773 partitions
653 MP3 - 178 MIDI

Ses partitions

Suivre cet artiste 29

Ballade en sol mineur - Op. 24

INSTRUMENTATIONS :
PIANO
› Piano seul 1 Original
FLUTE
› Flûte et quintette à cordes 1

ARRANGEURS :
› Grieg, Edvard 1
› MAGATAGAN, MICHAEL 1

Compositeurs

Membres Historiques Tous

Objets cadeaux
Grieg, Edvard

Voir aussi la boutique partitions de
Grieg, Edvard

Livraison mondiale

"Depuis 20 ans nous fournissons un service libre et légal de téléchargement de partitions gratuites.

Si vous utilisez et appréciez Free-scores.com, merci d'envisager un don de soutien."

A propos / Témoignages de membres

Partitions Flute ⮞ Flûte et quintette à cordes ⮞ Edvard Grieg

Grieg, Edvard: Ballade in G Minor for Flute & Strings

Ballade in G Minor for Flute & Strings
Opus 24
Edvard Grieg

Flûte et quintette à cordes

J'AIME 1

Niveau :

Évaluer :

Playlist

VoirTélécharger PDF : Ballade in G Minor (Opus 24) for Flûte & Strings (66 pages - 1.45 Mo)115x⬇

VoirTélécharger PDF : Bass (120.1 Ko)

VoirTélécharger PDF : Violoncelle (167.33 Ko)

VoirTélécharger PDF : Flûte (212.83 Ko)

VoirTélécharger PDF : Alto (179.24 Ko)

VoirTélécharger PDF : Violon 1 (199.77 Ko)

VoirTélécharger PDF : Violon 2 (172.24 Ko)

VoirTélécharger PDF : Conducteur complet (777.35 Ko)

FERMER

Connectez-vous gratuitement
et participez à la communauté Free-scores.com :

attribuer un coeur (et participer ainsi à l'amélioration de la pertinence du classement)
laisser votre commentaire
noter le niveau et l'intérêt de la partition
ajouter cette partition dans votre musicothèque
ajouter votre interprétation audio ou video

Ne plus revoir cette fenêtre pour la durée de cette session.

Télécharger MP3 : Ballade in G Minor (Opus 24) for Flute & Strings 22x⬇ 259x

VIDEO

AJOUTER MP3

Vidéo

Compositeur	Edvard Grieg (1843 - 1907)
Instrumentation	Flûte et quintette à cordes
Genre	Classique
Arrangeur Editeur	MAGATAGAN, MICHAEL (1960 - ) Suivre cet artiste 95 Contacte Faire un don
Droit d'auteur	Public Domain
Edvard Hagerup Grieg (1843 – 1907) was a Norwegian composer and pianist. He is widely considered one of the leading Romantic era composers, and his music is part of the standard classical repertoire worldwide. His use and development of Norwegian folk music in his own compositions brought the music of Norway to international consciousness, as well as helping to develop a national identity, much as Jean Sibelius did in Finland and Bedřich Smetana did in Bohemia. From his extensive body of ...(+) Edvard Hagerup Grieg (1843 – 1907) was a Norwegian composer and pianist. He is widely considered one of the leading Romantic era composers, and his music is part of the standard classical repertoire worldwide. His use and development of Norwegian folk music in his own compositions brought the music of Norway to international consciousness, as well as helping to develop a national identity, much as Jean Sibelius did in Finland and Bedřich Smetana did in Bohemia. From his extensive body of works for piano, history has, of course, singled out the Concerto in A minor for special treatment, but there are a number of other musical gems hidden among the ranks. Many of the Lyric Pieces (ten books, in all) are quite becoming, and the four Album Leaves have earned a special place in the hearts of a handful of pianists; but it is the striking Ballade in G minor, Op. 24, in which the brightest and best of his pianistic sentiments find expression. The Ballade, composed during 1875 and early 1876, takes the melody of an ancient Norwegian folk ballad, "Den nordlansk hondestand" ("The Northland Peasantry"), as the source material for a handful of ingenious variations. Grieg sets the initial presentation of the somber, repetitive theme (Andante espressivo) against a chromatically sliding bass and two colorful middle voices. The delicate opening phrase is all contained within a single lengthy slur and marked piano e molto legato; a middle melodic strain offers a more lighthearted thought. The first nine variations are simple elaborations of the theme that retain its basic length and melodic outline. In the first variation, the steady three-four quarter notes of the theme dissolve into gentle offbeat triplets; the process of acceleration (built in to the note-values, not played out by the performer) continues in the following allegro agitato, which fills every beat of its expanded nine-eight meter with sixteenth notes. Although marked Adagio, the third variation retains something of the flowing sixteenth note character that has been developing in the previous variation. The fourth variation is impish and chromatic, while the fifth (Piu lento) balances fiery single-voice recitando gestures with calmer but fuller cadential figures. Variations five and six are both canons at the octave that fall under an Allegro scherzando indication. Deeply contrasting is the following Lento -- a kind of funeral march. The main theme is given, darkly, over a slow offbeat in the very low bass register; the recurring pedal tone is usually interpreted to be a musical representation of a bell tolling. The ninth variation is not so much a real section unto itself, but rather more of a transition to the remainder of the Ballade: four variations that are cast as continuous sections of one large Finale. The tenth variation, or first section of the Finale (marked poco allegro e alla burla) is a witty and technically challenging dance. Variation 11 is marked più animato, and moves to harmonically distant areas. After a characteristic modulation has been made back to the key of G, the mighty, Meno allegro e maestoso (variation 12) begins. This is a Lisztian outburst of sheer pianistic forcefulness: powerful downbeat chords are offset by strong octaves in the extreme registers of the instrument. Both the three-four meter and the original minor mode of the theme are back for Allegro furioso -- and Grieg really does mean furious. Fiery arpeggiated chords moving in opposite directions struggle against one another; the tension of contrary motion is heightened by sharp harmonic conflict. Resolution occurs at the beginning of the last variation (prestissimo), a breathtaking plunge back into the theme as we first heard it -- now even more subdued and melancholy than it was before. Source: AllMusic (https://www.allmusic.com/composition/ballade-for-piano -in-g-minor-in-the-form-of-variations-on-a-norwegian-me lody-op-24-mc0002355671). Although originally composed for Piano, I created this interpretation of the Ballade in G Minor (Opus 24) for Flute & Strings (2 Violins, Viola, Cello & Bass).
	Ajoutée par magataganm, 24 Jun 2020
Partition centrale	Ballade en sol mineur, 24 (2 partitions)

<< Partition précédente Partition suivante >>

1 commentaire

Plus récent - Plus utile

Par francois-xavier-jean , 24 Jun 2020 à 11:11

les couleurs des musiciens du nord sont si particulièrement douce et d'un tragique subtil. Qu'on songe au merveilleux film de Bergman: 'Sommarleik' et tout est dit ... ah si ! Il faut peut-être citer ces effets 'danse des papillons' accompagné d'une sorte de flon flon mais n'est-ce pas la valse qui sourd dans nos mémoires .. Bravo à l'arrangeur américain Mike Magatagan et merci ! On avait oublié qu'Edvard Grieg était si beau !