Ballet Music

Arrangements gradués de thèmes célèbres d'opéras Des arrangements gradués de célèbres thèmes de ballets par Carol Barrat. Convient aux pianistes débutants. Ce sont des morceaux idéaux pour un répertoire, à utiliser avec `The Classic Piano Course`. Tous vos thèmes favoris de ballets classiques, dont les musiques de Delibes, Gluck et Tchaikovsky. / Classique / Arrangements par Carol Barrat / Partition /

Active Listening Strategies for the Classroom-Make music come alive with this creative collection of visuals and strategies. Created for the music classroom this handy book/CD pak features reproducible listening maps and movement activities designed for a variety of levels along with easy-to-use teaching plans based on the National Standards. All musical examples used are included on the CD. Featured listening selections include: Stars and Stripes Forever Fanfare for the Common Man Ev'rybody Wantsto Be a Cat (from The Aristocats) Chinese Dance (from The Nutcracker Suite) Ballet of the Unhatched Chicks (from Pictures at an Exhibition) Histoire du Tango Spring (from The Four Seasons) Variations on America Variations onSimple Gifts Stompin' at the Savoy Russian Dance (from The Nutcracker Suite) Mars the Bringer of War (from The Planets) Splish Splash Summer (from The Four Seasons).

Trente-sept thèmes plus aimés du famous ballets. Arrangé pour piano solo. / Piano

A delightful collection of arrangements for two treble recorders and basso continuo featuring music from a selection of Lully’s ballets.

La Suite De Ballet Gayaneh tient le langage musical qui a marqué de façon indélébile par héritage arménien de Khacahaturian. Ses partitions sont connus pour leurs sensuelle, chantant écriture mélodique, l'orchestration colorée et élan rythmique élémentaire. Cette pièce du Ballet Gayaneh a été spécialement arrangées pour piano. Ce livre a été spécialement écrite en anglais et en japonais. / Piano

Par VERDI GIUSEPPE. Othello (or Otello) is an opera in four acts composed by Giuseppe Verdi, premiered in February 1887. As was customary at the time, a short ballet sequence was composed for the opera, to be inserted into Act III, just prior to the entrace of Lodovico, ambassador to the Venetian Republic. When Verdi sent the original manuscript to his publisher Ricordi, he included this detailed description of the scenario: 'Looking at the splendid, colonnaded scene of the Third Act, I decided to make the music go as follows: At the very beginning, to the sound of horns, a group of Turkish slave-girls dance with reluctance and ill-humor because of the very fact they are slaves. Then, hearing the strains of the Arab Song, they grow livelier and at the end dance quite wildly... At the Invocation to Allah, they all fall to the ground... Just then a group of beautiful Greek girls appears among the columns, and four measures later another similar group; at the thirteenth measure these two groups join in a quiet, aristocratic, classical dance. The next motif is that of La Muranese, which heralds the appearance of a 'group' (!) of Venetians... Eight measures later, another group of Venetians enters and at the eighteenth measure (fortissimo) these two groups meet and dance at the front of the stage. After the fortissimo there is a passage of very light music in F-sharp, which should be danced by couples. This motif is repeated, louder, and then all the Venetians dance together. The 6/8 motif reappears, and here I should like to see another group of Venetians come forward. The War Song should be danced by men alone. At the recurrence of the first motif, all the Venetians dance again, then at the più mosso, Venetians, Turks, Greeks, and the rest all dance together... Amen.' / Date parution : 2022-11-29/ Répertoire / Ensemble de Flûtes