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53 sheet music found
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1
26
51
Concertino for Alto Saxophone and Piano
Concertino for Alto Saxophone and Piano
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Alto Saxophone and Piano
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Contemporary
#
Michael L
#
successfully in either form
#
Concertino for Alto Saxophone
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WLM - Music
#
SheetMusicPlus
Alto Saxophone,Piano - Digital Download SKU: A0.1019626 Composed by Michael L. Wirgler. Contemporary. Score and part. 16 pages. WLM - Music #5865273. Pub...
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Alto Saxophone,Piano - Digital Download SKU: A0.1019626 Composed by Michael L. Wirgler. Contemporary. Score and part. 16 pages. WLM - Music #5865273. Published by WLM - Music (A0.1019626). This is the Alto Saxophone and Piano version of the same that is found for Alto Saxophone and concert Band by the same composer. It can be performed successfully in either form. If performed please inform the composer at michael.wirgler@gmail.com
$10.99 ≈
9.93€
When I Look In Your Eyes
When I Look In Your Eyes
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Choral SSAA
#
INTERMEDIATE
#
Leslie Bricusse
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Larry Wright
#
When I Look In Your Eyes
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Larry Wright
#
SheetMusicPlus
Choral Choir (SSAA) - Level 3 - Digital Download SKU: A0.853828 Composed by Leslie Bricusse. Arranged by Larry Wright. A Cappella,Barbershop. Octavo. 5 p...
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Choral Choir (SSAA) - Level 3 - Digital Download SKU: A0.853828 Composed by Leslie Bricusse. Arranged by Larry Wright. A Cappella,Barbershop. Octavo. 5 pages. Larry Wright #4632387. Published by Larry Wright (A0.853828). A WOMEN'S 5-part (chorus only & soloist) barbershop ballad arrangement of this beautiful song featuring either the Lead, Bari, or Tenor singer; sung well, this one's an absolute show stopper; not contestable. IMPORTANT NOTE: by first purchasing the $100 Arrmt/Trax COMBO of this song from my website store <www.larrywrightmusic.com>, you'll not only be getting the EXCELLENT part-predominant vocal learning trax, but also be able to purchase the sheet music from the SMP website store for their lowest $1.89 per-copy price,... NOT the currently posted much higher $14.25 per-copy price,... PLUS you also get a second Arrmt/Trax COMBO of your choice from my website store FREE!!!! Quartets and choruses singing at a B- contest level should be able to successfully learn and perform this arrangement making good use of the available EXCELLENT Vocal Learning Trax <www.larrywrightmusic.com>.
$15.00 ≈
13.55€
Christmas In Killarney
Christmas In Killarney
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Choral TTBB
#
INTERMEDIATE
#
Christmas
#
Frank Weldon and John Redmond
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Larry Wright
#
not contestable
#
Christmas In Killarney
#
Larry Wright
#
SheetMusicPlus
Choral Choir,Choral (TTBB) - Level 3 - Digital Download SKU: A0.853967 Composed by Frank Weldon and John Redmond. Arranged by Larry Wright. A Cappella,Ba...
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Choral Choir,Choral (TTBB) - Level 3 - Digital Download SKU: A0.853967 Composed by Frank Weldon and John Redmond. Arranged by Larry Wright. A Cappella,Barbershop,Christmas. 4 pages. Larry Wright #4760289. Published by Larry Wright (A0.853967). A MEN'S 4-part, a cappella, uptempo'd, barbershop arrangement of this spirited (mixed ballad/uptune) holiday song; not contestable. IMPORTANT NOTE: by FIRST purchasing the COMBO of this song from my website store <www.larrywrightmusic.com>, you'll not only be getting the EXCELLENT vocal learning trax, but also be able to purchase the sheet music from SMP for their lowest $1.89/$1.99 per-copy price,... NOT the currently posted much higher $14.25 per-copy price. PLUS, you also get to select a second Arrmt/Trax COMBO of your choice from my website store and get it FREE!!!! Of course, you'll still need to pay the per-copy fees to either SMP... or whatever publisher controls the song licensing. Quartets and choruses singing at a B- contest level should be able to successfully learn and perform this arrangement making good use of the available EXCELLENT Vocal Learning Trax <www.larrywrightmusic.com>.
$15.00 ≈
13.55€
Rondeau in E flat for Harp or Pianoforte (Benton 613)
Rondeau in E flat for Harp or Pianoforte (Benton 613)
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Piano solo
#
INTERMEDIATE
#
Classical
#
Ignaz Josef Pleyel
#
Allan Badley
#
Rondeau in E flat for Harp or
#
Artaria Editions
#
SheetMusicPlus
Piano Solo - Level 3 - Digital Download SKU: A0.1487252 Composed by Ignaz Josef Pleyel. Arranged by Allan Badley. Classical. Score. 11 pages. Artaria Edi...
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Piano Solo - Level 3 - Digital Download SKU: A0.1487252 Composed by Ignaz Josef Pleyel. Arranged by Allan Badley. Classical. Score. 11 pages. Artaria Editions #1064226. Published by Artaria Editions (A0.1487252). Ignaz Pleyel (1757-1831) was at one time the most famous composer in the world. The popularity of his music eclipsed that of even his teacher Haydn and publishers vied to bring out his latest works as soon as they were finished. Some 2000 separate prints of Pleyel works had appeared by 1800 and his fame extended to every corner of Europe and as far afield as North America. Pleyel's career as a composer spanned less than thirty years with the majority of his works composed in the 1780s. He founded a successful publishing house in Paris in the mid-1790s and later began manufacturing keyboard instruments. With increasing demands on his time from his business concerns Pleyel's productivity as a composer dropped sharply and he ceased composing around 1805. Pleyel wrote very little solo keyboard music preferring instead to compose accompanied sonatas (i.e. piano trios). The attractive Rondeau in E flat (Benton 613), suitable for performance by either harp or fortepiano, illustrates many of Pleyel's strengths as a composer. It is attractive, technically resourceful and unerring in its sense of dramatic pace. Its principal theme is lively and distinctive, not too difficult technically and yet rewarding to play. The principal theme and the episodic material are elegantly constructed and reveal a sensitivity to the tone colour of the instrument. The minore section is dramatic and the octave doublings lend it a strength and power which contrasts effectively with the gentle rondeau theme. The final episode, the most technically challenging, adds a thrilling touch of drama to the closing phase of the piece.
$25.00 ≈
22.58€
Breaking Up Is Hard To Do
Breaking Up Is Hard To Do
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Choral SSAA
#
INTERMEDIATE
#
Neil Sedaka
#
Larry Wright
#
Breaking Up Is Hard To Do
#
Larry Wright
#
SheetMusicPlus
Choral Choir,Choral (SSAA) - Level 3 - Digital Download SKU: A0.853700 By Neil Sedaka. By Howard Greenfield and Neil Sedaka. Arranged by Larry Wright. A ...
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Choral Choir,Choral (SSAA) - Level 3 - Digital Download SKU: A0.853700 By Neil Sedaka. By Howard Greenfield and Neil Sedaka. Arranged by Larry Wright. A Cappella,Barbershop. 5 pages. Larry Wright #4412137. Published by Larry Wright (A0.853700). A WOMEN'S 4-part, barbershop arrangement of this classic, medium tempo'd ballad song; it can be sung a cappella or performed using either the available piano/bass parts or the pre-recorded, fully orchestrated accompaniment track. The arrangement for both the accompanied and a cappella versions is EXACTLY THE SAME. Sung a cappella, it's a very nice piece. Sung using the accompaniment, it's a show stopper... and, with that in mind, I recommend it being performed as the last song in your program. IMPORTANT NOTE: by FIRST purchasing the $100 COMBO of this song from my website store <www.larrywrightmusic.com>, you'll not only be getting the EXCELLENT part-predominant vocal learning trax, but also be able to purchase the sheet music from SMP for their lowest $1.89/$1.99 per-copy price,... NOT the current much higher $14.25 per-copy price. PLUS, you also get to select a second Arrmt/Trax COMBO of your choice from my website store for FREE!!!! Of course, you'll still need to pay the per-copy fees to the publisher who controls the song licensing of the second song. Quartets and choruses singing at a B- contest level should be able to successfully learn and perform this arrangement making good use of the available EXCELLENT part-predominant vocal Learning Trax <www.larrywrightmusic.com>.
$15.00 ≈
13.55€
Spring Song by Frank Bridge arranged for violin & cello
Spring Song by Frank Bridge - violin & cello
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Violin, Cello (duet)
#
INTERMEDIATE
#
Frank Bridge
#
Marcus Martin
#
Spring Song by Frank Bridge -
#
Cornelius Edition
#
SheetMusicPlus
Instrumental Duet Cello,Instrumental Duet,Violin - Level 3 - Digital Download SKU: A0.805580 Composed by Frank Bridge. Arranged by Marcus Martin. 20th Ce...
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Instrumental Duet Cello,Instrumental Duet,Violin - Level 3 - Digital Download SKU: A0.805580 Composed by Frank Bridge. Arranged by Marcus Martin. 20th Century,Concert,Standards. Score and parts. 5 pages. Cornelius Edition (uk) #6133903. Published by Cornelius Edition (uk) (A0.805580). Frank Bridge, 1879 - 1941, was an English composer, viola player, and conductor particularly known for his chamber music and songs. A student of Charles Villiers Stanford, he, in turn, became the teacher of Benjamin Britten. Although he composed in many genres, he was particularly successful in his smaller forms, such as this Spring Song which is taken from a collection of four small pieces for either violin or cello composed in 1912. In this arrangement, the original piano part is replaced by a cellist and the resulting duo is an attractive piece suitable for chamber music recitals or busking!
$3.50 ≈
3.16€
Spring Song by Frank Bridge arranged for viola & cello
Spring Song by Frank Bridge - viola & cello
#
Violin, Cello (duet)
#
Frank Bridge
#
Marcus Martin
#
Spring Song by Frank Bridge -
#
Cornelius Edition
#
SheetMusicPlus
Instrumental Duet Cello,Instrumental Duet,Violin - Digital Download SKU: A0.805579 Composed by Frank Bridge. Arranged by Marcus Martin. 20th Century,Conc...
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Instrumental Duet Cello,Instrumental Duet,Violin - Digital Download SKU: A0.805579 Composed by Frank Bridge. Arranged by Marcus Martin. 20th Century,Concert,Standards. Score and parts. 5 pages. Cornelius Edition (uk) #6133891. Published by Cornelius Edition (uk) (A0.805579). Frank Bridge, 1879 - 1941, was an English composer, viola player, and conductor particularly known for his chamber music and songs. A student of Charles Villiers Stanford, he, in turn, became the teacher of Benjamin Britten. Although he composed in many genres, he was particularly successful in his smaller forms, such as this attractive Spring Song which is taken from his collection of four small pieces for either violin or cello composed in 1912. This arrangement is for Viola and Cello - a version which Bridge as a prominent violist himself would surely have approved and will be ideal as a duo for chamber items. teaching or busking!
$3.50 ≈
3.16€
Sechs Bagatellen
Sechs Bagatellen
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Piano solo
#
INTERMEDIATE/ADVANCED
#
Contemporary
#
Fredrik Schwenk
#
Sechs Bagatellen
#
Fredrik Schwenk
#
SheetMusicPlus
Piano Solo - Level 4 - Digital Download SKU: A0.1022029 Composed by Fredrik Schwenk. Contemporary. Score. 33 pages. Fredrik Schwenk #6303801. Published b...
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Piano Solo - Level 4 - Digital Download SKU: A0.1022029 Composed by Fredrik Schwenk. Contemporary. Score. 33 pages. Fredrik Schwenk #6303801. Published by Fredrik Schwenk (A0.1022029). The present cycle of six bagatelles was created on the occasion of the final examination Master Piano by Hector Docx, who studied in my composition class at the Hochschule für Musik und Theater from 2017 to 2020. He had rehearsed Ludwig van Beethoven's Bagatelles, Op. 126, for the occasion and consulted composers to write new bagatelles to be performed along with Beethoven's last piano work. This is how the later fourth Bagatelle first came into being, which takes up the tempo as well as an essential element of Beethoven's material, and from this follows an approach that is consistent in form and content. After the successful premiere, the idea arose to build a six-part cycle from it, which is oriented to Beethoven's material throughout. The cycle can be performed either together and in alternation with or independently and without Beethoven's Bagatelles, whereby a performance of the third Bagatelle without Beethoven makes little sense. The premiere of all the Bagatelles in conjunction with Beethoven's Bagatelles took place on September 26, 2020 at the Tonali Hall in Hamburg. Hector Docx played.
$15.00 ≈
13.55€
Concerto
Concerto
#
Piano and Orchestra
#
ADVANCED
#
Contemporary
#
Gyorgy Ligeti
#
Concerto
#
Schott Music - Digital
#
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 ≈
21.67€
Satie: Parade - II. Petite Fille Americaine - wind dectet
Satie: Parade - II. Petite Fille Americaine - wind dectet
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Classical
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Contemporary
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Erik Satie
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Ray Thompson
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Satie: Parade - II. Petite Fil
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RayThompsonMusic
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SheetMusicPlus
Bassoon,Clarinet,Double Bass,Flute,Horn,Oboe,Percussion - Level 4 - Digital Download SKU: A0.1353773 Composed by Erik Satie. Arranged by Ray Thompson. 20...
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Bassoon,Clarinet,Double Bass,Flute,Horn,Oboe,Percussion - Level 4 - Digital Download SKU: A0.1353773 Composed by Erik Satie. Arranged by Ray Thompson. 20th Century. 27 pages. RayThompsonMusic #938540. Published by RayThompsonMusic (A0.1353773). Arranged double wind quintet/bass and optional percussion.Background info:Parade is a ballet choreographed by Leonide Massine, with music by Erik Satie and a one-act scenario by Jean Cocteau. The ballet was composed in 1916–17 for Sergei Diaghilev's Ballets Russes. The ballet premiered on Friday, May 18, 1917, at the Théâtre du Châtelet in Paris, with costumes and sets designed by Pablo Picasso, choreography by Léonide Massine (who danced), and the orchestra conducted by Ernest Ansermet.The ballet was remarkable for several reasons. It was the first collaboration between Satie and Picasso, and also the first time either of them had worked on a ballet, thus making it the first time either collaborated with Diaghilev and the Ballets Russes.The plot of Parade incorporated and was inspired by popular entertainments of the period, such as Parisian music-halls and American silent-films.Much of the settings used in Parade's plot occurred outside of the formal Parisian theater, depicting the streets of Paris.The plot reproduces various elements of everyday life such as the music hall and fairground.Before Parade, the use of popular entertainment materials was considered unsuitable for the elite world of the ballet.The plot of Parade composed by Cocteau includes the failed attempt of a troupe of performers to attract audience members to view their show.Some of Picasso's Cubist costumes were in solid cardboard, allowing the dancers only a minimum of movement.The score contained several noise-making instruments (typewriter, foghorn, an assortment of bottles, pistol, and so on), which had been added by Cocteau (somewhat to the dismay of Satie).It is supposedthat such additions by Cocteau showed his eagerness to create a succès de scandale, comparable to that of Igor Stravinsky's Le Sacre du Printemps which had been premiered by the Ballets Russes some years before, and caused no less scandal.Although Parade was quite revolutionary, bringing common street entertainments to the elite, being scorned by audiences and being praised by critics,nonetheless many years later Stravinsky could still pride himself in never having been topped in the matter of succès de scandale.The ragtime contained in Parade would later be adapted for piano solo and attained considerable success as a separate piano piece.The finale is a rapid ragtime dance in which the whole cast [makes] a last desperate attempt to lure the audience in to see their showThe premiere of the ballet resulted in a number of scandals. One faction of the audience booed, hissed, and was very unruly, nearly causing a riot before they were drowned out by enthusiastic applause.Many of their objections were focused on Picasso's cubist design, which was met with cries of sale boche. Petite Fille Americaine  (Young American Girl) is no 2 in the ballet, and includes some of the odd percussion : typewriter and gunshots, in addition to normal orchestral perc.It also includes the Ragtime Dance which became very popular in it's own right.The piece can be performed without percussion....but the percussion gives it an extra something!!
$14.95 ≈
13.50€
Satie: Parade I. Prestidigitateur chinois - wind dectet/bass (with optional percussion)
Satie: Parade I. Prestidigitateur chinois - wind dectet/bass (with optional percussion)
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Classical
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Contemporary
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Erik Satie
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Ray Thompson
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Satie: Parade I. Prestidigitat
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RayThompsonMusic
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SheetMusicPlus
A Clarinet,Bassoon,Double Bass,Flute,Oboe/English Horn,Percussion,Timpani,Tuba - Level 4 - Digital Download SKU: A0.1300657 Composed by Erik Satie. Arran...
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A Clarinet,Bassoon,Double Bass,Flute,Oboe/English Horn,Percussion,Timpani,Tuba - Level 4 - Digital Download SKU: A0.1300657 Composed by Erik Satie. Arranged by Ray Thompson. 20th Century,Chamber. 27 pages. RayThompsonMusic #890400. Published by RayThompsonMusic (A0.1300657). Arranged double wind quintet/bass and optional percussion.Background info:Parade is a ballet choreographed by Leonide Massine, with music by Erik Satie and a one-act scenario by Jean Cocteau. The ballet was composed in 1916–17 for Sergei Diaghilev's Ballets Russes. The ballet premiered on Friday, May 18, 1917, at the Théâtre du Châtelet in Paris, with costumes and sets designed by Pablo Picasso, choreography by Léonide Massine (who danced), and the orchestra conducted by Ernest Ansermet.The ballet was remarkable for several reasons. It was the first collaboration between Satie and Picasso, and also the first time either of them had worked on a ballet, thus making it the first time either collaborated with Diaghilev and the Ballets Russes.The plot of Parade incorporated and was inspired by popular entertainments of the period, such as Parisian music-halls and American silent-films.Much of the settings used in Parade's plot occurred outside of the formal Parisian theater, depicting the streets of Paris.The plot reproduces various elements of everyday life such as the music hall and fairground.Before Parade, the use of popular entertainment materials was considered unsuitable for the elite world of the ballet.The plot of Parade composed by Cocteau includes the failed attempt of a troupe of performers to attract audience members to view their show.Some of Picasso's Cubist costumes were in solid cardboard, allowing the dancers only a minimum of movement.The score contained several noise-making instruments (typewriter, foghorn, an assortment of bottles, pistol, and so on), which had been added by Cocteau (somewhat to the dismay of Satie).It is supposedthat such additions by Cocteau showed his eagerness to create a succès de scandale, comparable to that of Igor Stravinsky's Le Sacre du Printemps which had been premiered by the Ballets Russes some years before, and caused no less scandal.Although Parade was quite revolutionary, bringing common street entertainments to the elite, being scorned by audiences and being praised by critics,nonetheless many years later Stravinsky could still pride himself in never having been topped in the matter of succès de scandale.The ragtime contained in Parade would later be adapted for piano solo and attained considerable success as a separate piano piece.The finale is a rapid ragtime dance in which the whole cast [makes] a last desperate attempt to lure the audience in to see their showThe premiere of the ballet resulted in a number of scandals. One faction of the audience booed, hissed, and was very unruly, nearly causing a riot before they were drowned out by enthusiastic applause.Many of their objections were focused on Picasso's cubist design, which was met with cries of sale boche.Prestidigitateur chinois (Chinese Conjuror) is no 1 in the ballet, and includes some of the odd percussion : sirens in addition to normal orchestral perc.The piece can be performed without percussion....but the percussion gives it an extra something!!
$19.95 ≈
18.02€
Satie: Parade III.Acrobates (Acrobats) - wind dectet/bass (with optional percussion)
Satie: Parade III.Acrobates (Acrobats) - wind dectet/bass (with optional percussion)
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Classical
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Contemporary
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Erik Satie
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Ray Thompson
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Satie: Parade III.Acrobates
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RayThompsonMusic
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SheetMusicPlus
Bassoon,Clarinet,Double Bass,Flute,Mallet Percussion,Multi-Percussion,Oboe/English Horn - Level 4 - Digital Download SKU: A0.1296860 Composed by Erik Sat...
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Bassoon,Clarinet,Double Bass,Flute,Mallet Percussion,Multi-Percussion,Oboe/English Horn - Level 4 - Digital Download SKU: A0.1296860 Composed by Erik Satie. Arranged by Ray Thompson. 20th Century,Chamber,Comedy. 40 pages. RayThompsonMusic #887010. Published by RayThompsonMusic (A0.1296860). Arranged double wind quintet/bass and optional percussion.Background info:Parade is a ballet choreographed by Leonide Massine, with music by Erik Satie and a one-act scenario by Jean Cocteau. The ballet was composed in 1916–17 for Sergei Diaghilev's Ballets Russes. The ballet premiered on Friday, May 18, 1917, at the Théâtre du Châtelet in Paris, with costumes and sets designed by Pablo Picasso, choreography by Léonide Massine (who danced), and the orchestra conducted by Ernest Ansermet.The ballet was remarkable for several reasons. It was the first collaboration between Satie and Picasso, and also the first time either of them had worked on a ballet, thus making it the first time either collaborated with Diaghilev and the Ballets Russes.The plot of Parade incorporated and was inspired by popular entertainments of the period, such as Parisian music-halls and American silent-films.Much of the settings used in Parade's plot occurred outside of the formal Parisian theater, depicting the streets of Paris.The plot reproduces various elements of everyday life such as the music hall and fairground.Before Parade, the use of popular entertainment materials was considered unsuitable for the elite world of the ballet.The plot of Parade composed by Cocteau includes the failed attempt of a troupe of performers to attract audience members to view their show.Some of Picasso's Cubist costumes were in solid cardboard, allowing the dancers only a minimum of movement.The score contained several noise-making instruments (typewriter, foghorn, an assortment of bottles, pistol, and so on), which had been added by Cocteau (somewhat to the dismay of Satie).It is supposedthat such additions by Cocteau showed his eagerness to create a succès de scandale, comparable to that of Igor Stravinsky's Le Sacre du Printemps which had been premiered by the Ballets Russes some years before, and caused no less scandal.Although Parade was quite revolutionary, bringing common street entertainments to the elite, being scorned by audiences and being praised by critics,nonetheless many years later Stravinsky could still pride himself in never having been topped in the matter of succès de scandale.The ragtime contained in Parade would later be adapted for piano solo and attained considerable success as a separate piano piece.The finale is a rapid ragtime dance in which the whole cast [makes] a last desperate attempt to lure the audience in to see their showThe premiere of the ballet resulted in a number of scandals. One faction of the audience booed, hissed, and was very unruly, nearly causing a riot before they were drowned out by enthusiastic applause.Many of their objections were focused on Picasso's cubist design, which was met with cries of sale boche.Acrobates (Acrobats) is no 3 in the ballet, and includes some of the odd percussion : sirens and a bottle phone, in addition to normal orchestral perc.The piece can be performed without percussion....but the percussion gives it an extra something!!
$19.95 ≈
18.02€
Crucifixus
Crucifixus
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Clarinet
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James Sclater
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Crucifixus
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James S Sclater
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SheetMusicPlus
Clarinet Solo - Digital Download SKU: A0.961261 Composed by James Sclater. 20th Century,Concert,Contemporary,Easter,Sacred. Individual part. 4 pages. Jam...
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Clarinet Solo - Digital Download SKU: A0.961261 Composed by James Sclater. 20th Century,Concert,Contemporary,Easter,Sacred. Individual part. 4 pages. James S Sclater #5990025. Published by James S Sclater (A0.961261). This dramatic work for solo clarinet has been successfully used in lenten services and recital venues. The performer is urged to take a free approach to the tempo; playing this work metronomically just won't bring out the drama inherent in it. The work basically divides the instrument into three registers with varying types of music for each register. This can be a very powerful experience for the listener if the performer is willing to invest in the emotional content therein. Playable on either B flat or A clarinet.
$4.00 ≈
3.61€
Satie: Parade - Final & Suite au Prélude de rideau rouge - wind dectet
Satie: Parade - Final & Suite au Prélude de rideau rouge - wind dectet
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Classical
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Contemporary
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Erik Satie
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Ray Thompson
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Satie: Parade - Final & Suite
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RayThompsonMusic
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SheetMusicPlus
Bassoon,Clarinet,Double Bass,Flute,Horn,Oboe - Level 4 - Digital Download SKU: A0.1335055 Composed by Erik Satie. Arranged by Ray Thompson. 20th Century,...
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Bassoon,Clarinet,Double Bass,Flute,Horn,Oboe - Level 4 - Digital Download SKU: A0.1335055 Composed by Erik Satie. Arranged by Ray Thompson. 20th Century,Chamber. 22 pages. RayThompsonMusic #920917. Published by RayThompsonMusic (A0.1335055). Satie: Parade - Final & Suite au Prélude de rideau rougeArranged wind dectet/bass (double wind quintet)The concluding music for Erik Satie's Ballet Parade.Other movements from Parade are available.Background info:Parade is a ballet choreographed by Leonide Massine, with music by Erik Satie and a one-act scenario by Jean Cocteau. The ballet was composed in 1916–17 for Sergei Diaghilev's Ballets Russes. The ballet premiered on Friday, May 18, 1917, at the Théâtre du Châtelet in Paris, with costumes and sets designed by Pablo Picasso, choreography by Léonide Massine (who danced), and the orchestra conducted by Ernest Ansermet.The ballet was remarkable for several reasons. It was the first collaboration between Satie and Picasso, and also the first time either of them had worked on a ballet, thus making it the first time either collaborated with Diaghilev and the Ballets Russes.The plot of Parade incorporated and was inspired by popular entertainments of the period, such as Parisian music-halls and American silent-films.Much of the settings used in Parade's plot occurred outside of the formal Parisian theater, depicting the streets of Paris.The plot reproduces various elements of everyday life such as the music hall and fairground.Before Parade, the use of popular entertainment materials was considered unsuitable for the elite world of the ballet.The plot of Parade composed by Cocteau includes the failed attempt of a troupe of performers to attract audience members to view their show.Some of Picasso's Cubist costumes were in solid cardboard, allowing the dancers only a minimum of movement.The score contained several noise-making instruments (typewriter, foghorn, an assortment of milk bottles, pistol, and so on), which had been added by Cocteau (somewhat to the dismay of Satie).It is supposedthat such additions by Cocteau showed his eagerness to create a succès de scandale, comparable to that of Igor Stravinsky's Le Sacre du Printemps which had been premiered by the Ballets Russes some years before, and caused no less scandal.Although Parade was quite revolutionary, bringing common street entertainments to the elite, being scorned by audiences and being praised by critics,nonetheless many years later Stravinsky could still pride himself in never having been topped in the matter of succès de scandale.The ragtime contained in Parade would later be adapted for piano solo and attained considerable success as a separate piano piece.The finale is a rapid ragtime dance in which the whole cast [makes] a last desperate attempt to lure the audience in to see their showI have omitted the  percussion in my arrangement of the finale.The premiere of the ballet resulted in a number of scandals. One faction of the audience booed, hissed, and was very unruly, nearly causing a riot before they were drowned out by enthusiastic applause.Many of their objections were focused on Picasso's cubist design, which was met with cries of sale boche.Arranged wind dectet/bass (double wind quintet).
$14.95 ≈
13.50€
Satie: Parade - Choral & Prélude de rideau rouge - wind dectet
Satie: Parade - Choral & Prélude de rideau rouge - wind dectet
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Classical
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Contemporary
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Erik Satie
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Ray Thompson
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Satie: Parade - Choral & Prél
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RayThompsonMusic
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SheetMusicPlus
Bassoon,Clarinet,Double Bass,Flute,Horn,Oboe - Level 4 - Digital Download SKU: A0.1293743 Composed by Erik Satie. Arranged by Ray Thompson. 20th Century,...
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Bassoon,Clarinet,Double Bass,Flute,Horn,Oboe - Level 4 - Digital Download SKU: A0.1293743 Composed by Erik Satie. Arranged by Ray Thompson. 20th Century,Chamber. 16 pages. RayThompsonMusic #884220. Published by RayThompsonMusic (A0.1293743). Arranged wind dectet/bass (double wind quintet)A taster of the opening music for Erik Satie's Ballet Parade.Choral and Prelude of the red curtainOther scores to follow.Background info:Parade is a ballet choreographed by Leonide Massine, with music by Erik Satie and a one-act scenario by Jean Cocteau. The ballet was composed in 1916–17 for Sergei Diaghilev's Ballets Russes. The ballet premiered on Friday, May 18, 1917, at the Théâtre du Châtelet in Paris, with costumes and sets designed by Pablo Picasso, choreography by Léonide Massine (who danced), and the orchestra conducted by Ernest Ansermet.The ballet was remarkable for several reasons. It was the first collaboration between Satie and Picasso, and also the first time either of them had worked on a ballet, thus making it the first time either collaborated with Diaghilev and the Ballets Russes.The plot of Parade incorporated and was inspired by popular entertainments of the period, such as Parisian music-halls and American silent-films.Much of the settings used in Parade's plot occurred outside of the formal Parisian theater, depicting the streets of Paris.The plot reproduces various elements of everyday life such as the music hall and fairground.Before Parade, the use of popular entertainment materials was considered unsuitable for the elite world of the ballet.The plot of Parade composed by Cocteau includes the failed attempt of a troupe of performers to attract audience members to view their show.Some of Picasso's Cubist costumes were in solid cardboard, allowing the dancers only a minimum of movement.The score contained several noise-making instruments (typewriter, foghorn, an assortment of milk bottles, pistol, and so on), which had been added by Cocteau (somewhat to the dismay of Satie).It is supposedthat such additions by Cocteau showed his eagerness to create a succès de scandale, comparable to that of Igor Stravinsky's Le Sacre du Printemps which had been premiered by the Ballets Russes some years before, and caused no less scandal.Although Parade was quite revolutionary, bringing common street entertainments to the elite, being scorned by audiences and being praised by critics,nonetheless many years later Stravinsky could still pride himself in never having been topped in the matter of succès de scandale.The ragtime contained in Parade would later be adapted for piano solo and attained considerable success as a separate piano piece.The finale is a rapid ragtime dance in which the whole cast [makes] a last desperate attempt to lure the audience in to see their showThe premiere of the ballet resulted in a number of scandals. One faction of the audience booed, hissed, and was very unruly, nearly causing a riot before they were drowned out by enthusiastic applause.Many of their objections were focused on Picasso's cubist design, which was met with cries of sale boche.
$4.99 ≈
4.51€
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