Small Ensemble Bassoon,Clarinet,Flute,Horn,Oboe - Digital Download SKU: A0.839017 Composed by Christoph Willibald Von Gluck. Arranged by Kenneth Martin. Classical,Concert. Score and parts. 15 pages. Martin Music Editions #5214107. Published by Martin Music Editions (A0.839017). Orfeo ed Euridice (French: Orphée et Eurydice; English: Orpheus and Eurydice) is an opera composed by Christoph Willibald Gluck, based on the myth of Orpheus and set to a libretto by Ranieri de' Calzabigi. It belongs to the genre of the azione teatrale, meaning an opera on a mythological subject with choruses and dancing. The piece was first performed at the Burgtheater in Vienna on 5 October 1762, in the presence of Empress Maria Theresa. Orfeo ed Euridice is the first of Gluck's reform operas, in which he attempted to replace the abstruse plots and overly complex music of opera seria with a noble simplicity in both the music and the drama. The opera is the most popular of Gluck's works, and was one of the most influential on subsequent German operas. Variations on its plot-the underground rescue-mission in which the hero must control, or conceal, his emotions-can be found in Mozart's The Magic Flute, Beethoven's Fidelio, and Wagner's Das Rheingold. Though originally set to an Italian libretto, Orfeo ed Euridice owes much to the genre of French opera, particularly in its use of accompanied recitative and a general absence of vocal virtuosity. Indeed, twelve years after the 1762 premiere, Gluck re-adapted the opera to suit the tastes of a Parisian audience at the Académie Royale de Musique with a libretto by Pierre-Louis Moline. This reworking was given the title Orphée et Eurydice, and several alterations were made in vocal casting and orchestration to suit French tastes.

Brass Ensemble Horn,Trombone,Trumpet,Tuba - Level 3 - Digital Download SKU: A0.839015 Composed by Christoph Willibald Von Gluck. Arranged by Kenneth Martin. Classical,Concert. Score and parts. 11 pages. Martin Music Editions #5214105. Published by Martin Music Editions (A0.839015). Orfeo ed Euridice (French: Orphée et Eurydice; English: Orpheus and Eurydice) is an opera composed by Christoph Willibald Gluck, based on the myth of Orpheus and set to a libretto by Ranieri de' Calzabigi. It belongs to the genre of the azione teatrale, meaning an opera on a mythological subject with choruses and dancing. The piece was first performed at the Burgtheater in Vienna on 5 October 1762, in the presence of Empress Maria Theresa. Orfeo ed Euridice is the first of Gluck's reform operas, in which he attempted to replace the abstruse plots and overly complex music of opera seria with a noble simplicity in both the music and the drama. The opera is the most popular of Gluck's works, and was one of the most influential on subsequent German operas. Variations on its plot-the underground rescue-mission in which the hero must control, or conceal, his emotions-can be found in Mozart's The Magic Flute, Beethoven's Fidelio, and Wagner's Das Rheingold. Though originally set to an Italian libretto, Orfeo ed Euridice owes much to the genre of French opera, particularly in its use of accompanied recitative and a general absence of vocal virtuosity. Indeed, twelve years after the 1762 premiere, Gluck re-adapted the opera to suit the tastes of a Parisian audience at the Académie Royale de Musique with a libretto by Pierre-Louis Moline. This reworking was given the title Orphée et Eurydice, and several alterations were made in vocal casting and orchestration to suit French tastes.

Brass Quintet Horn,Trombone,Trumpet,Tuba - Level 4 - Digital Download SKU: A0.1446054 Composed by Christoph Willibald Gluck,. Arranged by Keith Terrett. Classical,Contest,Festival,Historic,Instructional,Opera. 16 pages. Keith Terrett #1025876. Published by Keith Terrett (A0.1446054). Orfeo ed Euridice is an opera composed by Christoph Willibald Gluck, based on the myth of Orpheus and set to a libretto by Ranieri de' Calzabigi. It belongs to the genre of the azione teatrale, meaning an opera on a mythological subject with choruses and dancing.The piece was first performed at the Burgtheater in Vienna on 5 October 1762, in the presence of Empress Maria Theresa. Orfeo ed Euridice is the first of Gluck's reform operas, in which he attempted to replace the abstruse plots and overly complex music of opera seria with a noble simplicity in both the music and the drama.The opera is the most popular of Gluck's works, and was one of the most influential on subsequent German operas. Variations on its plot—the underground rescue mission in which the hero must control, or conceal, his emotions—can be found in Mozart's The Magic Flute, Beethoven's Fidelio, and Wagner's Das Rheingold.Though originally set to an Italian libretto, Orfeo ed Euridice owes much to the genre of French opera, particularly in its use of accompanied recitative and a general absence of vocal virtuosity. Indeed, twelve years after the 1762 premiere, Gluck re-adapted the opera to suit the tastes of a Parisian audience at the Académie Royale de Musique with a libretto by Pierre-Louis Moline. This reworking was given the title Orphée et Eurydice, and several alterations were made in vocal casting and orchestration to suit French tastes.Ther picture is Count Francesco Algarotti, an Italian polymath, philosopher, poet, essayist, anglophile, art critic and art collector. He was a man of broad knowledge, an expert in Newtonianism, architecture and opera. He was a friend of Frederick the Great and leading authors of his times: Voltaire, Jean-Baptiste de Boyer, Marquis d'Argens, Pierre-Louis de Maupertuis and the atheist Julien Offray de La Mettrie. Lord Chesterfield, Thomas Gray, George Lyttelton, Thomas Hollis, Metastasio, Benedict XIV and Heinrich von Brühl were among his correspondents.''The Sicilienne and Rigaudon is one of the many pieces that violin virtuoso Fritz Kreisler composed in the style of other composers. When he first presented and published these pieces, he offered them as recently discovered works by those other composers, newly adapted and arranged by himself. In the case of Sicilienne and Rigaudon, it is eighteenth-century French violinist/composer François Francoeur whose name is on the title sheet, though the piece really has nothing to do with Francoeur's style.The piece is a simple and a charming one, however. The Sicilienne is a binary-form miniature that sweeps along on a characteristic dotted rhythm, with a rather melancholy melody. Think old French ballet. The constant 16th notes of the Rigaudon, give it a character quite unlike that of a traditional rigaudon-a cheerful Baroque dance movement in duple meter.

Piano Solo - Level 3 - Digital Download SKU: A0.818538 Composed by Christoph Willibald Von Gluck. Arranged by Thomas Ling of Sibu. Classical,Contemporary,Standards. Score. 4 pages. Thomas Swee Chin #6714531. Published by Thomas Swee Chin (A0.818538).  Orpheus and Eurydice is one of the most famous mythical love stories in world literature.Dance of the Blessed Spirits is a ballet excerpt from Christoph Willibald Gluck's opera Orfeo ed Euridice, which is based on the story of Orpheus from the Greek mythology. This was the famous flute solo found in Act 2.The texture is mainly three layered: melody, chords and a bass line. Slow music is about resonance. The melody will be coloured and enhanced with plenty of well judged damper pedal effect. 

Piano - very easy to easy - Digital Download SKU: S9.Q47392 From: Orpheus and Eurydice. Composed by Christoph Gluck. Arranged by Hans-Guenter Heumann. This edition: Sheet music. Copyright 2018 Schott Music GmbH & Co. KG, Mainz. Classical. Downloadable. 4 pages. Schott Music - Digital #Q47392. Published by Schott Music - Digital (S9.Q47392). Digital publication of the piece found in the following print music collection: La donna e mobile - 50 famous opera melodies.

Guitar Ensemble Guitar - Level 2 - Digital Download SKU: A0.1514794 Composed by Luiz Bonfa. Arranged by by José Maria Silva. Classical,Latin,Multicultural,World. Score and Parts. 20 pages. José Silva #1089286. Published by José Silva (A0.1514794). A different and beautiful arrangement made by José Maria Silva for Guitar Quintet .*Two-voice melody and accompaniment with chords and a bass guitar-style line. *A small rhythm section with instruments characteristic of Brazil used in Bossa can be added.“Manhã de Carnaval (Carnival Morning), often referred to as Black Orpheus, is a song by Brazilian composer Luiz Bonfá and lyricist António Maria.Manhã de Carnaval appeared as a principal theme in the 1959 Portuguese-language film Orfeu Negro by French director Marcel Camus. The film's soundtrack also included songs by Antônio Carlos Jobim and Vinícius de Moraes, as well as the composition by Bonfá Samba de Orfeu. Manhã de Carnaval appears in the film, including versions sung or hummed by both the principal characters (Orfeu and Euridice), as well as an instrumental version, so that the song has been described as the main musical theme of the film. In the portion of the film in which the song is sung by the character Orfeu, portrayed by Breno Mello, the song was dubbed by Agostinho dos Santos. The song was initially rejected for inclusion in the film by Camus, but Bonfá was able to convince the director that the music for Manhã de Carnaval was superior to the song.

Flute and piano - very easy to easy - Digital Download SKU: S9.Q20878 From Orpheus und Euridice. Composed by Christoph Willibald (Ritter von) Gluck. Edited by Gerda Koppelkamm-Martini. Arranged by Thomas Wagner. This edition: Sheet music. Copyright 2014 Schott Music GmbH & Co. KG, Mainz. Downloadable. 3 pages. Schott Music - Digital #Q20878. Published by Schott Music - Digital (S9.Q20878). Digital publication of the piece found in the following print music collection: Classical Music for Children - 26 Easy Pieces.

Full Orchestra - Level 4 - Digital Download SKU: A0.1225840 By Rainer Fabich Orchestra. By Rainer Fabich. Arranged by Rainer Fabich. 21st Century,Classical,Contemporary,Film/TV. Score and Parts. 212 pages. Fajora Music #821876. Published by Fajora Music (A0.1225840). RAGING FURIES - Rasende FurienGoddesses of revenge - Göttinnenn der RageConcert Piece for big orchestra - Score and PartsThe image of the raging furies as a topos has permeated the world of thoughts and images of mankind for thousands of years and has inspired and fascinated countless artists.This idea is also based on an emotional background, a violent, uncontrolled emotional outburst, a rage (Latin: furor, in the sense of frenzy, passion and madness, French: rage). The resulting affect action is described as rage or fury, combined with a state of mind of uncontrolled excitement in the sense of being beside oneself or out of one's senses.The personification of these affects was in Greek and Roman mythology with the trio of vengeance goddesses, the Erinyens (Latin furia) called: Alekto (the incessant, the never resting), Megaira (German: Megäre, the envious anger) and Tisiphone (the Vengeance avenging the murder, represented with a dog's head and bat's wings), and another, that of Nemesis (the reconciling justice). Already in antiquity they were depicted in sculptures, embossed on coins or immortalized as images on amphorae.They appear in all eras of fine arts, sometimes in female, male or androgynous form, e.g. as avenging angels, or as hybrid beings between humans and animals. Pictures by Albrecht Dürer, Hieronymus Bosch, Tizian, Peter Paul Rubens, William Hamilton, Johann Heinrich Fuessli, Franz von Stuck, Alfred Kubin, Salvador Dali, Francis Bacon, Yongbo Zhao and many others are proof of this.They found their way into the literature of Virgil (Aeneis), Dante (Divine Comedy) or John Milton (Paradise Lost). Goethe lets them appear in Faust II, Schiller (Die Kraniche des Ibykus) and many others refer to them directly or in a modified form, such as Kurt Tucholsky (Gripsholm Palace), Alfred Döblin (Berlin Alexanderplatz), Max Frisch (Homo Faber) or Jean-Paul Sartre (The Flies).In opera, they become an important element in highly dramatic scenes, especially on themes with a mythological or historical background, often also related to the underworld, as in Monteverdi (Il Ritorno d`Ulisse in Patria), Lully (Armide), Gluck (Orpheus and Euridice) or Purcell (Dido and Aeneas). Haendel dedicates an aria to them in Rinaldo, the Furie Terribili. Mozart also uses it in The Magic Flute, in his aria Der Hölle Rache by the Queen of the Night.Furies appear up to the present in various forms, in comics, fantasy novels, computer games, or kung fu films of the 70s (Furies on the yellow river). They are even popular as plastic children's toys, mostly in particularly frightening and creepy presentations (Matchbox/Fighting Furies or Warhammer/Erinnye). This remarkable history and reception inspired Rainer Fabich to create this new orchestral work from his MYThS series. PEGASUS - Ride on Wings, ULYSSES - Prélude to an Odyssey and THE AMONZS - Myth and Projection have already been released. As the title suggests, this is frantically wild music (Allegro molto vivace) that seems to run away, like an action film with fast motives and runs of strings and woodwinds, combined with strong accents of brass and massive percussion Set. Alternations of straight and asymmetrical beats illustrate erratic sequences of movement, as are typical of scenes with the highest intensity, especially in films (e.g. a chase). In the jazzy middle section, the furies calm down a little, before they pick up speed again in a bombastic third section and increase to the point of ecstasy.

Instrumental Duet Clarinet,Flute,Instrumental Duet - Digital Download SKU: A0.956617 Composed by J Offenbach. Arranged by Catriona Melville-Mason. Concert,Romantic Period,Standards. Score and parts. 5 pages. C Melville-Mason #6481185. Published by C Melville-Mason (A0.956617). This well-known tune is fun to play and makes an ideal encore to a short recital.  To increase the difficulty, go faster!Officially entitled ‘Galop Infernale’, this piece hails from Offenbach’s Orpheus in the Underworld, first performed in October 1858.  Offenbach’s comic opera is a humorous take on Gluck’s highly successful Orpheus and Euridice. During a scene in which the gods are socialising, Jupiter suggests dancing a minuet.  The other gods decide this is far too staid, calling for something with a livelier, party-feel – and the Galop Infernale follows.  The tune’s association with the high-kicking Can Can dance came later, some 50 years after Offenbach’s death, when the French cabaret venues Moulin Rouge and Folies Bergère appropriated the piece for use in this context.

Instrumental Duet Bassoon,Flute,Instrumental Duet,Oboe - Level 3 - Digital Download SKU: A0.956623 Composed by J Offenbach. Arranged by Catriona Melville-Mason. Concert,Romantic Period,Standards. Score and parts. 5 pages. C Melville-Mason #6487623. Published by C Melville-Mason (A0.956623). This arrangement of the well-known 'Can Can' tune is designed for double reed duet of oboe and bassoon.  The oboe part can, however, also be played on flute - though extra care may need to be taken with dynamics to ensure that the melody is never swamped by the lower part.Officially entitled ‘Galop Infernale’, this piece hails from Offenbach’s Orpheus in the Underworld, first performed in October 1858.  Offenbach’s comic opera is a humorous take on Gluck’s highly successful Orpheus and Euridice. During a scene in which the gods are socialising, Jupiter suggests dancing a minuet.  The other gods decide this is far too staid, calling for something with a livelier, party-feel – and the Galop Infernale follows.  The tune’s association with the high-kicking Can Can dance came later, some 50 years after Offenbach’s death, when the French cabaret venues Moulin Rouge and Folies Bergère appropriated the piece for use in this context.

Woodwind Ensemble,Woodwind Quartet Clarinet - Level 3 - Digital Download SKU: A0.527617 Composed by Jacques Offenbach. Arranged by Diego Marani. Classical,Holiday,Instructional,Opera,Standards. 19 pages. Diego Marani #3029389. Published by Diego Marani (A0.527617). Orphée aux enfers, whose title translates from the French as Orpheus in the Underworld, is an opéra bouffe (a form of operetta), or opéra féerie in its revised version. Its score was composed by Jacques Offenbach to a French text written by Ludovic Halévy and later revised by Hector-Jonathan Crémieux.The work, first performed in 1858, is said to be the first classical full-length operetta. Offenbach's earlier operettas were small-scale one-act works, since the law in France did not allow full-length works of certain genres. Orpheus was not only longer, but more musically adventurous than Offenbach's earlier pieces.This also marked the first time that Offenbach used Greek mythology as a background for one of his pieces. The operetta is an irreverent parody and scathing satire on Gluck and his Orfeo ed Euridice and culminates in the risqué Galop infernal (Infernal Galop) that shocked some in the audience at the premiere. Other targets of satire, as would become typical in Offenbach's burlesques, are the stilted performances of classical drama at the Comédie-Française and the scandals in society and politics of the Second French Empire.The Infernal Galop from Act 2, Scene 2, is famous outside classical circles as the music for the can-can (to the extent that the tune is widely, but erroneously, called can-can).This arrangement for clarinet quartet includes the following parts: Bb Clarinet 1 or Eb Clarinet, Bb Clarinet 2, Bb Clarinet 3 or Eb Alto Clarinet, Bb Bass Clarinet.

Harpsichord - Level 3 - Digital Download SKU: A0.721424 Composed by Gluck, Christoph. Arranged by Anne Christopherson GRSM ARCM. Contemporary,Wedding. Score. 10 pages. Music-Scores.com #4609589. Published by Music-Scores.com (A0.721424). Dance of the Blessed Spirits is from Act 2 of the Opera, Orfeo ed Euridice. Euridice is stuck in the underworld and her husband Orpheus, a legendary musician who could charm anything with his music, is trying to rescue her. A Saxophone sextet (or septet including optional keyboards) for 2 Soprano Saxes, 2 Alto Saxes, Tenor and Baritone Saxes..Arranged by Anne Christopherson GRSM ARCM at www.music-scores.com