its content: many autonomous but self-similar figures which crossing themselves. .
I present my artistic credo in the Piano Concerto: I demonstrate my independence from criteria of the traditional avantgarde, as well as the fashionable postmodernism. Musical illusions which I consider to be also so important are not a goal in itself for me, but a foundation for my aesthetical attitude. I prefer musical forms which have a more object-like than processual character. Music as frozen time, as an object in imaginary space evoked by music in our imagination, as a creation which really develops in time, but in imagination it exists simultaneously in all its moments. The spell of time, the enduring its passing by, closing it in a moment of the present is my main intention as a composer. .
(Gyorgy Ligeti)
$23.99 ≈
22.16€
The Swan, from Carnival of the Animals (Saint Saens)
The Swan, from Carnival of the Animals (Saint Saens)
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Piano solo
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ADVANCED
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Nancy Litten
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Nancy Litten
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The Swan, from Carnival of the
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Nancy Litten
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SheetMusicPlus
Piano Solo - Level 5 - Digital Download SKU: A0.1290064 By Nancy Litten. By Saint Saens. Arranged by Nancy Litten. 19th Century,Classical. Score. 3 pages...
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Piano Solo - Level 5 - Digital Download SKU: A0.1290064 By Nancy Litten. By Saint Saens. Arranged by Nancy Litten. 19th Century,Classical. Score. 3 pages. Nancy Litten #880767. Published by Nancy Litten (A0.1290064). Nancy Litten plays her own arrangement of The Swan, (originally for cello) from Carnival of the Animals, 1886. It was number 13 of the 14 pieces of the suite and the only one performed during Saint-Saëns' lifetime, being choreographed for ballerina Anna Pavlova in 1905. She danced it more than 4,000 times.
$3.99 ≈
3.69€
Lyric Etude No. 10 "The Song of the Swan"
Lyric Etude No. 10 "The Song of the Swan"
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Piano solo
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ADVANCED
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Contemporary
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Andrew Goffe
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Lyric Etude No. 10 "The Song o
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Andrew Goffe
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SheetMusicPlus
Piano Solo - Level 5 - Digital Download SKU: A0.991374 Composed by Andrew Goffe. Contemporary. Score. 5 pages. Andrew Goffe #3012521. Published by Andrew...
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Piano Solo - Level 5 - Digital Download SKU: A0.991374 Composed by Andrew Goffe. Contemporary. Score. 5 pages. Andrew Goffe #3012521. Published by Andrew Goffe (A0.991374). The tenth of my 12 Lyric Etudes. The Song of the Swan is based on a melody I used to hum to myself since I was 9 years old. I promised I would someday write i down and here it is. It is a study in 4-part harmony, all playing at different rhythms (triplets against straight eighths against quarters, against free melody). Much like the way Leopold Godowsky approaches his arrangements.
$5.99 ≈
5.53€
The Swan (Brass Quintet)
The Swan (Brass Quintet)
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Brass Quintet: 2 trumpets, horn, trombone, tuba
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ADVANCED
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Classical
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Camille Saint-Saens
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Chris North
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Advanced level. Duration
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The Swan
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Danetre Music
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SheetMusicPlus
Brass Ensemble - Level 5 - Digital Download SKU: A0.831652 Composed by Camille Saint-Saens. Arranged by Chris North. Contemporary. Score and parts. 20 pa...
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Brass Ensemble - Level 5 - Digital Download SKU: A0.831652 Composed by Camille Saint-Saens. Arranged by Chris North. Contemporary. Score and parts. 20 pages. Danetre Music #4600539. Published by Danetre Music (A0.831652). The Swan from The Carnival of The Animals by Camille Saint-Saëns. Arranged for brass quintet by Chris North. Features the Horn as soloist. Comes with additional parts for Horn in E-flat, Trombone in treble clef, and Bass in E-flat. Advanced level. Duration 2:20.
$9.99 ≈
9.23€
The Swan
The Swan
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Guitar
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ADVANCED
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Classical
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Camille Saint-Saens
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Andrew Howes
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The Swan
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Andrew Howes
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SheetMusicPlus
Solo Guitar - Level 5 - Digital Download SKU: A0.951421 Composed by Camille Saint-Saens. Arranged by Andrew Howes. Instructional,Romantic Period,Standard...
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Solo Guitar - Level 5 - Digital Download SKU: A0.951421 Composed by Camille Saint-Saens. Arranged by Andrew Howes. Instructional,Romantic Period,Standards,World. Individual part. 4 pages. Andrew Howes #6215425. Published by Andrew Howes (A0.951421). An artistic tremolo arrangement of Saint-Saens' classic evocation of a swan from the Carnival of the Animals. It is for advanced players and will make a welcome addition to the repertoire and superb encore piece. Enjoy!
$5.00 ≈
4.62€
The Carnival of the Animals
The Carnival of the Animals
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Woodwind Quintet: flute, oboe, bassoon, clarinet, horn
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ADVANCED
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Classical
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Camille Saint-Saens
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Edition Maulwurf
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The Carnival of the Animals
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Edition Maulwurf
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SheetMusicPlus
Woodwind Ensemble,Woodwind Quintet Bassoon,Clarinet,Flute,Horn,Oboe - Level 5 - Digital Download SKU: A0.1264615 Composed by Camille Saint-Saens. Arrange...
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Woodwind Ensemble,Woodwind Quintet Bassoon,Clarinet,Flute,Horn,Oboe - Level 5 - Digital Download SKU: A0.1264615 Composed by Camille Saint-Saens. Arranged by Edition Maulwurf. 19th Century,20th Century,Children,Romantic Period. 112 pages. Edition Maulwurf #857444. Published by Edition Maulwurf (A0.1264615). Camille Saint-SaënsThe Carnival of the Animalsarrangement for woodwind quintetflute, oboe, clarinet, French horn, bassoon1 - Introduction and Royal March of the Lion2 - Hens and Roosters3 - Wild Asses (Swift Animals)4 - Tortoises5 - The Elephant6 - Kangaroos7 - Aquarium8 - Characters with Long Ears9 - The Cuckoo in the Depths of the Woods10 - Aviary11 - Pianists12 - Fossils13 - The Swan14 - Finaleduration: ca 21mscore + partshttps://www.edition-maulwurf.deEdition Maulwurf is a publisher of digital sheet music. For more information and other pieces please visit our web site.
$68.99 ≈
63.74€
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The Swan,
