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--INSTRUMENTS--
ACCORDEON
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BANJO
BASSE
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CLAIRON
CLARINETTE
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CORNEMUSE
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HARPE
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LIVRES
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The Call Orchestral Score
Non classifié
131
Piano & claviers
Piano seul
41
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12
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12
Piano, Voix et Guitare
5
2 Pianos, 4 mains
4
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3
Orgue
2
Piano Quatuor: piano, violon, alto, violoncelle
1
Piano Trio: piano, violon, violoncelle
1
1 Piano, 4 mains
1
+ 5 instrumentations
Retracter
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Guitare
4
Basse electrique
3
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2
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Chorale SATB
16
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4
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2
Voix Soprano, Piano
2
Chorale Unison
2
Chorale TTBB
1
Voix Alto, Piano
1
Voix Tenor, Piano
1
Voix basse, Piano
1
+ 4 instrumentations
Retracter
Vents
Flûte traversière et Piano
15
Quintette de Saxophone: 5 saxophones
11
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9
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9
2 Flûtes traversières (duo)
9
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8
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8
2 Saxophones (duo)
8
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7
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6
Quatuor de Saxophones: 4 saxophones
6
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6
Quintette de Flûte : 5 flûtes
4
3 Saxophones (trio)
4
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3
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2
Ensemble de Clarinettes
2
2 Clarinettes (duo)
2
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1
Ensemble de Hautbois
1
Flûte, Hautbois, Clarinette, Basson
1
3 Clarinettes (trio)
1
Clarinette
1
Flûte, Hautbois, Clarinette (trio)
1
Ensemble de saxophones
1
Trio de Flûtes: 3 flûtes
1
2 Flûte à bec (duo)
1
Quatuor de Clarinettes: 4 clarinettes
1
Quatuor de Flûtes à bec
1
+ 24 instrumentations
Retracter
Cuivres
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
11
Quatuor de Cuivres : 2 trompettes, trombone, tuba
7
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5
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4
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4
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2
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2
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2
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2
2 Trompettes (duo)
2
2 Cors (duo)
2
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2
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2
Cor
1
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1
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1
2 Euphoniums (duo)
1
Trompette
1
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Retracter
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15
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8
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7
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7
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6
2 Altos (duo)
2
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2
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2
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1
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1
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1
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1
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1
2 Violons (duo)
1
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1
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Retracter
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92
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18
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16
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5
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Debussy Inconnu: Album of works for the piano by Claude Debussy completed by Robert Orledge, Vol. 1
Debussy Inconnu: Album of works for the piano by Claude Debussy completed by Robert Orledge, Vol. 1
#
Piano seul
#
INTERMÉDIAIRE/AVANCÉ
#
Classique
#
Claude Debussy/Robert Orledg
#
Debussy Inconnu: Album of work
#
Musik Fabrik Music Publishing
#
SheetMusicPlus
Piano Solo - Advanced Intermediate - Digital Download Composed by Claude Debussy/Robert Orledge. 20th Century, Impressionistic, Repertoire, Recital. ...
(+)
Piano Solo - Advanced Intermediate - Digital Download Composed by Claude Debussy/Robert Orledge. 20th Century, Impressionistic, Repertoire, Recital. Score. 71 pages. Published by Musik Fabrik Music Publishing
Contains A Night in the House of Usher Un Jour affreux avec Le Diable dans le beffroi, Les accords de septime regrettent!!!, Petite Valse,Ftes galantes, and Prlude ?L?Histoire de Tristan?
From Robert Orledge's notes:
My interest in the wonderful music of Claude Debussy began in the 1980s when I researched and published a book with Cambridge University Press entitled Debussy and the Theatre. During the course of my studies in Paris, I was amazed to discover that Debussy planned over 50 theatrical works but only finished two of these entirely by himself (the opera Pellas et Mlisande in 1893?1902 and the ballet Jeux for Diaghilev?s Ballets Russes in 1912?13). Of the rest, many were never started musically (like Siddartha and Orphe-roi with the Oriental scholar Victor Segalen, 1907); some had a few tantalising sketches (like the Edgar Allan Poe opera Le Diable dans le beffroi, 1902?03); some were half-finished (like his other Poe opera La Chute de la Maison Usher, 1908?17); while others were musically complete but had their orchestrations completed by other composers (like Khamma, by Charles Koechlin, 1912?13; or Le Martyre de Saint Sbastien and La Bote joujoux by his ?angel of corrections? [?l?ange des Corrections?] Andr Caplet in 1911 and 1919 respectively).
For it has to be admitted that what some scholars call Debussy?s ?compulsive achievement? could equally well be viewed as laziness, especially as far as the minute detail required for calligraphing his orchestral scores was concerned. It was as if creating the music itself was of greater importance than controlling its final sound, even if Debussy was an imaginative orchestrator when he found the time and energy to do it. It also seems true that Debussy also preferred inventing ideas to turning them into complete pieces. However, despite the lack of detail in many of his sketches (missing clefs, key signatures, dynamics, phrasing, etc.) the notes themselves are surprisingly accurate, whether or not they can be compared with a later draft. Thus, a large number of sketches exist for his Chinese ballet No-ja-li ou Le Palais du Silence and it is not too difficult to see which parts of Georges de Feure?s 1913 scenario (see below) inspired which ideas. But Debussy hardly made any attempt to join them together after the first few bars.
It was usually up to his publisher, Jacques Durand, to find solutions when Debussy risked a breach of contract. Debussy was supposed to supervise the orchestrations completed by others, but this supervision was usually very light and restricted to quiet, sensitive moments in which problems were easier to spot. Far from jealously guarding every one of his created notes, as Ravel did, Debussy once even went as far as to ask Koechlin to ?write a ballet for him that he would sign? on 26 March 1914 when he was hard-pressed to fulfil his lucrative contract for No-ja-li with Andr Charlot at the Alhambra Theatre in London. In the end, Debussy (through Durand) sent Charlot the symphonic suite Printemps instead, whose orchestration had been completed by Henri Busser in the Spring of 1912.
So, when I was offered early retirement as Professor of Music at Liverpool University in 2004, I seized the opportunity it would give me to spend time trying to reconstruct some of Debussy?s lost potential masterpieces from his existing sketches and drafts?then orchestrating them in Debussy?s style when this was appropriate. I had begun this mission in 2001 with the most promising project, the missing parts of Scene 2 of La Chute de la Maison Usher and the sheer joy it gave me at every stage persuaded me to tackle other projects, especially when Debussy experts were unable to identify exactly where I took over from Debussy (and vice versa) in Usher.
$38.95 ≈
34.88€
Debussy Inconnu: Album of works for the piano by Claude Debussy completed by Robert Orledge, Vol. 2
Debussy Inconnu: Album of works for the piano by Claude Debussy completed by Robert Orledge, Vol. 2
#
Piano seul
#
INTERMÉDIAIRE/AVANCÉ
#
Classique
#
Claude Debussy/Robert Orledg
#
Debussy Inconnu: Album of work
#
Musik Fabrik Music Publishing
#
SheetMusicPlus
Piano Solo - Advanced Intermediate - Digital Download Composed by Claude Debussy/Robert Orledge. 20th Century, Impressionistic, Repertoire. Score. 76...
(+)
Piano Solo - Advanced Intermediate - Digital Download Composed by Claude Debussy/Robert Orledge. 20th Century, Impressionistic, Repertoire. Score. 76 pages. Published by Musik Fabrik Music Publishing
Contains Le Roi Lear: Prlude,Premire Fanfare, and La Mort de Cordlia,Toomai des lphants, Rodrigue et Chimne: Prlude l?acte 1p. Le Martyre de Saint Sbastien: La Passion , and No-ja-li ou Le Palais du Silence
From Robert Orledge's notes:
My interest in the wonderful music of Claude Debussy began in the 1980s when I researched and published a book with Cambridge University Press entitled Debussy and the Theatre. During the course of my studies in Paris, I was amazed to discover that Debussy planned over 50 theatrical works but only finished two of these entirely by himself (the opera Pellas et Mlisande in 1893?1902 and the ballet Jeux for Diaghilev?s Ballets Russes in 1912?13). Of the rest, many were never started musically (like Siddartha and Orphe-roi with the Oriental scholar Victor Segalen, 1907); some had a few tantalising sketches (like the Edgar Allan Poe opera Le Diable dans le beffroi, 1902?03); some were half-finished (like his other Poe opera La Chute de la Maison Usher, 1908?17); while others were musically complete but had their orchestrations completed by other composers (like Khamma, by Charles Koechlin, 1912?13; or Le Martyre de Saint Sbastien and La Bote joujoux by his ?angel of corrections? [?l?ange des Corrections?] Andr Caplet in 1911 and 1919 respectively).
For it has to be admitted that what some scholars call Debussy?s ?compulsive achievement? could equally well be viewed as laziness, especially as far as the minute detail required for calligraphing his orchestral scores was concerned. It was as if creating the music itself was of greater importance than controlling its final sound, even if Debussy was an imaginative orchestrator when he found the time and energy to do it. It also seems true that Debussy also preferred inventing ideas to turning them into complete pieces. However, despite the lack of detail in many of his sketches (missing clefs, key signatures, dynamics, phrasing, etc.) the notes themselves are surprisingly accurate, whether or not they can be compared with a later draft. Thus, a large number of sketches exist for his Chinese ballet No-ja-li ou Le Palais du Silence and it is not too difficult to see which parts of Georges de Feure?s 1913 scenario (see below) inspired which ideas. But Debussy hardly made any attempt to join them together after the first few bars.
It was usually up to his publisher, Jacques Durand, to find solutions when Debussy risked a breach of contract. Debussy was supposed to supervise the orchestrations completed by others, but this supervision was usually very light and restricted to quiet, sensitive moments in which problems were easier to spot. Far from jealously guarding every one of his created notes, as Ravel did, Debussy once even went as far as to ask Koechlin to ?write a ballet for him that he would sign? on 26 March 1914 when he was hard-pressed to fulfil his lucrative contract for No-ja-li with Andr Charlot at the Alhambra Theatre in London. In the end, Debussy (through Durand) sent Charlot the symphonic suite Printemps instead, whose orchestration had been completed by Henri Busser in the Spring of 1912.
So, when I was offered early retirement as Professor of Music at Liverpool University in 2004, I seized the opportunity it would give me to spend time trying to reconstruct some of Debussy?s lost potential masterpieces from his existing sketches and drafts?then orchestrating them in Debussy?s style when this was appropriate. I had begun this mission in 2001 with the most promising project, the missing parts of Scene 2 of La Chute de la Maison Usher and the sheer joy it gave me at every stage persuaded me to tackle other projects, especially when Debussy experts were unable to identify exactly where I took over from Debussy (and vice versa) in Usher.
$38.95 ≈
34.88€
Robert Orledge:Un Jour Affreux avec le Diable dans le beffroi for piano and narrator, based on themes from Debussy's "Le Diable dans le beffoir"
Robert Orledge:Un Jour Affreux avec le Diable dans le beffroi for piano and narrator, based on themes from Debussy's "Le Diable dans le beffoir"
#
Piano Facile
#
FACILE
#
Claude Debussy/Robert Orledge
#
Robert Orledge:Un Jour Affreux
#
Musik Fabrik Music Publishing
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SheetMusicPlus
Piano Solo, Narrator - Advanced - Composed by Claude Debussy/Robert Orledge. 20th Century, Impressionistic, Recital, Spoken Word. Score. 30 pages. Publish...
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Piano Solo, Narrator - Advanced - Composed by Claude Debussy/Robert Orledge. 20th Century, Impressionistic, Recital, Spoken Word. Score. 30 pages. Published by Musik Fabrik Music Publishing
I owe an enormous debt of gratitude to the celebrated pianist Nicolas Horvath for enthusiastically
bringing my Debussy works to public attention in their solo piano formats, both through his recent
recitals across France and through this Naxos Grand Piano release (GP822). In some cases these are
true piano pieces (like Toomai des lphants), in others they are piano reductions of orchestral scores
(like Ftes galantes), while in others they are piano solos in their own right that also exist in orchestral
versions (as in the incidental music for Le Roi Lear). Needless to say, most of these tracks are world
premire recordings, and this is certainly true of A Night in the House of Usher and its companion piece Un Jour affreux avec Le Diable dans le beffroi (?A Dreadful Day with the Devil in the Belfry?) which I arranged specially for Nicolas in November 2018 as a virtuosic, almost Lisztian paraphrase-fantasy. To remind us of the plot as the dramatic scenes unfold, Un Jour affreux avec le Diable dans le beffroi, like the start of No-ja-li) has a narrator (spoken in French by Florient Azoulay on the Grand Piano recording):
[After an overture rising from the underworld, with a polka and a citation of a chldren?s folksong Savez vous plantez les choux?, a carillon rings out]: Hearing it, the Dutch villagers start to count, with the bells of the belfry / 1, 2, 3, 4, 5, 6, 7, 10, 8, 9, 11, and 12 / Perfect! / 13!?!/ The bell rang 13 times / 13! / The Devil is here where the clock should be! / Damn! / The bells are cracked. / The Devil laughs fit to burst / He pulls from the pocket of his coat, a small dancing master?s violin / ?My God!? says the devil ? and he tunes his violin slowly / The Devil leads the villagers in a fantastic and relentless jig [making jokes at the expense of concertos by Beethoven, Brahms and Tchaikovsky] / The Devil directs the villagers towards the canal ? where he jumps to the other side, laughing all the time / The villagers try to imitate him, but they fall into the water. / [In Part 2] the villagers are transported to a hedonistic and lively Italian village. They are similarly transformed: the men have crooked hats ? the women have wide open bodices! They dance a mad Tarantella / 1, 2, 3, 4, 5, 6, 7 and 13 / shouting ?Hey there! (Hola?) / Jean, the young hero, makes a fervent prayer to God against the Devil / The prayer is answered and the bell again rings normally! / The expression of the Devil changes: he shudders! / Everything goes black / The devil disappears in a brief red glow ? / And the carillon and the bells chime as usual / 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11 and 12 / Perfect! / But the Devil?s grinning face ap-
pears once again where the clock should be ? briefly
$19.95 ≈
17.87€
A Midsummer Night's Dream Wedding March for String Quartet, Op. 61 - Score Only
A Midsummer Night's Dream Wedding March for String Quartet, Op. 61 - Score Only
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Quatuor à cordes: 2 violons, alto, violoncelle
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INTERMÉDIAIRE
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Classique
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Felix Bartholdy Mendelssohn
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Yoon Jae Lee
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A Midsummer Night's Dream Wedd
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Ondine Press
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SheetMusicPlus
String Quartet String Quartet - Level 3 - SKU: A0.1048737 Composed by Felix Bartholdy Mendelssohn. Arranged by Yoon Jae Lee. Classical,Romantic Period,S...
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String Quartet String Quartet - Level 3 - SKU: A0.1048737 Composed by Felix Bartholdy Mendelssohn. Arranged by Yoon Jae Lee. Classical,Romantic Period,Standards,Traditional,Wedding. 10 pages. Ondine Press #652362. Published by Ondine Press (A0.1048737). This is a full score Yoon Jae Lee's arrangement of the wedding march for string quartet. The set of parts is available separately. Mendelssohn’s wedding march is a ubiquitous piece for any seasoned wedding musician. A quick search online reveals that there are more than a few dozen arrangements of this work for string quartet alone! So why create another one? Many of the arrangements currently in circulation are of extremely poor quality, both from a musical and publishing standpoint. Too often they give little regard to what Mendelssohn actually wrote and are rendered as if the arranger was recalling the music by ear. My new arrangement was created with a fresh examination of the original orchestral score. Here are some key highlights: 1. It preserves the structural integrity of the music (i.e. same exact number of bars as the original) 2. Maintains a balance between the original context and rewriting the music idiomatically for string quartet. 3. Aims to be of high artistically yet playable by most string players above an intermediate level (There are double stops and a few triple stops but nothing unmanageable). 4. No unnecessary articulations, bowings or fingerings have been added. The basic spirit of the music is left untouched and skilled musicians can make their own interpretive decisions with fresh insight into the music. 5. A clean, high quality engraving with bar numbers added. An abridged arrangement of the first 29 bars of march is also available so don’t use a cheap, free arrangement online of this important work. If you are a “serious†musician, be sure to have this arrangement of the wedding march always handy in your library! Perusal Score: https://issuu.com/ondinepress/docs/mendelssohn_wedding_march_full.
$8.00 ≈
7.16€
The Call -- Orchestral Score
The Call -- Orchestral Score
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Musique Sacrée
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Z
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The Call -- Orchestral Score
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MorningStar Music Publishers - Digital Sheet Music
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SheetMusicPlus
By Z. Randall Stroope. Sacred. Orchestral Score. Published by MorningStar Music Publishers - Digital Sheet Music ...
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By Z. Randall Stroope. Sacred. Orchestral Score. Published by MorningStar Music Publishers - Digital Sheet Music
$10.00 ≈
8.96€
Now & Then
Now & Then
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Musique Sacrée
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Sheldon Curry
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Choral Worship Cantata
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Now & Then
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Jubilate Music Group - Digital
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SheetMusicPlus
Choir Sacred - SKU: JX.00-36964 Songs for All Seasons / Songs from the Mountain (Orchestration). Arranged by Sheldon Curry. This edition: Orchest...
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Choir Sacred - SKU: JX.00-36964 Songs for All Seasons / Songs from the Mountain (Orchestration). Arranged by Sheldon Curry. This edition: Orchestration. Choral (Sacred); Choral Worship Cantata; Larger Works; Performance Music Ensemble; Worship Resources. Sacred. Part(s); Score. 367 pages. Jubilate Music Group - Digital #00-36964. Published by Jubilate Music Group - Digital (JX.00-36964). English.Now & Then is an Appalachian collection of old and new hymns and spiritual songs, each created for a specific liturgical calendar purpose, scored for SATB, Appalachian instruments, and strings. The rhythm instrumentation is authentic and Nashville style number chord charts are provided. Optional strings are available to add depth to the worship experience. Curry creates a musically satisfying way to include non-traditionally trained musicians to the community's worship. From the longing of Great Jehovah to the unbridled joy of Resurrection Jubilee, this is a journey you don't want to miss. Titles: Come Thou, Long Expected Jesus * Appalachian Cradle Song * Great Jehovah * Resurrection Jubilee * We Gather to Recall the Night * Come Holy Spirit, Heavenly Dove. Curry, as eclectic a choral writer as they come, sets six anthems, suitable for various seasons in the church year (including Come, Thou Long-Expected Jesus for Advent and Resurrection Jubilee for Easter), in a style that would be right at home on a T-Bone Burnett roots-music album. And like Burnett, Curry expertly crafts the vocal score and accompaniments to be earthy yet polished, so that even those who aren't fans of this genre will find something to enjoy here. -Warren Anderson, Worship Leader magazine
$250.00 ≈
223.89€
Contemporary Opera, The Hero and the Damned (The story of Perseus and Medusa) Piano Vocal Score
Contemporary Opera, The Hero and the Damned (The story of Perseus and Medusa) Piano Vocal Score
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James Nathaniel Holland
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Contemporary Opera, The Hero a
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James Nathaniel Holland
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SheetMusicPlus
Choral Piano,Vocal,Voice - Level 5 - SKU: A0.730205 Composed by James Nathaniel Holland. Broadway,Contemporary,Musical/Show,Opera. Score. 204 pages. Jam...
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Choral Piano,Vocal,Voice - Level 5 - SKU: A0.730205 Composed by James Nathaniel Holland. Broadway,Contemporary,Musical/Show,Opera. Score. 204 pages. James Nathaniel Holland #36793. Published by James Nathaniel Holland (A0.730205). REVISED 2019 The Hero and the Damned, Piano Vocal Score (The Greek Myth of Perseus and Medusa) An Opera in 4 Acts Adaptation, Libretto and Music by James Nathaniel Holland Composer Website: https://www.facebook.com/jamesnathanielholland/ (Duration: 2.5 hours) Setting: Ancient Mythological Greece Follow the journey of Perseus as he discovers himself and travels to distant lands and battles the infamous Medusa in order to save his mother from a tyrant. Musically exciting and accessible. Complete vocal score offered here which measure numbers match up to the full orchestral score and individual parts (1 and 2) (All sold separately). Solos, duets, ensembles. Arias for the operatically neglected alto and mezzo-soprano. This opera can also pass as musical theater. Opera YouTube Demo: https://youtu.be/XLbxwQyZPhI First act here (orchestrated) as sound clip.
$23.95 ≈
21.45€
Where Eagles Dare (Theme) - Score Only
Where Eagles Dare (Theme) - Score Only
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Orchestre
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INTERMÉDIAIRE
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Film/TV
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Ron Goodwin
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Chris Siddall
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Where Eagles Dare
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Chris Siddall Music Publishing
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SheetMusicPlus
Full Orchestra - Level 3 - SKU: A0.1402356 Composed by Ron Goodwin. Arranged by Chris Siddall. Film/TV. 33 pages. Chris Siddall Music Publishing #985569...
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Full Orchestra - Level 3 - SKU: A0.1402356 Composed by Ron Goodwin. Arranged by Chris Siddall. Film/TV. 33 pages. Chris Siddall Music Publishing #985569. Published by Chris Siddall Music Publishing (A0.1402356). While his scores for both 633 Squadron (1963) and Operation Crossbow (1965) had boasted patriotic, major-key themes celebrating the heroics of the protagonists, composer Ron Goodwin took a different approach for Where Eagles Dare, generating his main theme for the picture out of the initial notes of an ascending minor scale. Rather than celebrate the heroics of the screen characters, the title music embodies the single-minded ambition of the protagonists to infiltrate the mountain fortress of Schloss Adler and complete their mission, no matter what the costs. The composer recalled in a 1994 interview that some of this approach came from the filmâ??s director, Brian Hutton. For instance, he wanted music at the beginning of the film but he also wanted to hear the airplane engines approaching from the distance, which is actually why he started off with just the side drums playing quietly and then building up and getting louder, so that you could actually hear the sound of the airplane before the orchestra comes in. After the snare drum and the â??Aâ? section of the main title comes a melodically related fugal section that, the composer told Randall D. Larson in 1984, was an idea that arose from the â??concept of people following each other around and dodging away from each other...[which] gave me the idea of writing a sort of fugue-style theme...and then I used that in various ways for all the sort of creeping and following and chasing that was going on throughout the film.â?Created from the original manuscript, this release offers a rare opportunity to study film music in its authentic, original orchestration and arrangement. An opportunity not to be missed!
$14.99 ≈
13.42€
Bach: Nun Komm'der Heiden Heiland - from 3 Corali: Orchestral interpretation by Ottorino Respighi
Bach: Nun Komm'der Heiden Heiland - from 3 Corali: Orchestral interpretation by Ottorino Respighi
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Orchestre à Cordes
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Johann Sebastian Bach and Otto
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Flavio Regis Cunha
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Bach: Nun Komm'der Heiden Heil
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FRC Music
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SheetMusicPlus
String Orchestra - Level 4 - SKU: A0.1217215 By Johann Sebastian Bach and Ottorino Respighi. By Johann Sebastian Bach. Arranged by Flavio Regis Cunha. C...
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String Orchestra - Level 4 - SKU: A0.1217215 By Johann Sebastian Bach and Ottorino Respighi. By Johann Sebastian Bach. Arranged by Flavio Regis Cunha. Contemporary,Contest,Festival,Film/TV,Instructional,Sacred. Score and Parts. 16 pages. FRC Music #813753. Published by FRC Music (A0.1217215). Bach: Nun Komm'der Heiden Heiland - from 3 chorales, P. 167: No. 1. Lento assai, BWV 659 - Orchestral interpretation by Ottorino Respighi.Nun komm, der Heiden Heiland (original: Nu kom der Heyden heyland, English: Savior of the nations, come, literally: Now come, Saviour of the heathen) is a Lutheran chorale of 1524 with words written by Martin Luther, based on Veni redemptor gentium by Ambrose, and a melody, Zahn 1174, based on its plainchant. It was printed in the Erfurt Enchiridion of 1524.Nun komm, der Heiden Heiland continues to be used in modern settings. It appears in liturgically oriented Christian hymnals, for example the Lutheran Book of Worship, and as the cantus firmus for organ compositions.The song was the prominent hymn for the first Sunday of Advent for centuries. It was used widely in organ settings by Protestant Baroque composers, most notably Johann Sebastian Bach, who also composed two church cantatas beginning with the hymn. Later settings include works by Ottorino Respighy, Max Reger, Brian Easdale and Siegfried Strohbach.English versions include Savior of the nations, come by William Morton Reynolds, published in 1851.for String Orchestra (Bassoon Optional).from 3 Choirs: orchestral interpretation by Ottorino Respighi (3 corali : interpretazione orchestrale di Ottorino Respighi).from Bach - 3 chorales, P. 167:  No. 1. Lento assai  (after J.S. Bach's Nun komm, der Heiden Heiland, BWV 659) for String Orchestra (with basson optional). Orchestration by Ottorino Respighi (1930).Advanced Intermediate LevelFormat: Concert, 9 x 12 inches16 pagesFull Score and Orchestral Parts.
$49.99 ≈
44.77€
Call of a Warrior (Orchestration)
Call of a Warrior (Orchestration)
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Jazz combo
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INTERMÉDIAIRE
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Brindis and Breeze
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Garrett Breeze
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Call of a Warrior
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Lagom Music
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SheetMusicPlus
Jazz Combo - Level 3 - SKU: A0.1257807 By Brindis and Breeze. By Cazz Brindis and Garrett Breeze. Arranged by Garrett Breeze. Contemporary,Hip-Hop,Pop,R...
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Jazz Combo - Level 3 - SKU: A0.1257807 By Brindis and Breeze. By Cazz Brindis and Garrett Breeze. Arranged by Garrett Breeze. Contemporary,Hip-Hop,Pop,R & B,Rock,Singer/Songwriter. 36 pages. Lagom Music #851041. Published by Lagom Music (A0.1257807). **This product is the instrumental score and parts only.**Celebrating determination, grit, and courage, this original show choir song by Cazz Brindis and Garrett Breeze features a blend of hip-hop and rock elements.  Available in SATB, SAB, and SSA it is suitable for performance with piano only, full show band, or accompaniment tracks.  *Instrumental accompaniment and tracks sold separately*LYRICS: Something has been lurking in the corners of my mind, Circling in my blood like vultures in the sky. There's no turning back, time to raise the flag, I'm sending out a signal for my sisters, my brothers... Hear the battle cry echoing inside To remind us we are the ones, we are the warriors! In the final fight, when it's do or die Remember we are the ones, we are the ones who Hear the song, the call of a warrior! Waves are getting stronger, now they throw us overboard, Fire raining down til it burns the ocean floor. Grab your sword and shield. Let your arrows fly! We'll rage against the darkness for our mothers, our fathers, our futures, our warriors!
$150.00 ≈
134.34€
Largo (from "Symphony No. 9") ("From the New World") (Db) Viola Quintet)
Largo (from "Symphony No. 9") ("From the New World") (Db) Viola Quintet)
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Classique
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Musique Sacrée
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Antonin Dvorak
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Regis Bookshar
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Largo
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Regis Bookshar
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SheetMusicPlus
String Ensemble,String Quintet Viola - Level 3 - SKU: A0.813839 Composed by Antonin Dvorak. Arranged by Regis Bookshar. Concert,Contemporary,Folk,Romant...
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String Ensemble,String Quintet Viola - Level 3 - SKU: A0.813839 Composed by Antonin Dvorak. Arranged by Regis Bookshar. Concert,Contemporary,Folk,Romantic Period,Standards. Score and parts. 18 pages. Regis Bookshar #6533949. Published by Regis Bookshar (A0.813839). Largo (from Symphony No. 9 in E minor) (From the New World) (Db) (Viola Quintet) - Intermediate - . This marvelous arrangement of the Largo, based on the second movement of Antonin Dvorak's Symphony No. 9 in E minor, would be a fabulous addition to any music library and could be performed for concerts, recitals and church services, especially Funerals, but would be appropriate any time during the church year. This arrangement is suitable for high school and college students but professional musicians would also enjoy playing this selection. Included are a score and a complete set of parts (18 pages). This selection is one of the many arrangements from the The Regis Bookshar Trumpet Ensemble's extensive music library which are being made available for the first time.Symphony No. 9 in E minor, Op. 95 (subtitled From the New World and popularly know as the New World Symphony), was composed by Antonin Dvorak in 1893 while he was the director of the National Conservatory of Music of America from 1892 to 1895. It premiered at Carnegie Hall in New York City on December 16, 1893 and has been described as one of the most popular of all symphonies. The second movement of the symphony, upon which this arrangement is based, is marked Largo, and begins with a harmonic progression of chords which is then followed by a solo instrument playing the famous main theme.Dvorak was interested in Native American music and the African-American spirituals he heard in North America. While director of the National Conservatory he encountered an African-American student, Harry T. Burleigh, who sang traditional spirituals to him. Burleigh, later a composer himself, said that Dvorak had absorbed their spirit before writing his own melodies. Dvorak stated:    I am convinced that the future music of this country must be founded on what are called Negro melodies. These can be the foundation of a serious and original school of composition to be developed in the United States. These beautiful and varied themes are the product of the soil. They are folk songs of America and your composers must turn to them.He further explained how Native American music influenced his symphony:  I have not actually used any of these (Native American) melodies. I have simply written original themes embodying the peculiarities of the Indian music, and, using these themes as subjects, have developed them with all the resources of modern rhythms, counterpoint, and orchestral colour.In 1893, a newspaper interview quoted Dvorak as saying, I found that the music of the negroes and of the Indians was practically identical, and that the music of the two races bore a remarkable similarity to the music of Scotland. Most historians agree that Dvorak is referring to the pentatonic scale, which is typical of each of these musical traditions.Dvorak was influenced not only by music he heard, but also by what he had seen, in America. He wrote that he would not have composed his American pieces as he had if he had not seen America. It has been said that Dvorak was inspired by the wide open spaces of America, such as the prairies he may have seen on his trip to Iowa in the summer of 1893. Notices about several performances of the symphony include the phrase wide open spaces about what inspired the symphony and/or about the feelings it conveys to listeners.The theme from the Largo was adapted into the spiritual Goin' Home (often mistakenly considered a folk song or traditional spiritual) by Dvorak's pupil, William Arms Fisher, who wrote the lyrics in 1922. Regis Bookshar thought it would be wonderful if other instrumentalists could have the opportunity to play this beautiful melody, so, in addition to this version for a Viola Quintet, he has made quite a few other arrangements of this selection which are readily available for a wide variety of instrumental.
$15.00 ≈
13.43€
Largo (from "Symphony No. 9") ("From the New World") (Db) (Violin Quintet)
Largo (from "Symphony No. 9") ("From the New World") (Db) (Violin Quintet)
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Ensemble de Violons
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INTERMÉDIAIRE
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Classique
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Musique Sacrée
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Antonin Dvorak
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Regis Bookshar
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Largo
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Regis Bookshar
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SheetMusicPlus
String Ensemble,String Quintet Violin - Level 3 - SKU: A0.813840 Composed by Antonin Dvorak. Arranged by Regis Bookshar. Contemporary,Folk,Romantic Peri...
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String Ensemble,String Quintet Violin - Level 3 - SKU: A0.813840 Composed by Antonin Dvorak. Arranged by Regis Bookshar. Contemporary,Folk,Romantic Period,Standards. Score and parts. 18 pages. Regis Bookshar #6533951. Published by Regis Bookshar (A0.813840). Largo (from Symphony No. 9 in E minor) (From the New World) (Db) (Violin Quintet) - Intermediate - . This marvelous arrangement of the Largo, based on the second movement of Antonin Dvorak's Symphony No. 9 in E minor, would be a fabulous addition to any music library and could be performed for concerts, recitals and church services, especially Funerals, but would be appropriate any time during the church year. This arrangement is suitable for high school and college students but professional musicians would also enjoy playing this selection. Included are a score and a complete set of parts (18 pages). This selection is one of the many arrangements from the The Regis Bookshar Trumpet Ensemble's extensive music library which are being made available for the first time.Symphony No. 9 in E minor, Op. 95 (subtitled From the New World and popularly know as the New World Symphony), was composed by Antonin Dvorak in 1893 while he was the director of the National Conservatory of Music of America from 1892 to 1895. It premiered at Carnegie Hall in New York City on December 16, 1893 and has been described as one of the most popular of all symphonies. The second movement of the symphony, upon which this arrangement is based, is marked Largo, and begins with a harmonic progression of chords which is then followed by a solo instrument playing the famous main theme.Dvorak was interested in Native American music and the African-American spirituals he heard in North America. While director of the National Conservatory he encountered an African-American student, Harry T. Burleigh, who sang traditional spirituals to him. Burleigh, later a composer himself, said that Dvorak had absorbed their spirit before writing his own melodies. Dvorak stated:    I am convinced that the future music of this country must be founded on what are called Negro melodies. These can be the foundation of a serious and original school of composition to be developed in the United States. These beautiful and varied themes are the product of the soil. They are folk songs of America and your composers must turn to them.He further explained how Native American music influenced his symphony:  I have not actually used any of these (Native American) melodies. I have simply written original themes embodying the peculiarities of the Indian music, and, using these themes as subjects, have developed them with all the resources of modern rhythms, counterpoint, and orchestral colour.In 1893, a newspaper interview quoted Dvorak as saying, I found that the music of the negroes and of the Indians was practically identical, and that the music of the two races bore a remarkable similarity to the music of Scotland. Most historians agree that Dvorak is referring to the pentatonic scale, which is typical of each of these musical traditions.Dvorak was influenced not only by music he heard, but also by what he had seen, in America. He wrote that he would not have composed his American pieces as he had if he had not seen America. It has been said that Dvorak was inspired by the wide open spaces of America, such as the prairies he may have seen on his trip to Iowa in the summer of 1893. Notices about several performances of the symphony include the phrase wide open spaces about what inspired the symphony and/or about the feelings it conveys to listeners.The theme from the Largo was adapted into the spiritual Goin' Home (often mistakenly considered a folk song or traditional spiritual) by Dvorak's pupil, William Arms Fisher, who wrote the lyrics in 1922. Regis Bookshar thought it would be wonderful if other instrumentalists could have the opportunity to play this beautiful melody, so, in addition to this version for a Violin Quintet, he has made quite a few other arrangements of this selection which are readily available for a wide variety of instrumental en.
$15.00 ≈
13.43€
Largo (from "Symphony No. 9") ("From the New World") (Db) (String Quintet - 2 Violins, 1 Viola, 1 Ce
Largo (from "Symphony No. 9") ("From the New World") (Db) (String Quintet - 2 Violins, 1 Viola, 1 Ce
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Classique
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Musique Sacrée
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Antonin Dvorak
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Regis Bookshar
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Largo
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Regis Bookshar
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SheetMusicPlus
String Ensemble,String Quintet - Level 3 - SKU: A0.813833 Composed by Antonin Dvorak. Arranged by Regis Bookshar. Concert,Contemporary,Folk,Romantic Per...
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String Ensemble,String Quintet - Level 3 - SKU: A0.813833 Composed by Antonin Dvorak. Arranged by Regis Bookshar. Concert,Contemporary,Folk,Romantic Period,Standards. Score and parts. 18 pages. Regis Bookshar #6533931. Published by Regis Bookshar (A0.813833). Largo (from Symphony No. 9 in E minor) (From the New World) (Db) (String Quintet) - Intermediate - . This marvelous arrangement of the Largo, based on the second movement of Antonin Dvorak's Symphony No. 9 in E minor, would be a fabulous addition to any music library and could be performed for concerts, recitals and church services, especially Funerals, but would be appropriate any time during the church year. This arrangement is suitable for high school and college students but professional musicians would also enjoy playing this selection. Included are a score and a complete set of parts (18 pages). This selection is one of the many arrangements from the The Regis Bookshar Trumpet Ensemble's extensive music library which are being made available for the first time.Symphony No. 9 in E minor, Op. 95 (subtitled From the New World and popularly know as the New World Symphony), was composed by Antonin Dvorak in 1893 while he was the director of the National Conservatory of Music of America from 1892 to 1895. It premiered at Carnegie Hall in New York City on December 16, 1893 and has been described as one of the most popular of all symphonies. The second movement of the symphony, upon which this arrangement is based, is marked Largo, and begins with a harmonic progression of chords which is then followed by a solo instrument playing the famous main theme.Dvorak was interested in Native American music and the African-American spirituals he heard in North America. While director of the National Conservatory he encountered an African-American student, Harry T. Burleigh, who sang traditional spirituals to him. Burleigh, later a composer himself, said that Dvorak had absorbed their spirit before writing his own melodies. Dvorak stated:    I am convinced that the future music of this country must be founded on what are called Negro melodies. These can be the foundation of a serious and original school of composition to be developed in the United States. These beautiful and varied themes are the product of the soil. They are folk songs of America and your composers must turn to them.He further explained how Native American music influenced his symphony:  I have not actually used any of these (Native American) melodies. I have simply written original themes embodying the peculiarities of the Indian music, and, using these themes as subjects, have developed them with all the resources of modern rhythms, counterpoint, and orchestral colour.In 1893, a newspaper interview quoted Dvorak as saying, I found that the music of the negroes and of the Indians was practically identical, and that the music of the two races bore a remarkable similarity to the music of Scotland. Most historians agree that Dvorak is referring to the pentatonic scale, which is typical of each of these musical traditions.Dvorak was influenced not only by music he heard, but also by what he had seen, in America. He wrote that he would not have composed his American pieces as he had if he had not seen America. It has been said that Dvorak was inspired by the wide open spaces of America, such as the prairies he may have seen on his trip to Iowa in the summer of 1893. Notices about several performances of the symphony include the phrase wide open spaces about what inspired the symphony and/or about the feelings it conveys to listeners.The theme from the Largo was adapted into the spiritual Goin' Home (often mistakenly considered a folk song or traditional spiritual) by Dvorak's pupil, William Arms Fisher, who wrote the lyrics in 1922. Regis Bookshar thought it would be wonderful if other instrumentalists could have the opportunity to play this beautiful melody, so, in addition to this version for a String Quintet, consisting of 2 Violins, 1 Viola, 1 Violoncello and 1 Double Bass, he has made quite a few other arrangements of this sel.
$15.00 ≈
13.43€
Largo (from "Symphony No. 9") ("From the New World") (Db) (Brass Quintet - 3 Trp, 1 Trb, 1 Tuba)
Largo (from "Symphony No. 9") ("From the New World") (Db) (Brass Quintet - 3 Trp, 1 Trb, 1 Tuba)
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Quatuor de Cuivres : 2 trompettes, trombone, tuba
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INTERMÉDIAIRE
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Classique
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Musique Sacrée
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Antonin Dvorak
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Regis Bookshar
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Largo
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Regis Bookshar
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SheetMusicPlus
Brass Ensemble Trombone,Trumpet,Tuba - Level 3 - SKU: A0.813824 Composed by Antonin Dvorak. Arranged by Regis Bookshar. Concert,Contemporary,Folk,Romant...
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Brass Ensemble Trombone,Trumpet,Tuba - Level 3 - SKU: A0.813824 Composed by Antonin Dvorak. Arranged by Regis Bookshar. Concert,Contemporary,Folk,Romantic Period,Standards. Score and parts. 18 pages. Regis Bookshar #6533897. Published by Regis Bookshar (A0.813824). Largo (from Symphony No. 9 in E minor) (From the New World) (Db) (Brass Quintet) - Intermediate - . This marvelous arrangement of the Largo, based on the second movement of Antonin Dvorak's Symphony No. 9 in E minor, would be a fabulous addition to any music library and could be performed for concerts, recitals and church services, especially Funerals, but would be appropriate any time during the church year. This arrangement is suitable for high school and college students but professional musicians would also enjoy playing this selection. Included are a score and a complete set of parts (18 pages). This selection is one of the many arrangements from the The Regis Bookshar Trumpet Ensemble's extensive music library which are being made available for the first time.Symphony No. 9 in E minor, Op. 95 (subtitled From the New World and popularly know as the New World Symphony), was composed by Antonin Dvorak in 1893 while he was the director of the National Conservatory of Music of America from 1892 to 1895. It premiered at Carnegie Hall in New York City on December 16, 1893 and has been described as one of the most popular of all symphonies. The second movement of the symphony, upon which this arrangement is based, is marked Largo, and begins with a harmonic progression of chords which is then followed by a solo instrument playing the famous main theme.Dvorak was interested in Native American music and the African-American spirituals he heard in North America. While director of the National Conservatory he encountered an African-American student, Harry T. Burleigh, who sang traditional spirituals to him. Burleigh, later a composer himself, said that Dvorak had absorbed their spirit before writing his own melodies. Dvorak stated:    I am convinced that the future music of this country must be founded on what are called Negro melodies. These can be the foundation of a serious and original school of composition to be developed in the United States. These beautiful and varied themes are the product of the soil. They are folk songs of America and your composers must turn to them.He further explained how Native American music influenced his symphony:  I have not actually used any of these (Native American) melodies. I have simply written original themes embodying the peculiarities of the Indian music, and, using these themes as subjects, have developed them with all the resources of modern rhythms, counterpoint, and orchestral colour.In 1893, a newspaper interview quoted Dvorak as saying, I found that the music of the negroes and of the Indians was practically identical, and that the music of the two races bore a remarkable similarity to the music of Scotland. Most historians agree that Dvorak is referring to the pentatonic scale, which is typical of each of these musical traditions.Dvorak was influenced not only by music he heard, but also by what he had seen, in America. He wrote that he would not have composed his American pieces as he had if he had not seen America. It has been said that Dvorak was inspired by the wide open spaces of America, such as the prairies he may have seen on his trip to Iowa in the summer of 1893. Notices about several performances of the symphony include the phrase wide open spaces about what inspired the symphony and/or about the feelings it conveys to listeners.The theme from the Largo was adapted into the spiritual Goin' Home (often mistakenly considered a folk song or traditional spiritual) by Dvorak's pupil, William Arms Fisher, who wrote the lyrics in 1922. Regis Bookshar thought it would be wonderful if other instrumentalists could have the opportunity to play this beautiful melody, so, in addition to this version for a Brass Quintet, but in this case, consisting of 3 Trumpets, 1 Trombone and 1 Tuba, he has made quite a few other arrangements of this selection.
$15.00 ≈
13.43€
Largo (from "Symphony No. 9") ("From the New World") (Db) (Euphonium Quintet - Bass Clef)
Largo (from "Symphony No. 9") ("From the New World") (Db) (Euphonium Quintet - Bass Clef)
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Classique
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Musique Sacrée
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Antonin Dvorak
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Regis Bookshar
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Largo
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Regis Bookshar
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SheetMusicPlus
Brass Ensemble Euphonium - Level 3 - SKU: A0.813827 Composed by Antonin Dvorak. Arranged by Regis Bookshar. Contemporary,Romantic Period,Standards. Scor...
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Brass Ensemble Euphonium - Level 3 - SKU: A0.813827 Composed by Antonin Dvorak. Arranged by Regis Bookshar. Contemporary,Romantic Period,Standards. Score and parts. 18 pages. Regis Bookshar #6533911. Published by Regis Bookshar (A0.813827). Largo (from Symphony No. 9 in E minor) (From the New World) (Db) (Euphonium Quintet) - Intermediate - . This marvelous arrangement of the Largo, based on the second movement of Antonin Dvorak's Symphony No. 9 in E minor, would be a fabulous addition to any music library and could be performed for concerts, recitals and church services, especially Funerals, but would be appropriate any time during the church year. This arrangement is suitable for high school and college students but professional musicians would also enjoy playing this selection. Included are a score and a complete set of parts (18 pages). This selection is one of the many arrangements from the The Regis Bookshar Trumpet Ensemble's extensive music library which are being made available for the first time.Symphony No. 9 in E minor, Op. 95 (subtitled From the New World and popularly know as the New World Symphony), was composed by Antonin Dvorak in 1893 while he was the director of the National Conservatory of Music of America from 1892 to 1895. It premiered at Carnegie Hall in New York City on December 16, 1893 and has been described as one of the most popular of all symphonies. The second movement of the symphony, upon which this arrangement is based, is marked Largo, and begins with a harmonic progression of chords which is then followed by a solo instrument playing the famous main theme.Dvorak was interested in Native American music and the African-American spirituals he heard in North America. While director of the National Conservatory he encountered an African-American student, Harry T. Burleigh, who sang traditional spirituals to him. Burleigh, later a composer himself, said that Dvorak had absorbed their spirit before writing his own melodies. Dvorak stated:    I am convinced that the future music of this country must be founded on what are called Negro melodies. These can be the foundation of a serious and original school of composition to be developed in the United States. These beautiful and varied themes are the product of the soil. They are folk songs of America and your composers must turn to them.He further explained how Native American music influenced his symphony:  I have not actually used any of these (Native American) melodies. I have simply written original themes embodying the peculiarities of the Indian music, and, using these themes as subjects, have developed them with all the resources of modern rhythms, counterpoint, and orchestral colour.In 1893, a newspaper interview quoted Dvorak as saying, I found that the music of the negroes and of the Indians was practically identical, and that the music of the two races bore a remarkable similarity to the music of Scotland. Most historians agree that Dvorak is referring to the pentatonic scale, which is typical of each of these musical traditions.Dvorak was influenced not only by music he heard, but also by what he had seen, in America. He wrote that he would not have composed his American pieces as he had if he had not seen America. It has been said that Dvorak was inspired by the wide open spaces of America, such as the prairies he may have seen on his trip to Iowa in the summer of 1893. Notices about several performances of the symphony include the phrase wide open spaces about what inspired the symphony and/or about the feelings it conveys to listeners.The theme from the Largo was adapted into the spiritual Goin' Home (often mistakenly considered a folk song or traditional spiritual) by Dvorak's pupil, William Arms Fisher, who wrote the lyrics in 1922. Regis Bookshar thought it would be wonderful if other instrumentalists could have the opportunity to play this beautiful melody, so, in addition to this version for a Euphonium Quintet written in Bass Clef, he has made quite a few other arrangements of this selection which are readily available for a.
$15.00 ≈
13.43€
Largo (from "Symphony No. 9") ("From the New World") (Db) (French Horn Quintet)
Largo (from "Symphony No. 9") ("From the New World") (Db) (French Horn Quintet)
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Classique
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Musique Sacrée
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Antonin Dvorak
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Regis Bookshar
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Largo
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Regis Bookshar
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SheetMusicPlus
Brass Ensemble Horn - Level 3 - SKU: A0.813830 Composed by Antonin Dvorak. Arranged by Regis Bookshar. Contemporary,Romantic Period,Standards. Score and...
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Brass Ensemble Horn - Level 3 - SKU: A0.813830 Composed by Antonin Dvorak. Arranged by Regis Bookshar. Contemporary,Romantic Period,Standards. Score and parts. 18 pages. Regis Bookshar #6533921. Published by Regis Bookshar (A0.813830). Largo (from Symphony No. 9 in E minor) (From the New World) (Db) (French Horn Quintet) - Intermediate - . This marvelous arrangement of the Largo, based on the second movement of Antonin Dvorak's Symphony No. 9 in E minor, would be a fabulous addition to any music library and could be performed for concerts, recitals and church services, especially Funerals, but would be appropriate any time during the church year. This arrangement is suitable for high school and college students but professional musicians would also enjoy playing this selection. Included are a score and a complete set of parts (18 pages). This selection is one of the many arrangements from the The Regis Bookshar Trumpet Ensemble's extensive music library which are being made available for the first time.Symphony No. 9 in E minor, Op. 95 (subtitled From the New World and popularly know as the New World Symphony), was composed by Antonin Dvorak in 1893 while he was the director of the National Conservatory of Music of America from 1892 to 1895. It premiered at Carnegie Hall in New York City on December 16, 1893 and has been described as one of the most popular of all symphonies. The second movement of the symphony, upon which this arrangement is based, is marked Largo, and begins with a harmonic progression of chords which is then followed by a solo instrument playing the famous main theme.Dvorak was interested in Native American music and the African-American spirituals he heard in North America. While director of the National Conservatory he encountered an African-American student, Harry T. Burleigh, who sang traditional spirituals to him. Burleigh, later a composer himself, said that Dvorak had absorbed their spirit before writing his own melodies. Dvorak stated:    I am convinced that the future music of this country must be founded on what are called Negro melodies. These can be the foundation of a serious and original school of composition to be developed in the United States. These beautiful and varied themes are the product of the soil. They are folk songs of America and your composers must turn to them.He further explained how Native American music influenced his symphony:  I have not actually used any of these (Native American) melodies. I have simply written original themes embodying the peculiarities of the Indian music, and, using these themes as subjects, have developed them with all the resources of modern rhythms, counterpoint, and orchestral colour.In 1893, a newspaper interview quoted Dvorak as saying, I found that the music of the negroes and of the Indians was practically identical, and that the music of the two races bore a remarkable similarity to the music of Scotland. Most historians agree that Dvorak is referring to the pentatonic scale, which is typical of each of these musical traditions.Dvorak was influenced not only by music he heard, but also by what he had seen, in America. He wrote that he would not have composed his American pieces as he had if he had not seen America. It has been said that Dvorak was inspired by the wide open spaces of America, such as the prairies he may have seen on his trip to Iowa in the summer of 1893. Notices about several performances of the symphony include the phrase wide open spaces about what inspired the symphony and/or about the feelings it conveys to listeners.The theme from the Largo was adapted into the spiritual Goin' Home (often mistakenly considered a folk song or traditional spiritual) by Dvorak's pupil, William Arms Fisher, who wrote the lyrics in 1922. Regis Bookshar thought it would be wonderful if other instrumentalists could have the opportunity to play this beautiful melody, so, in addition to this version for a French Horn Quintet, he has made quite a few other arrangements of this selection which are readily available for a wide variety of instr.
$15.00 ≈
13.43€
Largo (from "Symphony No. 9") ("From the New World") (Db) (Trumpet Quintet)
Largo (from "Symphony No. 9") ("From the New World") (Db) (Trumpet Quintet)
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Ensemble de Trompettes
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INTERMÉDIAIRE
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Classique
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Musique Sacrée
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Antonin Dvorak
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Regis Bookshar
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Largo
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Regis Bookshar
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SheetMusicPlus
Brass Ensemble Trumpet - Level 3 - SKU: A0.813837 Composed by Antonin Dvorak. Arranged by Regis Bookshar. Contemporary,Folk,Romantic Period,Standards. S...
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Brass Ensemble Trumpet - Level 3 - SKU: A0.813837 Composed by Antonin Dvorak. Arranged by Regis Bookshar. Contemporary,Folk,Romantic Period,Standards. Score and parts. 18 pages. Regis Bookshar #6533947. Published by Regis Bookshar (A0.813837). Largo (from Symphony No. 9 in E minor) (From the New World) (Db) (Trumpet Quintet) - Intermediate - . This marvelous arrangement of the Largo, based on the second movement of Antonin Dvorak's Symphony No. 9 in E minor, would be a fabulous addition to any music library and could be performed for concerts, recitals and church services, especially Funerals, but would be appropriate any time during the church year. This arrangement is suitable for high school and college students but professional musicians would also enjoy playing this selection. Included are a score and a complete set of parts (18 pages). This selection is one of the many arrangements from the The Regis Bookshar Trumpet Ensemble's extensive music library which are being made available for the first time.Symphony No. 9 in E minor, Op. 95 (subtitled From the New World and popularly know as the New World Symphony), was composed by Antonin Dvorak in 1893 while he was the director of the National Conservatory of Music of America from 1892 to 1895. It premiered at Carnegie Hall in New York City on December 16, 1893 and has been described as one of the most popular of all symphonies. The second movement of the symphony, upon which this arrangement is based, is marked Largo, and begins with a harmonic progression of chords which is then followed by a solo instrument playing the famous main theme.Dvorak was interested in Native American music and the African-American spirituals he heard in North America. While director of the National Conservatory he encountered an African-American student, Harry T. Burleigh, who sang traditional spirituals to him. Burleigh, later a composer himself, said that Dvorak had absorbed their spirit before writing his own melodies. Dvorak stated:    I am convinced that the future music of this country must be founded on what are called Negro melodies. These can be the foundation of a serious and original school of composition to be developed in the United States. These beautiful and varied themes are the product of the soil. They are folk songs of America and your composers must turn to them.He further explained how Native American music influenced his symphony:  I have not actually used any of these (Native American) melodies. I have simply written original themes embodying the peculiarities of the Indian music, and, using these themes as subjects, have developed them with all the resources of modern rhythms, counterpoint, and orchestral colour.In 1893, a newspaper interview quoted Dvorak as saying, I found that the music of the negroes and of the Indians was practically identical, and that the music of the two races bore a remarkable similarity to the music of Scotland. Most historians agree that Dvorak is referring to the pentatonic scale, which is typical of each of these musical traditions.Dvorak was influenced not only by music he heard, but also by what he had seen, in America. He wrote that he would not have composed his American pieces as he had if he had not seen America. It has been said that Dvorak was inspired by the wide open spaces of America, such as the prairies he may have seen on his trip to Iowa in the summer of 1893. Notices about several performances of the symphony include the phrase wide open spaces about what inspired the symphony and/or about the feelings it conveys to listeners.The theme from the Largo was adapted into the spiritual Goin' Home (often mistakenly considered a folk song or traditional spiritual) by Dvorak's pupil, William Arms Fisher, who wrote the lyrics in 1922. Regis Bookshar thought it would be wonderful if other instrumentalists could have the opportunity to play this beautiful melody, so, in addition to this version for a Trumpet Quintet, he has made quite a few other arrangements of this selection which are readily available for a wide variety of instrumental.
$15.00 ≈
13.43€
Largo (from "Symphony No. 9") ("From the New World") (Db) (Trombone Quintet)
Largo (from "Symphony No. 9") ("From the New World") (Db) (Trombone Quintet)
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Ensemble de Trombones
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INTERMÉDIAIRE
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Classique
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Musique Sacrée
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Antonin Dvorak
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Regis Bookshar
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Largo
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Regis Bookshar
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SheetMusicPlus
Brass Ensemble Trombone - Level 3 - SKU: A0.813838 Composed by Antonin Dvorak. Arranged by Regis Bookshar. Concert,Contemporary,Folk,Romantic Period,Sta...
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Brass Ensemble Trombone - Level 3 - SKU: A0.813838 Composed by Antonin Dvorak. Arranged by Regis Bookshar. Concert,Contemporary,Folk,Romantic Period,Standards. Score and parts. 18 pages. Regis Bookshar #6533945. Published by Regis Bookshar (A0.813838). Largo (from Symphony No. 9 in E minor) (From the New World) (Db) (Trombone Quintet) - Intermediate - . This marvelous arrangement of the Largo, based on the second movement of Antonin Dvorak's Symphony No. 9 in E minor, would be a fabulous addition to any music library and could be performed for concerts, recitals and church services, especially Funerals, but would be appropriate any time during the church year. This arrangement is suitable for high school and college students but professional musicians would also enjoy playing this selection. Included are a score and a complete set of parts (18 pages). This selection is one of the many arrangements from the The Regis Bookshar Trumpet Ensemble's extensive music library which are being made available for the first time.Symphony No. 9 in E minor, Op. 95 (subtitled From the New World and popularly know as the New World Symphony), was composed by Antonin Dvorak in 1893 while he was the director of the National Conservatory of Music of America from 1892 to 1895. It premiered at Carnegie Hall in New York City on December 16, 1893 and has been described as one of the most popular of all symphonies. The second movement of the symphony, upon which this arrangement is based, is marked Largo, and begins with a harmonic progression of chords which is then followed by a solo instrument playing the famous main theme.Dvorak was interested in Native American music and the African-American spirituals he heard in North America. While director of the National Conservatory he encountered an African-American student, Harry T. Burleigh, who sang traditional spirituals to him. Burleigh, later a composer himself, said that Dvorak had absorbed their spirit before writing his own melodies. Dvorak stated:    I am convinced that the future music of this country must be founded on what are called Negro melodies. These can be the foundation of a serious and original school of composition to be developed in the United States. These beautiful and varied themes are the product of the soil. They are folk songs of America and your composers must turn to them.He further explained how Native American music influenced his symphony:  I have not actually used any of these (Native American) melodies. I have simply written original themes embodying the peculiarities of the Indian music, and, using these themes as subjects, have developed them with all the resources of modern rhythms, counterpoint, and orchestral colour.In 1893, a newspaper interview quoted Dvorak as saying, I found that the music of the negroes and of the Indians was practically identical, and that the music of the two races bore a remarkable similarity to the music of Scotland. Most historians agree that Dvorak is referring to the pentatonic scale, which is typical of each of these musical traditions.Dvorak was influenced not only by music he heard, but also by what he had seen, in America. He wrote that he would not have composed his American pieces as he had if he had not seen America. It has been said that Dvorak was inspired by the wide open spaces of America, such as the prairies he may have seen on his trip to Iowa in the summer of 1893. Notices about several performances of the symphony include the phrase wide open spaces about what inspired the symphony and/or about the feelings it conveys to listeners.The theme from the Largo was adapted into the spiritual Goin' Home (often mistakenly considered a folk song or traditional spiritual) by Dvorak's pupil, William Arms Fisher, who wrote the lyrics in 1922. Regis Bookshar thought it would be wonderful if other instrumentalists could have the opportunity to play this beautiful melody, so, in addition to this version for a Trombone Quintet, he has made quite a few other arrangements of this selection which are readily available for a wide variety of instru.
$15.00 ≈
13.43€
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