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Harp solo - Medium - Digital Download

SKU: MQ.6535-E

Composed by David Conte. Secular, 21st century. Score & instrument part. 15 pages. E. C. Schirmer Music Company - Digital #6535-E. Published by E. C. Schirmer Music Company - Digital (MQ.6535-E).

Marian Variations for harp solo was written for and is dedicated to harpist Ruth Inglefield, Professor of Harp at the Peabody Conservatory. In 1975, I was a student in Dr. Inglefield's Music History class at Bowling Green State University, where I was pursuing a Bachelor's Degree in Composition. Dr. Inglefield arranged for me to study in Paris with Nadia Boulanger, which I did from 1975-78, making me one of her last composition students and utterly changing my life. This piece is written in gratitude for Dr. Inglefield's vision and generosity.

The work is based on my own Ave Maria for SATB chorus which was commissioned in 1991 by the San Francisco male vocal ensemble Chanticleer. Each of the four variations is based on the main melody of the Ave Maria and is separated by interludes built of contrasting material, all leading to a literal statement of the motet after the fourth variation. Thus, though the piece is largely intended for use in solo recitals, it could be played as part of a liturgical service where the motet is also sung.

I am grateful to Sonja Inglefield for her expert and detailed editing of the score. Harpists Steve Main and Michael Rado also offered valuable suggestions. -David Conte.

Marian Variations (Downloadable)

$8.75 8.28 € PDF SheetMusicPlus

Chamber Orchestra - Digital Download

SKU: A0.1035224

Composed by Frederik François Chopin (1810-1949). Arranged by James Strauss. Romantic Period. Score and parts. 33 pages. James Strauss #5806027. Published by James Strauss (A0.1035224).

Unless your name is Mozart, Mendelssohn or Korngold, the first compositional steps are always the hardest. Chopin was probably no older than 14 when he set to work on a set of variations for piano and flute. Already in love with opera, he decided on the happy- ending aria, Non più mesta (No longer sad) from Rossini’s opera Cinderella. As the curtain comes down, Cinderella gleefully warbles, No longer sad beside the fire shall I sit alone, singing; my long years of heartache were but a streak of lightning, a dream, a game. We are unsure what actually prompted Chopin to select this for his unique combination of flute and piano, but it was most likely written for the composer’s father who was a capable amateur flute player. In the end, the piece was probably dedicated to Józef Cichowski, a close friend of his fathers and an amateur flautist as well. We are indeed fortunate that this early piece of Chopin juvenilia has actually survived, as Jozef Nowakowski, one of the composer’s friends, kept the single manuscript copy as a memento. For one reason or another, the work did not appear in print until 1953. This charming and fluent set of variations presents the theme and four decorated versions of the original tune. Added triplet figuration enlivens the first variation, while the second relies on a florid bel canto style to embellish the theme. Rapid downward arpeggios propel variation three, and the concluding variant displays rapid staccato figuration. Stylistically, there is nothing in this composition to suggest Chopin’s hand. You certainly won’t hear Chopin’s fingerprint in the piano part, as all the interesting bits are given to the flute. In addition, it’s the only Chopin piano part that can comfortably be played by most amateurs. Clearly, the future poet of the piano had a long way to go! Here in a Flute and orchestra version.

Variations on a Rossini Theme op.Posth
Orchestre de chambre

$29.99 28.39 € Orchestre de chambre PDF SheetMusicPlus

Piano - difficult - Digital Download

SKU: S9.Q11149

Composed by Stefan Heucke. This edition: single sheet. Downloadable, Separate edition. Op. 65. Duration 4 minutes. Schott Music - Digital #Q11149. Published by Schott Music - Digital (S9.Q11149).

Der im Herbst 2011 entstandene kleine Variationszyklus über einen Ländler von Schubert entstand zwar aus Anlass des Petrushka-Projekts von Schott. Da mir aber kleine Aufträge grundsätzlich zu groß geraten, beschloss ich, aus der Not eine Tugend zu machen und einfach ein richtiges großes Stück en miniature zu schreiben. Der Witz des Zyklus besteht darin, dass er trotz seiner nur 5minütigen Spieldauer (ohne Widerholungen sind es sogar nur dreieinhalb Minuten) ein ausgewachsener Variationszyklus mit den wichtigsten Merkmalen dieser Form ist. Das tänzerische Element des a-Moll-Themas verschwindet immer mehr bis zu einem dramatischen Trauermarsch in der vierten Variation, um dann in der letzten Variation wieder zu dem Schubert’schen Original zurück zu finden, allerdings in A-Dur und in langsamerem Tempo, so dass sich in seiner bitteren Süße sogar noch ein Überbieten des typischen Schubert-Tons ereignet. Das kleine Opus ist das Schwester-Werk des etwas umfangreicheren Variationszyklus op.64 Variationen über einen Ländler von Schubert für Klavier zu vier Händen, mit dem es in mancherlei inhaltlichem und musikalisch-formalem Zusammenhang steht. - Stefan Heucke.

Six Variations on a Ländler by Schubert
Piano seul

$3.99 3.78 € Piano seul PDF SheetMusicPlus

Alto Saxophone,Piano - Level 4 - Digital Download

SKU: A0.755042

Composed by Sy Brandon. 20th Century,Contemporary. Score and part. 23 pages. Sy Brandon #3249479. Published by Sy Brandon (A0.755042).

Fantasie Variation on Mazurek Dabrowskiego was commissioned in 2010 by David Wozniak. Wozniak suggested using the Polish National Anthem as the basis of a composition that can serve as a fiery opener to a concert. After a short introduction, the anthem is stated using a repetitive rhythmic motif in the piano. Variation one is a minor variant that has a chromatic obligato in the saxophone on the repeat. After a two measure interlude in 4/4 that breaks up the 3/4 meter of the mazurka, Variation two begins. This variation uses motives from the anthem to create a new saxophone melody. Variation three changes meter often and is more technical and angular. A repeat of the minor variant brings the first fast section to a close. After a transition to a slower tempo, a mysterious variation with sudden outbursts occurs. It uses a lot of feminine endings that are characteristic of some Polish music. The tempo slows once again before variation seven which is a lyrical and romantic treatment of motives from the anthem. The final fast section begins with a rhythmic 5/8 variation that changes to 6/8 for the second part of the anthem’s structure. An ornamental version of the anthem with the mazurka rhythm returns at the end before a rousing coda brings the work to a close. This composition is recorded by David Wozniak and Krista Wallace-Boaz on the Emeritus label American Fusion CD.

Fantasie Variations on Mazurek Dabrowskiego
Saxophone Alto et Piano

$9.99 9.46 € Saxophone Alto et Piano PDF SheetMusicPlus

Piano Solo - Level 4 - Digital Download

SKU: A0.1508683

Composed by Gabriel Faure. Arranged by Zellev. 19th Century,Classical,Contemporary,Instructional,Romantic Period. Score. 3 pages. Zellev Music #1083948. Published by Zellev Music (A0.1508683).

Key Signature: C? minor
Time Signature: 4/4
Tempo: Piu mosso (recommended at 88bpm. i choose 105bpm for the audio, to make it more interesting.)
Difficulty: Advanced Intermediate

Thème et variations, for piano in C sharp minor, Op. 73 composed around 1895.

Description by Robert Cummings,
The Thème et variations here is a large piece, usually having a duration well over a quarter-hour. It came a year after Fauré's Nocturne in D flat major No. 6, which ended a six-year hiatus from writing piano music for the composer. Fauré was also in the process of evolving his keyboard style toward bolder harmonic and thematic means of expression, but this work is largely conservative, even exhibiting hints of Schumann, especially in the main theme. That theme, marked Quasi adagio, is stately and presented in short, somewhat repetitive-sounding phrases. It has an expressive depth in its mixture of the noble and gloomy, of elegance and splendor. The first variation does not stray far in mood or in thematic change, but the second is lively and playful, exuding brilliant, almost Rachmaninovian colors. The ensuing variant is moderately paced, but still quite playful in its greater muscle. The music in the Molto Adagio sixth variation may offer the greatest depth here, and that in the Andante molto moderato eighth variation, the dreamiest and most serene. With the tenth variation, the music turns quite lively and colorful, and in the concluding 11th, the mood shifts to a quiet, reserved manner at the outset to a serenely triumphant one at the end.

Thème et Variations, 2nd variation, Op.73 in C? minor
Piano seul

$5.99 5.67 € Piano seul PDF SheetMusicPlus






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