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11 sheet music found Rameau: Les Boréades: "The Arts and the Hours" for Piano (as played by Víkingur Ólafsson) - D MAJOR VERSION
Rameau: Les Boréades: "The Arts and the Hours" for Piano (as played by Víkingur Ólafsson) - D MAJOR VERSION # Piano solo # INTERMEDIATE # Classical # Jean-Philippe
Rameau # Rameau: Les Boréades: "The Ar # Flavio Regis Cunha # SheetMusicPlus
Piano Solo - Intermediate -
Digital Download
Composed by Jean-Philippe
Rameau (1683-1764). Arranged
by Trancribed by Flavio
Regis Cunha. Baroque Period,
Ea...(+)
Piano Solo - Intermediate -
Digital Download
Composed by Jean-Philippe
Rameau (1683-1764). Arranged
by Trancribed by Flavio
Regis Cunha. Baroque Period,
Early Music, Wedding,
Graduation, Recital. Score.
12 pages. Published by
Flavio Regis Cunha Les Boréades is a tragédie lyrique mise en musique, or a lyric tragedy put into music, a type of opera, in five acts by Jean-Philippe Rameau (1683-1764). It is the last of his five such works. The libretto, attributed to Louis de Cahusac (1706?1759), is loosely based on the Greek legend of Abaris the Hyperborean and includes Masonic elements; the Boréades are the descendants of Boréas.
'The Arts and The Hours' interlude from Rameau?s final opera, ?Les Boréades?, written in 1763 when Rameau was 80. Ólafsson transcribed it for the modern piano because its colourful resonance allows for new and interesting textural possibilities in a piece that seems so ahead of its time: its rich harmonies of suspended 9ths and 11ths one could almost imagine Mahler writing in the late 19th century. In the original opera, based on a Greek legend, the interlude bears a somewhat lengthy title: ?The Arrival of the Muses, Zephyrs, Seasons, Hours and the Arts.? As all these mythical beings summoned to the stage have something to do with the arts and with time?s passing, Ólafsson allowed himself to call my transcription simply ?The Arts and the Hours?, with a nod to the Greek aphorism best known in its Latin version as ?Ars longa, vita brevis?. Almost three centuries after his death, the legacy of his art is still growing, with works still being discovered, premiered and brought back from obscurity. Rameau: Les Boréades: "The Arts and the Hours" for Piano (as played by Víkingur Ólafsson) Db MAJOR R*E*CORD VERSION
Rameau: Les Boréades: "The Arts and the Hours" for Piano (as played by Víkingur Ólafsson) Db MAJOR R*E*CORD VERSION # Piano solo # INTERMEDIATE # Classical # Jean-Philippe
Rameau # Rameau: Les Boréades: "The Ar # Flavio
Regis Cunha # SheetMusicPlus
Piano Solo - Intermediate -
Digital Download
Composed by Jean-Philippe
Rameau (1683-1764). Arranged
by Transcribed by Flavio
Regis Cunha. Baroque Perio...(+)
Piano Solo - Intermediate -
Digital Download
Composed by Jean-Philippe
Rameau (1683-1764). Arranged
by Transcribed by Flavio
Regis Cunha. Baroque Period,
Early Music, Funeral,
Graduation, Recital. Score.
12 pages. Published by Flavio
Regis Cunha Les Boréades is a tragédie lyrique mise en musique, or a lyric tragedy put into music, a type of opera, in five acts by Jean-Philippe Rameau (1683-1764). It is the last of his five such works. The libretto, attributed to Louis de Cahusac (1706–1759), is loosely based on the Greek legend of Abaris the Hyperborean and includes Masonic elements; the Boréades are the descendants of Boréas.
'The Arts and The Hours' interlude from Rameau’s final opera, ‘Les Boréades’, written in 1763 when Rameau was 80. Ólafsson transcribed it for the modern piano because its colourful resonance allows for new and interesting textural possibilities in a piece that seems so ahead of its time: its rich harmonies of suspended 9ths and 11ths one could almost imagine Mahler writing in the late 19th century. In the original opera, based on a Greek legend, the interlude bears a somewhat lengthy title: “The Arrival of the Muses, Zephyrs, Seasons, Hours and the Arts.” As all these mythical beings summoned to the stage have something to do with the arts and with time’s passing, Ólafsson allowed himself to call my transcription simply ‘The Arts and the Hours’, with a nod to the Greek aphorism best known in its Latin version as “Ars longa, vita brevis”. Almost three centuries after his death, the legacy of his art is still growing, with works still being discovered, premiered and brought back from obscurity.
https://youtu.be/qTwqBVt2Clw Rameau: Les Boréades: "The Arts and the Hours" for Piano (as played by Víkingur Ólafsson) C# MAJOR VERSION
Rameau: Les Boréades: "The Arts and the Hours" for Piano (as played by Víkingur Ólafsson) C# MAJOR VERSION # Piano solo # INTERMEDIATE # Classical # Jean-Philippe
Rameau # Rameau: Les Boréades: "The Ar # Flavio Regis Cunha # SheetMusicPlus
Piano Solo - Intermediate -
Digital Download
Composed by Jean-Philippe
Rameau (1683-1764). Arranged
by Transcribed and arranged
by Flavio Regis Cunha. ...(+)
Piano Solo - Intermediate -
Digital Download
Composed by Jean-Philippe
Rameau (1683-1764). Arranged
by Transcribed and arranged
by Flavio Regis Cunha.
Baroque Period, Renaissance,
Wedding, Graduation, Recital.
Score. 12 pages. Published by
Flavio Regis Cunha Les Boréades is a tragédie lyrique mise en musique, or a lyric tragedy put into music, a type of opera, in five acts by Jean-Philippe Rameau (1683-1764). It is the last of his five such works. The libretto, attributed to Louis de Cahusac (1706–1759), is loosely based on the Greek legend of Abaris the Hyperborean and includes Masonic elements; the Boréades are the descendants of Boréas.
'The Arts and The Hours' interlude from Rameau’s final opera, ‘Les Boréades’, written in 1763 when Rameau was 80. Ólafsson transcribed it for the modern piano because its colourful resonance allows for new and interesting textural possibilities in a piece that seems so ahead of its time: its rich harmonies of suspended 9ths and 11ths one could almost imagine Mahler writing in the late 19th century. In the original opera, based on a Greek legend, the interlude bears a somewhat lengthy title: “The Arrival of the Muses, Zephyrs, Seasons, Hours and the Arts.” As all these mythical beings summoned to the stage have something to do with the arts and with time’s passing, Ólafsson allowed himself to call my transcription simply ‘The Arts and the Hours’, with a nod to the Greek aphorism best known in its Latin version as “Ars longa, vita brevis”. Almost three centuries after his death, the legacy of his art is still growing, with works still being discovered, premiered and brought back from obscurity. Rameau: Les Boréades: "The Arts and the Hours" for Piano (as played by Víkingur Ólafsson) C MAJOR VERSION
Rameau: Les Boréades: "The Arts and the Hours" for Piano (as played by Víkingur Ólafsson) C MAJOR VERSION # Piano solo # INTERMEDIATE # Classical # Jean-Philippe
Rameau # Rameau: Les Boréades: "The Ar # Flavio Regis Cunha # SheetMusicPlus
Piano Solo - Intermediate -
Digital Download
Composed by Jean-Philippe
Rameau (1683-1764). Arranged
by Transcribed and arranged
by Flavio Regis Cunha. ...(+)
Piano Solo - Intermediate -
Digital Download
Composed by Jean-Philippe
Rameau (1683-1764). Arranged
by Transcribed and arranged
by Flavio Regis Cunha.
Baroque Period, Early Music,
Funeral, Graduation, Recital.
Score. 9 pages. Published by
Flavio Regis Cunha Les Boréades is a tragédie lyrique mise en musique, or a lyric tragedy put into music, a type of opera, in five acts by Jean-Philippe Rameau (1683-1764). It is the last of his five such works. The libretto, attributed to Louis de Cahusac (1706–1759), is loosely based on the Greek legend of Abaris the Hyperborean and includes Masonic elements; the Boréades are the descendants of Boréas.
'The Arts and The Hours' interlude from Rameau’s final opera, ‘Les Boréades’, written in 1763 when Rameau was 80. Ólafsson transcribed it for the modern piano because its colourful resonance allows for new and interesting textural possibilities in a piece that seems so ahead of its time: its rich harmonies of suspended 9ths and 11ths one could almost imagine Mahler writing in the late 19th century. In the original opera, based on a Greek legend, the interlude bears a somewhat lengthy title: “The Arrival of the Muses, Zephyrs, Seasons, Hours and the Arts.” As all these mythical beings summoned to the stage have something to do with the arts and with time’s passing, Ólafsson allowed himself to call my transcription simply ‘The Arts and the Hours’, with a nod to the Greek aphorism best known in its Latin version as “Ars longa, vita brevis”. Almost three centuries after his death, the legacy of his art is still growing, with works still being discovered, premiered and brought back from obscurity. Piano Sonata Nº 1
Piano Sonata Nº 1 # Piano solo # ADVANCED # Paul Dukas # Zellev # Piano Sonata Nº 1 # Zellev Music # SheetMusicPlus
Piano Solo - Level 5 - Digital Download SKU: A0.1315857 Composed by Paul Dukas. Arranged by Zellev. 20th Century,Classical,Contemporary,Halloween,Patriot...(+)
Piano Solo - Level 5 - Digital Download SKU: A0.1315857 Composed by Paul Dukas. Arranged by Zellev. 20th Century,Classical,Contemporary,Halloween,Patriotic. Score. 24 pages. Zellev Music #904634. Published by Zellev Music (A0.1315857). Composer bio:Paul Abraham Dukas ( 1 October 1865 – 17 May 1935) was a French composer, critic, scholar and teacher. A studious man of retiring personality, he was intensely self-critical, having abandoned and destroyed many of his compositions. His best-known work is the orchestral piece The Sorcerer's Apprentice (L'apprenti sorcier), the fame of which has eclipsed that of his other surviving works. Among these are the opera Ariane et Barbe-bleue, his Symphony in C and Piano Sonata in E-flat minor, the Variations, Interlude and Finale on a Theme by Rameau (for solo piano), and a ballet, La Péri.In the first decade of the 20th century, following the immense success of his orchestral work The Sorcerer's Apprentice, Dukas completed two complex and technically demanding large-scale works for solo piano: the Piano Sonata, dedicated to Saint-Saëns, and Variations, Interlude and Finale on a Theme by Rameau (1902). In Dukas's piano works critics have discerned the influence of Beethoven, or, Beethoven as he was interpreted to the French mind by César Franck. Both works were premiered by Édouard Risler, a celebrated pianist of the era.In an analysis of the work in The Musical Quarterly in 1928, the critic Irving Schwerké wrote:The Sonata is classical in structure and in four movements, connected more by mutual formal perfection and nobility of thought than by cyclic procedures. The first movement … is built on two sharply contrasted themes, developed according to the sonata-form.[quoted from Bartje Bartmans from YT @bartjebartmans].