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Maximo Diego Pujol: Suites Del Plata
Guitar
[Sheet music]
Editions Orphee
Composed by Maximo Diego Pujol. Collection for guitar. With fingerings. 16 pages...
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Composed by Maximo Diego Pujol. Collection for guitar. With fingerings. 16 pages. Published by Editions Orphee.
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Diccionario De Guitaristas
Guitar
Classical guitar
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(A Reprint Edition (Published 1986). in Spanish with an Introduction by Mata). B...
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(A Reprint Edition (Published 1986). in Spanish with an Introduction by Mata). By Domingo Prat (1886-1944). For Guitar. Standard notation. Published by Editions Orphee
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By Ronaldo Miranda. Arranged by Fabio Zanon. For Guitar. Published by Editions O...
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Pavane Pour Une Infante Defunte
Guitar
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By Maurice Ravel. Arranged by Roland Dyens. Published by Editions Orphee
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Guitar School Bk.1 Only
Guitar
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By Emilio Pujol Vilarrubi. Arranged by Matanya Ophee. Published by Editions Orph...
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By Emilio Pujol Vilarrubi. Arranged by Matanya Ophee. Published by Editions Orphee.
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Guitar School Bk.2 Only
Guitar
Editions Orphee
By Emilio Pujol Vilarrubi. Arranged by Matanya Ophee. Published by Editions Orph...
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By Emilio Pujol Vilarrubi. Arranged by Matanya Ophee. Published by Editions Orphee.
(1)
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Strophes of Sappho
Guitar
Editions Orphee
(5 Postludes for Guitar). By Jan Freidlin (1944-). For Guitar. Standard notation...
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(5 Postludes for Guitar). By Jan Freidlin (1944-). For Guitar. Standard notation. Published by Editions Orphee
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La Tyrolienne Variee Op.1
Guitar
Classical guitar
Editions Orphee
By Francois de Fossa (1775-1849). Edited by Matanya Ophee. For Guitar. 7 pages. ...
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By Francois de Fossa (1775-1849). Edited by Matanya Ophee. For Guitar. 7 pages. Published by Editions Orphee
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On the Hills of Manchuria
Guitar
Editions Orphee
(For Guitar Solo (Versions for Both the 6- and 7-String Guitars)). By Ilya Shatr...
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(For Guitar Solo (Versions for Both the 6- and 7-String Guitars)). By Ilya Shatrov. Edited by Matanya Ophee. Arranged by Matanya Ophee. For Guitar. 4 pages. Published by Editions Orphee
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Les Adieux A L'espagne
Guitar
Classical guitar
Editions Orphee
(Quatrieme Fantaisie Op.11). By Francois de Fossa (1775-1849). Edited by Luis Br...
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(Quatrieme Fantaisie Op.11). By Francois de Fossa (1775-1849). Edited by Luis Briso De Montiano. For Guitar. 12 pages. Published by Editions Orphee
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Dionisio Aguado : Lessons, Exercises and Etudes
Guitar
Editions Orphee
(From the 1826 Escuela De Guitarra). By Dionisio Aguado. Edited by Matanya Ophee...
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(From the 1826 Escuela De Guitarra). By Dionisio Aguado. Edited by Matanya Ophee. For Guitar. Published by Editions Orphee
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Preludes & Fugues from the Well-Tempered Clavier
Guitar
Classical guitar
Editions Orphee
By Johann Sebastian Bach. Arranged by Matanya Ophee. For guitar. Published by Ed...
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By Johann Sebastian Bach. Arranged by Matanya Ophee. For guitar. Published by Editions Orphee.
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Francois de Fossa : 12 Divertissemens Op.15
Guitar
Classical guitar
Editions Orphee
(For Solo Guitar). By Francois de Fossa (1775-1849). Edited by Luis Briso De...
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(For Solo Guitar). By Francois de Fossa (1775-1849). Edited by Luis Briso De Montiano. Full score - study. Standard notation. 26 pages. Published by Editions Orphee
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Method for Guitar
Guitar
Classical guitar
Editions Orphee
By Fernando Sor (1778-1839). Edited by Matanya Ophee. For Guitar. Published by E...
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By Fernando Sor (1778-1839). Edited by Matanya Ophee. For Guitar. Published by Editions Orphee
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Deux Hommages A Marcel Dadi
Guitar
Editions Orphee
I. Notes Indiscretes/ Ii. Triste Musette. By Roland Dyens. For guitar. Duration ...
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I. Notes Indiscretes/ Ii. Triste Musette. By Roland Dyens. For guitar. Duration 10:. Published by Editions Orphee.
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Balalaika
Guitar
Classical guitar
Editions Orphee
By Stepan Rak. For guitar. Published by Editions Orphee.
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Triptico
Guitar
Classical guitar
Editions Orphee
By Roberto Sierra. For Guitar. Standard notation
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Da Capo
Guitar
Editions Orphee
24 Easy Pieces. By Nikita Koshkin. For guitar. Published by Editions Orphee.
(1)
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Theme Varie
Guitar
Editions Orphee
Suivi de Huit Valses Choisies de Mozart
. Composed by Francois de Fossa (1...
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Suivi de Huit Valses Choisies de Mozart
. Composed by Francois de Fossa (1775-1849). Edited by Matanya Ophee. Full score (study). With Standard notation. Opus 9. 16 pages. Editions Orphee #PWYS-109. Published by Editions Orphee (PR.494029400).
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Lior Yekutieli : Fairy Tales Sonatina
Guitar
Classical guitar
Editions Orphee
(For Solo Guitar). By Lior Yekutieli. For guitar. Full score - study. 7 pages. P...
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(For Solo Guitar). By Lior Yekutieli. For guitar. Full score - study. 7 pages. Published by Editions Orphee
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Francois de Fossa : Cinq Contre Danses
Guitar
Classical guitar
Editions Orphee
(Extraites Des Operas De Rossini Et Deux Valses Favorites). By Francois de Fossa...
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(Extraites Des Operas De Rossini Et Deux Valses Favorites). By Francois de Fossa (1775-1849). Edited by Jan De Kloe. For Guitar. FULL SCORE - STUDY. Op.8. 6 pages. Published by Editions Orphee
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Cinquieme Fantaisie
Guitar
Editions Orphee
(Sur L'air Des Folies D'espagne Op.12). By Francois de Fossa (1775-1849). Edited...
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(Sur L'air Des Folies D'espagne Op.12). By Francois de Fossa (1775-1849). Edited by Matanya Ophee. For Guitar. 7 pages. Published by Editions Orphee
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Ernesto Cordero: Perugia and La Catedral de Taxco
Guitar
Classical guitar
Editions Orphee
By Ernesto Cordero. For classical guitar solo. Published by Editions Orphee
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12 Preludes
Guitar
Editions Orphee
By Miguel Alcazar. For guitar. Published by Editions Orphee.
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Tango, Milonga Y Final
Guitar
Classical guitar
Editions Orphee
By Maximo Diego Pujol. For guitar. Published by Editions Orphee.
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24 Preludes for Guitar
Guitar
Editions Orphee
Book 2. By Gilbert Biberian. For Guitar. Published by Editions Orphee.
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Troika Variations
Guitar
Editions Orphee
By Sergei Orekhov. For guitar. Published by Editions Orphee.
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Influences
Guitar
Editions Orphee
By John Hall. For Guitar. Published by Editions Orphee.
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Fantasia
Guitar
Editions Orphee
By Douglas Hein. For guitar. Published by Editions Orphee.
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De Fossa Francois - Quatre Divertissements Extraits Des Oeuvres De J. Haydn - Guitare
Français
Guitar
Classical guitar
Editions Orphee
Until the beginning of the 1980s, the figure of François de Fossa was mainly kn...
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Until the beginning of the 1980s, the figure of François de Fossa was mainly known by his relationship with Dionisio Aguado, a relationship that included de Fossa?s collaboration in producing the two Parisian editions of the Aguado Escuela, and the complete translation of one of them into French. The situation changed radically in 1981 with the publication by Editions Orphée of a monograph which not only revealed very interesting and decisive factors in regard to the guitar quintets of Luigi Boccherini, but also included an important biographical study and a checklist of the known compositions of François de Fossa. Several works by de Fossa were published in later years, among which were works for two guitars, trios, quartets, an anthology of selected works for guitar solo published in 1990. De Fossa?s Quatre Divertissemens pour la Guitare seule extraits des Oeuvres de J. Haydn, his Op. 13, was part of that anthology. The current edition of it was engraved anew, and completely edited and fingered. The works of Haydn from which this music is drawn are as follows: Divertimento I ? Symphony N° 63 ?La Roxolane?, and Symphony N° 85 ?La Reine? Divertimento II ? Largo Cantabile, Rondo Allegretto. In spite of rigorous search, we have not been successful in identifying the movements of this Divertimento among the known works of Haydn. Divertimento III ? Symphony N° 85 ?La Reine?and Symphony N° 86 Divertimento IV ? Symphony N° 53 ?L?Imperiale? and Symphony N° 85 ?La Reine?. The Andante of this symphony was also used, at about the same time, by Fernando Sor, as the theme of his Thema Varié pour la Guitare ou Lyre, (WoO-1) as well as in his Op. 20. Of considerable interest here is de Fossa?s seemingly paradoxical approach to transcribing music by Haydn. In the case of Haydn string quartets, he chose the two guitars medium, providing for a more facile representation of the harmony and counterpoint. In transcribing these four divertimenti, extracted from several Haydn symphonies, he chose the solo guitar as the target instrumentation, clearly a medium that is far less appropriate for handling a complex musical texture than the guitar duo. It is perfectly understandable that he was not entirely successful in retaining the selection?s original integrity, having eliminated some parts as noted above. Nevertheless, the resulting works, those that are directly attributable to Haydn and the one that cannot, are splendid concert pieces for the solo guitar.
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Barrientos C. - Mambo For Mo - Guitare
Guitar
Classical guitar
Editions Orphee
The composer says: Several musical threads led to my writing this piece of musi...
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The composer says: Several musical threads led to my writing this piece of music to celebrate my friend Matanya Ophee?s (AKA MO) 80th birthday - a life lived with the guitar. Jelly Roll Morton once asserted: ?In fact, if you can't manage to put tinges of Spanish in your tunes, you will never be able to get the right seasoning; I call it, for jazz.? Over the last couple of years I moved back to Jelly Roll Morton?s city: New Orleans, home of my adolescence and reacquainted myself with the tinges of Spanish in its rich musical heritage. One of these pieces was the Mardi Gras Mambo, an iconic song frequently played during Mardi Gras and, in David Newman?s reworking of the lyrics, at the New Orleans Saints football games as the Super Bowl Mambo. Uncited sources on both Wikipedia and Essortment say the word Mambo means ?conversation with the gods? in Kikongo, the language spoken by Central African slaves taken to Cuba where it became the name for a musical form and a dance style that developed originally in Cuba in the able hands of Cachao?s (Bassist Orestes Lopez) tune: Danzon Mambo. This rhythmic style became famous in the 1950?s following its use in dance bands in Mexico and through New Orleans to the United States. The infectiousness of the New Orleans re-interpretation of the Mambo?s ostinato bass line and the reaction of people who are readily moved to dance when they hear it spoke to me of dance and celebration. This led me to choose some of this piece?s characteristics and title for this piece: Mambo for MO. As we have progressed on the instrument, some of us may have encountered the four-chord descending minor chord progression known as the Andalusian cadence: i - VII - VI - V in many different genres and guises. After all, it appears in Ray Charles? Hit the Road, Jack, the verse on Good Vibrations by The Beach Boys, Walk, Don?t Run by The Ventures, Runaway by Del Shannon and in that great work arranged and embraced by the Guitar: J.S. Bach?s Chaconne from the Partita in D minor for solo violin, BWV 1004. This bass line derived from a Latin American musical style as reinterpreted in New Orleans, a chord progression that evokes the Flamenco Music of Spain, and my impressions of the sinuous lines of people dancing the Second Line in the streets of New Orleans at Mardi Gras led me to this synthesis as a tribute to a man who has contributed so much in his lifelong efforts for the guitar, its history and lore on the occasion of his birthday! Happy Birthday, Matanya! Carlos Barrientos was born on June 25, 1954 in Tela, Honduras. He began his formal music studies at the National Music Conservatory in Guatemala City, Guatemala C.A. His training with Maestro Elias Barreiro, Director of Guitar Studies at Tulane University, was supplemented with Master Classes with Manuel Barrueco, Leo Brouwer, Juan Mercadal, Michael Newman, Tommy Tedesco and Carlos Barbosa-Lima. He studied composition under the tutelage of Dr. Jerry Sieg, University of New Orleans, and Dr. Roy Johnson, Florida State University. He consulted with Michael D. Martin, Ph.D., Associate Professor of Music, Albany State University, Albany, GA in the creation of a recordings library that reflects Western Art Music and American Jazz for the students at Albany State University. The New York Premiere of the First Movement of his Second Guitar Sonata was dedicated to and performed by Classical Guitarist Maestro Carlos Barbosa-Lima in 2003 at Carnegie Hall. At the request of U.S. Senator Bob Graham one of his compositions, Si Tu Te Vas (If You Go Away), was included on a recording to promote The Everglades Trail. In 2004, at the American Church in Paris, France the World Premiere of his Romance for Flute and Guitar was performed by the award-winning Serenade Duo, flutist Michelle LaPorte and guitarist Gerry Saulter. He has performed with such legendary musicians as Herbie Mann, Donald Byrd and Debbie Reynolds, led an on stage Renaissance Trio in a University of New Orleans production of Shakespeare?s Twelfth Night, and played incidental music for their production of Bertold Brecht?s The Good Woman of Sichuan. He has performed Carulli?s Guitar Concerto in A, Leonard Bernstein?s West Side Story and Marvin Hamlish?s A Chorus Line with the Northwest Florida Symphony Orchestra and Okaloosa-Walton Community College, Niceville, FL, and with the Southern Art Music Ensemble, a Jazz/Latin Fusion Sextet, including an Honors Convocation in Atlanta for Mr. Ted Turner. He has been a guest performer with the Albany State University Jazz Ensemble at The Fletcher Henderson Jr., Macon and Atlanta Jazz Festivals, and played the banjo in the Albany State University /Albany Symphony?s co-production of George Gershwin?s Opera Porgy and Bess.
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Barrientos C. - Periwinkle Memories - Guitare
Guitar
Classical guitar
Editions Orphee
The composer says: For years, my fellow guitarists have been asking me to compo...
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The composer says: For years, my fellow guitarists have been asking me to compose a solo classical guitar piece that reflects that most American of musical styles?the blues. Their prodding was the motivation for Periwinkle Memories; the inspiration for the piece, however, really came from a maestro of extraordinary skill, and a teacher of even more extraordinary patience, Elias Barreiro, my guitar teacher at the University of New Orleans. I have always tried to emulate in my performances the beauty of his interpretations, and to fuse in my compositions the power and emotion of the blues. The name, Periwinkle Memories was a serendipity. I was struck by the light purplish-blue hue of the periwinkle, and soon learned the history of the funnel-shaped flower (Vinca minor.) Though it now grows wild in parts of the United States it is native to Australia, some consider it an invasive weed, most admire its extraordinary beauty. Common herbicides won?t kill it. The periwinkle is too vigorous and hardy for that. And now it is not merely a begrudged part of the American landscape, it is a vibrant part of the American landscape, elegant, stubborn, and nearly native. Like the blues. And like that young recalcitrant student Maestro Barreiro worked so hard to mold so many years ago. Ogden Nash said, ?One man?s remorse is another man?s reminiscence.? Periwinkle Memories is a celebration of Maestro Barreiro, and of both facets of that adage in me. Carlos Barrientos was born on June 25, 1954 in Tela, Honduras. He began his formal music studies at the National Music Conservatory in Guatemala City, Guatemala C.A. His training with Maestro Elias Barreiro, Director of Guitar Studies at Tulane University, was supplemented with Master Classes with Manuel Barrueco, Leo Brouwer, Juan Mercadal, Michael Newman, Tommy Tedesco and Carlos Barbosa-Lima. He studied composition under the tutelage of Dr. Jerry Sieg, University of New Orleans, and Dr. Roy Johnson, Florida State University. He consulted with Michael D. Martin, Ph.D., Associate Professor of Music, Albany State University, Albany, GA in the creation of a recordings library that reflects Western Art Music and American Jazz for the students at Albany State University. The New York Premiere of the First Movement of his Second Guitar Sonata was dedicated to and performed by Classical Guitarist Maestro Carlos Barbosa-Lima in 2003 at Carnegie Hall. At the request of U.S. Senator Bob Graham one of his compositions, Si Tu Te Vas (If You Go Away), was included on a recording to promote The Everglades Trail. In 2004, at the American Church in Paris, France the World Premiere of his Romance for Flute and Guitar was performed by the award-winning Serenade Duo, flutist Michelle LaPorte and guitarist Gerry Saulter. He has performed with such legendary musicians as Herbie Mann, Donald Byrd and Debbie Reynolds, led an on stage Renaissance Trio in a University of New Orleans production of Shakespeare?s Twelfth Night, and played incidental music for their production of Bertold Brecht?s The Good Woman of Sichuan. He has performed Carulli?s Guitar Concerto in A, Leonard Bernstein?s West Side Story and Marvin Hamlish?s A Chorus Line with the Northwest Florida Symphony Orchestra and Okaloosa-Walton Community College, Niceville, FL, and with the Southern Art Music Ensemble, a Jazz/Latin Fusion Sextet, including an Honors Convocation in Atlanta for Mr. Ted Turner. He has been a guest performer with the Albany State University Jazz Ensemble at The Fletcher Henderson Jr., Macon and Atlanta Jazz Festivals, and played the banjo in the Albany State University /Albany Symphony?s co-production of George Gershwin?s Opera Porgy and Bes
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