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You've selected:
Overture from the Opera
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Overture for Strings No. 3 - Score Only
Overture for Strings No. 3 - Score Only
#
String Orchestra
#
INTERMEDIATE/ADVANCED
#
Joseph Bologne, Chevalier de S
#
Robert Debbaut
#
Overture for Strings No. 3 - S
#
ROBERT DEBBAUT
#
SheetMusicPlus
String Orchestra - Level 4 - Digital Download SKU: A0.1183534 Composed by Joseph Bologne, Chevalier de St. Georges. Arranged by Robert Debbaut. Classical...
(+)
String Orchestra - Level 4 - Digital Download SKU: A0.1183534 Composed by Joseph Bologne, Chevalier de St. Georges. Arranged by Robert Debbaut. Classical,Contest,Festival,Historic,Multicultural,World. 28 pages. ROBERT DEBBAUT #783207. Published by ROBERT DEBBAUT (A0.1183534). How is it that one can be born a slave in French colonial Guadeloupe and rise to be among Paris’ musical giants, to become a colonel in the French Army as well as the frequent dinner guest of princes and potentates? The story of Joseph Bologne, Chevalier de Saint-Georges, is surely an interesting one, even the stuff of which movies are made.Joseph Bologne’s father, Georges Bologne de Saint-Georges was a French planter. Saint-Georges was the name of his plantation. He impregnated Anne, the Senegalese slave of his wife, who bore him a son in 1745. Uncharacteristic of many of these sort of relationships he acknowledged the child was his and gave him his family name. When he was seven Bologne’s father took him to Paris for his education, enrolling him in a boarding school. Two years later he and the child’s mother returned to France and set up housekeeping as a family in Paris’ Saint-Germain-des-Prés district.At age thirteen Joseph’s father enrolled him in the Royal Technical Academy of Fencing and Swordsmanship. He quickly became the finest swordsman in the academy, perhaps in all of Paris. Upon graduation he was made an Officer of the King’s Bodyguard and a chevalier (an honorary knighthood). He went on to serve tours of duty in the French Army during the Seven Years War (1756-1763) and later after the French Revolution, where he was Colonel and commander of an all-Black regiment of the Revolutionary Army. All this in spite of the fact that French law forbade him, a man of African heritage, to become a citizen, to retain his father’s royal title of “Gentleman of the King’s Chamber,†or to marry outside his class.There is limited information about Bologne’s musical training, but he was obviously so well-skilled that Italian violinist-composer Antonio Lolli (1725-1802) wrote two violin concertos for him and French composer François-Joseph Gossec (1734-1829) dedicated his set of String Trios, Op. 9 to Bologne. Lolli may have worked with him on violin technique and Gossec composition, but this may be apocryphal. Bologne played in Gossec’s orchestra, and was later both leader and conductor of the group.As a composer Joseph Bologne was quite prolific, composing six operas, fourteen violin concertos, four symphonies concertantes, and numerous chamber works and songs. His Six String Quartets, Op. 1, Nos. 1-6 date from 1770-1771 and were published by the Paris publishing house of Jean-Georges Sieber (1738-1822) in 1773 (There are a total of 18 quartets: Six Quartets “au goût du jour†[up-to-date] from 1779 and the Opus 14 set of six which date from 1785). The Opus 1 quartets are dedicated to Anne Louis Alexandre de Montmorency (1724-1812), 7th Prince of Robeck (Robecq) and Grand Duke of Spain.The Opus 1 quartets all display a similarity to the Italian opera overtures from earlier in the Eighteenth Century (often called “sinfoniaâ€) in that they have an overall “A-B-A†form with the ‘A’ sections being robust allegros and all ‘B’ sections marked “rondo.†As such, in arranging them for string orchestra it seemed quite natural to rename them “overtures.†Certain liberties were taken by the arranger in order to maintain the integrity of the classic Rondo formula. All six have been arranged in this manner for string orchestra. They vary in length from twelve to almost twenty minutes. If you wish to obtain parts, write to debbaut@gmail.com and pay $42 via venmo or $40 via personal check and they will be sent to you in pdf format.
$9.99 ≈
9.27€
Overture for Strings No. 5 - Score Only
Overture for Strings No. 5 - Score Only
#
String Orchestra
#
INTERMEDIATE/ADVANCED
#
Joseph Bologne, Chevalier de S
#
Robert Debbaut
#
Overture for Strings No. 5 - S
#
ROBERT DEBBAUT
#
SheetMusicPlus
String Orchestra - Level 4 - Digital Download SKU: A0.1183536 Composed by Joseph Bologne, Chevalier de St. Georges. Arranged by Robert Debbaut. Classical...
(+)
String Orchestra - Level 4 - Digital Download SKU: A0.1183536 Composed by Joseph Bologne, Chevalier de St. Georges. Arranged by Robert Debbaut. Classical,Contest,Festival,Historic,Multicultural,World. 39 pages. ROBERT DEBBAUT #783209. Published by ROBERT DEBBAUT (A0.1183536). How is it that one can be born a slave in French colonial Guadeloupe and rise to be among Paris’ musical giants, to become a colonel in the French Army as well as the frequent dinner guest of princes and potentates? The story of Joseph Bologne, Chevalier de Saint-Georges, is surely an interesting one, even the stuff of which movies are made.Joseph Bologne’s father, Georges Bologne de Saint-Georges was a French planter. Saint-Georges was the name of his plantation. He impregnated Anne, the Senegalese slave of his wife, who bore him a son in 1745. Uncharacteristic of many of these sort of relationships he acknowledged the child was his and gave him his family name. When he was seven Bologne’s father took him to Paris for his education, enrolling him in a boarding school. Two years later he and the child’s mother returned to France and set up housekeeping as a family in Paris’ Saint-Germain-des-Prés district.At age thirteen Joseph’s father enrolled him in the Royal Technical Academy of Fencing and Swordsmanship. He quickly became the finest swordsman in the academy, perhaps in all of Paris. Upon graduation he was made an Officer of the King’s Bodyguard and a chevalier (an honorary knighthood). He went on to serve tours of duty in the French Army during the Seven Years War (1756-1763) and later after the French Revolution, where he was Colonel and commander of an all-Black regiment of the Revolutionary Army. All this in spite of the fact that French law forbade him, a man of African heritage, to become a citizen, to retain his father’s royal title of “Gentleman of the King’s Chamber,†or to marry outside his class.There is limited information about Bologne’s musical training, but he was obviously so well-skilled that Italian violinist-composer Antonio Lolli (1725-1802) wrote two violin concertos for him and French composer François-Joseph Gossec (1734-1829) dedicated his set of String Trios, Op. 9 to Bologne. Lolli may have worked with him on violin technique and Gossec composition, but this may be apocryphal. Bologne played in Gossec’s orchestra, and was later both leader and conductor of the group.As a composer Joseph Bologne was quite prolific, composing six operas, fourteen violin concertos, four symphonies concertantes, and numerous chamber works and songs. His Six String Quartets, Op. 1, Nos. 1-6 date from 1770-1771 and were published by the Paris publishing house of Jean-Georges Sieber (1738-1822) in 1773 (There are a total of 18 quartets: Six Quartets “au goût du jour†[up-to-date] from 1779 and the Opus 14 set of six which date from 1785). The Opus 1 quartets are dedicated to Anne Louis Alexandre de Montmorency (1724-1812), 7th Prince of Robeck (Robecq) and Grand Duke of Spain.The Opus 1 quartets all display a similarity to the Italian opera overtures from earlier in the Eighteenth Century (often called “sinfoniaâ€) in that they have an overall “A-B-A†form with the ‘A’ sections being robust allegros and all ‘B’ sections marked “rondo.†As such, in arranging them for string orchestra it seemed quite natural to rename them “overtures.†Certain liberties were taken by the arranger in order to maintain the integrity of the classic Rondo formula. All six have been arranged in this manner for string orchestra. They vary in length from twelve to almost twenty minutes. If you wish to obtain parts, write to debbaut@gmail.com and pay $42 via venmo or $40 via personal check and they will be sent to you in pdf format.
$9.99 ≈
9.27€
Overture for Strings No. 6 - Score Only
Overture for Strings No. 6 - Score Only
#
String Orchestra
#
INTERMEDIATE/ADVANCED
#
Joseph Bologne, Chevalier de S
#
Robert Debbaut
#
Overture for Strings No. 6 - S
#
ROBERT DEBBAUT
#
SheetMusicPlus
String Orchestra - Level 4 - Digital Download SKU: A0.1183537 Composed by Joseph Bologne, Chevalier de St. Georges. Arranged by Robert Debbaut. Classical...
(+)
String Orchestra - Level 4 - Digital Download SKU: A0.1183537 Composed by Joseph Bologne, Chevalier de St. Georges. Arranged by Robert Debbaut. Classical,Contest,Festival,Historic,Multicultural,World. 57 pages. ROBERT DEBBAUT #783210. Published by ROBERT DEBBAUT (A0.1183537). How is it that one can be born a slave in French colonial Guadeloupe and rise to be among Paris’ musical giants, to become a colonel in the French Army as well as the frequent dinner guest of princes and potentates? The story of Joseph Bologne, Chevalier de Saint-Georges, is surely an interesting one, even the stuff of which movies are made.Joseph Bologne’s father, Georges Bologne de Saint-Georges was a French planter. Saint-Georges was the name of his plantation. He impregnated Anne, the Senegalese slave of his wife, who bore him a son in 1745. Uncharacteristic of many of these sort of relationships he acknowledged the child was his and gave him his family name. When he was seven Bologne’s father took him to Paris for his education, enrolling him in a boarding school. Two years later he and the child’s mother returned to France and set up housekeeping as a family in Paris’ Saint-Germain-des-Prés district.At age thirteen Joseph’s father enrolled him in the Royal Technical Academy of Fencing and Swordsmanship. He quickly became the finest swordsman in the academy, perhaps in all of Paris. Upon graduation he was made an Officer of the King’s Bodyguard and a chevalier (an honorary knighthood). He went on to serve tours of duty in the French Army during the Seven Years War (1756-1763) and later after the French Revolution, where he was Colonel and commander of an all-Black regiment of the Revolutionary Army. All this in spite of the fact that French law forbade him, a man of African heritage, to become a citizen, to retain his father’s royal title of “Gentleman of the King’s Chamber,†or to marry outside his class.There is limited information about Bologne’s musical training, but he was obviously so well-skilled that Italian violinist-composer Antonio Lolli (1725-1802) wrote two violin concertos for him and French composer François-Joseph Gossec (1734-1829) dedicated his set of String Trios, Op. 9 to Bologne. Lolli may have worked with him on violin technique and Gossec composition, but this may be apocryphal. Bologne played in Gossec’s orchestra, and was later both leader and conductor of the group.As a composer Joseph Bologne was quite prolific, composing six operas, fourteen violin concertos, four symphonies concertantes, and numerous chamber works and songs. His Six String Quartets, Op. 1, Nos. 1-6 date from 1770-1771 and were published by the Paris publishing house of Jean-Georges Sieber (1738-1822) in 1773 (There are a total of 18 quartets: Six Quartets “au goût du jour†[up-to-date] from 1779 and the Opus 14 set of six which date from 1785). The Opus 1 quartets are dedicated to Anne Louis Alexandre de Montmorency (1724-1812), 7th Prince of Robeck (Robecq) and Grand Duke of Spain.The Opus 1 quartets all display a similarity to the Italian opera overtures from earlier in the Eighteenth Century (often called “sinfoniaâ€) in that they have an overall “A-B-A†form with the ‘A’ sections being robust allegros and all ‘B’ sections marked “rondo.†As such, in arranging them for string orchestra it seemed quite natural to rename them “overtures.†Certain liberties were taken by the arranger in order to maintain the integrity of the classic Rondo formula. All six have been arranged in this manner for string orchestra. They vary in length from twelve to almost twenty minutes. If you wish to obtain parts, write to debbaut@gmail.com and pay $42 via venmo or $40 via personal check and they will be sent to you in pdf format.
$9.99 ≈
9.27€
Overture for Strings No. 4 - Score Only
Overture for Strings No. 4 - Score Only
#
String Orchestra
#
INTERMEDIATE/ADVANCED
#
Joseph Bologne, Chevalier de S
#
Robert Debbaut
#
Overture for Strings No. 4 - S
#
ROBERT DEBBAUT
#
SheetMusicPlus
String Orchestra - Level 4 - Digital Download SKU: A0.1183535 Composed by Joseph Bologne, Chevalier de St. Georges. Arranged by Robert Debbaut. Classical...
(+)
String Orchestra - Level 4 - Digital Download SKU: A0.1183535 Composed by Joseph Bologne, Chevalier de St. Georges. Arranged by Robert Debbaut. Classical,Contest,Festival,Historic,Multicultural,World. 34 pages. ROBERT DEBBAUT #783208. Published by ROBERT DEBBAUT (A0.1183535). How is it that one can be born a slave in French colonial Guadeloupe and rise to be among Paris’ musical giants, to become a colonel in the French Army as well as the frequent dinner guest of princes and potentates? The story of Joseph Bologne, Chevalier de Saint-Georges, is surely an interesting one, even the stuff of which movies are made.Joseph Bologne’s father, Georges Bologne de Saint-Georges was a French planter. Saint-Georges was the name of his plantation. He impregnated Anne, the Senegalese slave of his wife, who bore him a son in 1745. Uncharacteristic of many of these sort of relationships he acknowledged the child was his and gave him his family name. When he was seven Bologne’s father took him to Paris for his education, enrolling him in a boarding school. Two years later he and the child’s mother returned to France and set up housekeeping as a family in Paris’ Saint-Germain-des-Prés district.At age thirteen Joseph’s father enrolled him in the Royal Technical Academy of Fencing and Swordsmanship. He quickly became the finest swordsman in the academy, perhaps in all of Paris. Upon graduation he was made an Officer of the King’s Bodyguard and a chevalier (an honorary knighthood). He went on to serve tours of duty in the French Army during the Seven Years War (1756-1763) and later after the French Revolution, where he was Colonel and commander of an all-Black regiment of the Revolutionary Army. All this in spite of the fact that French law forbade him, a man of African heritage, to become a citizen, to retain his father’s royal title of “Gentleman of the King’s Chamber,†or to marry outside his class.There is limited information about Bologne’s musical training, but he was obviously so well-skilled that Italian violinist-composer Antonio Lolli (1725-1802) wrote two violin concertos for him and French composer François-Joseph Gossec (1734-1829) dedicated his set of String Trios, Op. 9 to Bologne. Lolli may have worked with him on violin technique and Gossec composition, but this may be apocryphal. Bologne played in Gossec’s orchestra, and was later both leader and conductor of the group.As a composer Joseph Bologne was quite prolific, composing six operas, fourteen violin concertos, four symphonies concertantes, and numerous chamber works and songs. His Six String Quartets, Op. 1, Nos. 1-6 date from 1770-1771 and were published by the Paris publishing house of Jean-Georges Sieber (1738-1822) in 1773 (There are a total of 18 quartets: Six Quartets “au goût du jour†[up-to-date] from 1779 and the Opus 14 set of six which date from 1785). The Opus 1 quartets are dedicated to Anne Louis Alexandre de Montmorency (1724-1812), 7th Prince of Robeck (Robecq) and Grand Duke of Spain.The Opus 1 quartets all display a similarity to the Italian opera overtures from earlier in the Eighteenth Century (often called “sinfoniaâ€) in that they have an overall “A-B-A†form with the ‘A’ sections being robust allegros and all ‘B’ sections marked “rondo.†As such, in arranging them for string orchestra it seemed quite natural to rename them “overtures.†Certain liberties were taken by the arranger in order to maintain the integrity of the classic Rondo formula. All six have been arranged in this manner for string orchestra. They vary in length from twelve to almost twenty minutes. If you wish to obtain parts, write to debbaut@gmail.com and pay $42 via venmo or $40 via personal check and they will be sent to you in pdf format.
$9.99 ≈
9.27€
Overture for Strings No. 2 - Score Only
Overture for Strings No. 2 - Score Only
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String Orchestra
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INTERMEDIATE/ADVANCED
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Joseph Bologne, Chevalier de S
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Robert Debbaut
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Overture for Strings No. 2 - S
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ROBERT DEBBAUT
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SheetMusicPlus
String Orchestra - Level 4 - Digital Download SKU: A0.1183533 Composed by Joseph Bologne, Chevalier de St. Georges. Arranged by Robert Debbaut. Classical...
(+)
String Orchestra - Level 4 - Digital Download SKU: A0.1183533 Composed by Joseph Bologne, Chevalier de St. Georges. Arranged by Robert Debbaut. Classical,Contest,Festival,Historic,Multicultural,World. 43 pages. ROBERT DEBBAUT #783206. Published by ROBERT DEBBAUT (A0.1183533). How is it that one can be born a slave in French colonial Guadeloupe and rise to be among Paris’ musical giants, to become a colonel in the French Army as well as the frequent dinner guest of princes and potentates? The story of Joseph Bologne, Chevalier de Saint-Georges, is surely an interesting one, even the stuff of which movies are made.Joseph Bologne’s father, Georges Bologne de Saint-Georges was a French planter. Saint-Georges was the name of his plantation. He impregnated Anne, the Senegalese slave of his wife, who bore him a son in 1745. Uncharacteristic of many of these sort of relationships he acknowledged the child was his and gave him his family name. When he was seven Bologne’s father took him to Paris for his education, enrolling him in a boarding school. Two years later he and the child’s mother returned to France and set up housekeeping as a family in Paris’ Saint-Germain-des-Prés district.At age thirteen Joseph’s father enrolled him in the Royal Technical Academy of Fencing and Swordsmanship. He quickly became the finest swordsman in the academy, perhaps in all of Paris. Upon graduation he was made an Officer of the King’s Bodyguard and a chevalier (an honorary knighthood). He went on to serve tours of duty in the French Army during the Seven Years War (1756-1763) and later after the French Revolution, where he was Colonel and commander of an all-Black regiment of the Revolutionary Army. All this in spite of the fact that French law forbade him, a man of African heritage, to become a citizen, to retain his father’s royal title of “Gentleman of the King’s Chamber,†or to marry outside his class.There is limited information about Bologne’s musical training, but he was obviously so well-skilled that Italian violinist-composer Antonio Lolli (1725-1802) wrote two violin concertos for him and French composer François-Joseph Gossec (1734-1829) dedicated his set of String Trios, Op. 9 to Bologne. Lolli may have worked with him on violin technique and Gossec composition, but this may be apocryphal. Bologne played in Gossec’s orchestra, and was later both leader and conductor of the group.As a composer Joseph Bologne was quite prolific, composing six operas, fourteen violin concertos, four symphonies concertantes, and numerous chamber works and songs. His Six String Quartets, Op. 1, Nos. 1-6 date from 1770-1771 and were published by the Paris publishing house of Jean-Georges Sieber (1738-1822) in 1773 (There are a total of 18 quartets: Six Quartets “au goût du jour†[up-to-date] from 1779 and the Opus 14 set of six which date from 1785). The Opus 1 quartets are dedicated to Anne Louis Alexandre de Montmorency (1724-1812), 7th Prince of Robeck (Robecq) and Grand Duke of Spain.The Opus 1 quartets all display a similarity to the Italian opera overtures from earlier in the Eighteenth Century (often called “sinfoniaâ€) in that they have an overall “A-B-A†form with the ‘A’ sections being robust allegros and all ‘B’ sections marked “rondo.†As such, in arranging them for string orchestra it seemed quite natural to rename them “overtures.†Certain liberties were taken by the arranger in order to maintain the integrity of the classic Rondo formula. All six have been arranged in this manner for string orchestra. They vary in length from twelve to almost twenty minutes. If you wish to obtain parts, write to debbaut@gmail.com and pay $42 via venmo or $40 via personal check and they will be sent to you in pdf format.
$9.99 ≈
9.27€
Overture from Ariadne auf Naxos
Overture from Ariadne auf Naxos
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Guitar
#
INTERMEDIATE/ADVANCED
#
Classical
#
Richard Strauss
#
Rod Whittle
#
for solo classical guitar
#
Overture from Ariadne auf Naxo
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Maggie Creek Music
#
SheetMusicPlus
Solo Guitar - Level 4 - Digital Download SKU: A0.899111 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 2 pages. Mag...
(+)
Solo Guitar - Level 4 - Digital Download SKU: A0.899111 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 2 pages. Maggie Creek Music #25793. Published by Maggie Creek Music (A0.899111). 2 pages; for solo classical guitar; published by Maggie Creek MusicRichard Strauss (1864 -1949) Strauss's music amounts to a huge body of symphonic and operatic work written over 60 years. Full of vitality, endlessly melodic, brilliantly orchestrated, it begins and ends in the romantic tradition, but for the most part expresses something more modern and individualistic, not without controversy in its time. Variation of style and structure is drawn from the descriptive (literary) nature of compositions, and an extraordinary inventiveness enlivens the scenes, moods and situations. Strauss said once that he produced music the way cows give milk, and indeed his music rarely seems contrived. The opera Strauss wrote 15 operas on a variety of subjects and across the whole spectrum of drama. He acknowledged being enchanted by the soprano voice, and his writing for it highlights many of the works, including Adriane auf Naxos (composed in 1912). The opera has been described as 'sparkling', which sums it up well, and passages influenced by Bach, Mozart, Puccini, and Wagner add to the interest. The storyline is a play within a play, the second part being the mythological 'Opera' staged in the story. The three pieces transcribed* are from this Opera. The guitar arrangements All classical guitar pieces are compromises. The instrument has only six strings, the left hand four fingers able to be used, and with the right hand its rare to use more than three fingers and the thumb. So, despite the amount of noise possible, it's inevitable that passages occur where either harmony, bass or fragments of counterpoint that would be beneficial are left out. In particular, the higher up the neck music is played the simpler it tends to be, if harder to play, and unless the low bass is an open string there wont be any. So I think the main part of attaining a fair transcription (better to be called an arrangement if the original musical structure is not strictly followed, as in this case) is determining how a good compromise can be reached. Melody, counterpoint, bass and main harmonies demand inclusion, and register is important. One may generally assume the original score can't be improved on. However, if the music may sound well on guitar, and the above elements can be incorporated without the playing becoming very difficult, something enjoyable to play and worthwhile listening to should be able to be achieved. Overture; 'A golden time …'Here the Mozart influence, better, inspiration, is wonderfully evident. A gentle waltz time (only the first section of the overture is transcribed) carries the colourful harmonies, strong melodic threads and connecting flourishes that stamp both pieces. The aria is alluded to in the Overture several times, which as you would expect, is intricately woven with the hints themes later to be established in the Opera. It has a kind of 'jazzy' freedom, and it's always miraculous to me that composition so involved can retain its musical line, here done in Strauss's inimitable way. The aria, sung not far into the Opera, has the perfect inevitability of Mozart, but again it is Strauss. As explained, keys have been changed to suit the guitar. Chorus and Aria This selection from the finale has features well worth trying to translate. The device of having a strong chorus, in the style of a Bach chorale, stated and then counterpointed by a solo voice in a restatement, is potent, and that in the opera the chorus (of the three nymphs) isn't immediately followed by the accompanying aria (of Ariadne) means the latter comes as a moment of surprising beauty. Neither parts are complicated, and lovely arpeggios, a feature Strauss's music, often impart the assured progressions. A problem was to capture the distinct register of the sopr.
$7.00 ≈
6.50€
Excerpt from the Last Part of Ariadne Auf Naxos
Excerpt from the Last Part of Ariadne Auf Naxos
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Guitar
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INTERMEDIATE
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Classical
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Richard Strauss
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Rod Whittle
#
Excerpt from the Last Part of
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Maggie Creek Music
#
SheetMusicPlus
Solo Guitar - Level 3 - Digital Download SKU: A0.899127 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 4 pages. Mag...
(+)
Solo Guitar - Level 3 - Digital Download SKU: A0.899127 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 4 pages. Maggie Creek Music #3037161. Published by Maggie Creek Music (A0.899127). Transcription for solo classical guitar. 4 pages. Richard Strauss (1864 -1949) Strauss's music amounts to a huge body of symphonic and operatic work written over 60 years. Full of vitality, endlessly melodic, brilliantly orchestrated, it begins and ends in the romantic tradition, but for the most part expresses something more modern and individualistic, not without controversy in its time. Variation of style and structure is drawn from the descriptive (literary) nature of compositions, and an extraordinary inventiveness enlivens the scenes, moods and situations. Strauss said once that he produced music the way cows give milk, and indeed his music rarely seems contrived. The opera Strauss wrote 15 operas on a variety of subjects and across the whole spectrum of drama. He acknowledged being enchanted by the soprano voice, and his writing for it highlights many of the works, including Adriane auf Naxos (composed in 1912). The opera has been described as 'sparkling', which sums it up well, and passages influenced by Bach, Mozart, Puccini, and Wagner add to the interest. The storyline is a play within a play, the second part being the mythological 'Opera' staged in the story. The three pieces transcribed* are from this Opera. The guitar arrangements All classical guitar pieces are compromises. The instrument has only six strings, the left hand four fingers able to be used, and with the right hand its rare to use more than three fingers and the thumb. So, despite the amount of noise possible, it's inevitable that passages occur where either harmony, bass or fragments of counterpoint that would be beneficial are left out. In particular, the higher up the neck music is played the simpler it tends to be, if harder to play, and unless the low bass is an open string there wont be any. So I think the main part of attaining a fair transcription (better to be called an arrangement if the original musical structure is not strictly followed, as in this case) is determining how a good compromise can be reached. Melody, counterpoint, bass and main harmonies demand inclusion, and register is important. One may generally assume the original score can't be improved on. However, if the music may sound well on guitar, and the above elements can be incorporated without the playing becoming very difficult, something enjoyable to play and worthwhile listening to should be able to be achieved. Overture; 'A golden time …' Here the Mozart influence, better, inspiration, is wonderfully evident. A gentle waltz time (only the first section of the overture is transcribed) carries the colourful harmonies, strong melodic threads and connecting flourishes that stamp both pieces. The aria is alluded to in the Overture several times, which as you would expect, is intricately woven with the hints themes later to be established in the Opera. It has a kind of 'jazzy' freedom, and it's always miraculous to me that composition so involved can retain its musical line, here done in Strauss's inimitable way. The aria, sung not far into the Opera, has the perfect inevitability of Mozart, but again it is Strauss. As explained, keys have been changed to suit the guitar. Chorus and Aria This selection from the finale has features well worth trying to translate. The device of having a strong chorus, in the style of a Bach chorale, stated and then counterpointed by a solo voice in a restatement, is potent, and that in the opera the chorus (of the three nymphs) isn't immediately followed by the accompanying aria (of Ariadne) means the latter comes as a moment of surprising beauty. Neither parts are complicated, and lovely arpeggios, a feature Strauss's music, often impart the assured progressions. A problem was to capture the distinct register of the soprano voices, som.
$7.00 ≈
6.50€
'A golden time ...' from Ariadne auf Naxos
'A golden time ...' from Ariadne auf Naxos
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Guitar
#
INTERMEDIATE/ADVANCED
#
Classical
#
Richard Strauss
#
Rod Whittle
#
for solo classical guitar
#
'A golden time ...' from Ariad
#
Maggie Creek Music
#
SheetMusicPlus
Solo Guitar - Level 4 - Digital Download SKU: A0.899112 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 2 pages. Mag...
(+)
Solo Guitar - Level 4 - Digital Download SKU: A0.899112 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 2 pages. Maggie Creek Music #25789. Published by Maggie Creek Music (A0.899112). 2 pages; for solo classical guitar; published by Maggie Creek MusicRichard Strauss (1864 -1949) Strauss's music amounts to a huge body of symphonic and operatic work written over 60 years. Full of vitality, endlessly melodic, brilliantly orchestrated, it begins and ends in the romantic tradition, but for the most part expresses something more modern and individualistic, not without controversy in its time. Variation of style and structure is drawn from the descriptive (literary) nature of compositions, and an extraordinary inventiveness enlivens the scenes, moods and situations. Strauss said once that he produced music the way cows give milk, and indeed his music rarely seems contrived. The opera Strauss wrote 15 operas on a variety of subjects and across the whole spectrum of drama. He acknowledged being enchanted by the soprano voice, and his writing for it highlights many of the works, including Adriane auf Naxos (composed in 1912). The opera has been described as 'sparkling', which sums it up well, and passages influenced by Bach, Mozart, Puccini, and Wagner add to the interest. The storyline is a play within a play, the second part being the mythological 'Opera' staged in the story. The three pieces transcribed* are from this Opera. The guitar arrangements All classical guitar pieces are compromises. The instrument has only six strings, the left hand four fingers able to be used, and with the right hand its rare to use more than three fingers and the thumb. So, despite the amount of noise possible, it's inevitable that passages occur where either harmony, bass or fragments of counterpoint that would be beneficial are left out. In particular, the higher up the neck music is played the simpler it tends to be, if harder to play, and unless the low bass is an open string there wont be any. So I think the main part of attaining a fair transcription (better to be called an arrangement if the original musical structure is not strictly followed, as in this case) is determining how a good compromise can be reached. Melody, counterpoint, bass and main harmonies demand inclusion, and register is important. One may generally assume the original score can't be improved on. However, if the music may sound well on guitar, and the above elements can be incorporated without the playing becoming very difficult, something enjoyable to play and worthwhile listening to should be able to be achieved. Overture; 'A golden time …' Here the Mozart influence, better, inspiration, is wonderfully evident. A gentle waltz time (only the first section of the overture is transcribed) carries the colourful harmonies, strong melodic threads and connecting flourishes that stamp both pieces. The aria is alluded to in the Overture several times, which as you would expect, is intricately woven with the hints themes later to be established in the Opera. It has a kind of 'jazzy' freedom, and it's always miraculous to me that composition so involved can retain its musical line, here done in Strauss's inimitable way. The aria, sung not far into the Opera, has the perfect inevitability of Mozart, but again it is Strauss. As explained, keys have been changed to suit the guitar. Chorus and Aria This selection from the finale has features well worth trying to translate. The device of having a strong chorus, in the style of a Bach chorale, stated and then counterpointed by a solo voice in a restatement, is potent, and that in the opera the chorus (of the three nymphs) isn't immediately followed by the accompanying aria (of Ariadne) means the latter comes as a moment of surprising beauty. Neither parts are complicated, and lovely arpeggios, a feature Strauss's music, often impart the assured progressions. A problem was to capture the distinct register of the so.
$7.00 ≈
6.50€
Chorus and Aria from Ariadne auf Naxos
Chorus and Aria from Ariadne auf Naxos
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Guitar
#
INTERMEDIATE/ADVANCED
#
Classical
#
Richard Strauss
#
Rod Whittle
#
for solo classical guitar
#
Chorus and Aria from Ariadne a
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Maggie Creek Music
#
SheetMusicPlus
Solo Guitar - Level 4 - Digital Download SKU: A0.899109 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 2 pages. Mag...
(+)
Solo Guitar - Level 4 - Digital Download SKU: A0.899109 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 2 pages. Maggie Creek Music #25787. Published by Maggie Creek Music (A0.899109). 2 pages; for solo classical guitar; published by Maggie Creek MusicRichard Strauss (1864 -1949) Strauss's music amounts to a huge body of symphonic and operatic work written over 60 years. Full of vitality, endlessly melodic, brilliantly orchestrated, it begins and ends in the romantic tradition, but for the most part expresses something more modern and individualistic, not without controversy in its time. Variation of style and structure is drawn from the descriptive (literary) nature of compositions, and an extraordinary inventiveness enlivens the scenes, moods and situations. Strauss said once that he produced music the way cows give milk, and indeed his music rarely seems contrived. The opera Strauss wrote 15 operas on a variety of subjects and across the whole spectrum of drama. He acknowledged being enchanted by the soprano voice, and his writing for it highlights many of the works, including Adriane auf Naxos (composed in 1912). The opera has been described as 'sparkling', which sums it up well, and passages influenced by Bach, Mozart, Puccini, and Wagner add to the interest. The storyline is a play within a play, the second part being the mythological 'Opera' staged in the story. The three pieces transcribed* are from this Opera. The guitar arrangements All classical guitar pieces are compromises. The instrument has only six strings, the left hand four fingers able to be used, and with the right hand its rare to use more than three fingers and the thumb. So, despite the amount of noise possible, it's inevitable that passages occur where either harmony, bass or fragments of counterpoint that would be beneficial are left out. In particular, the higher up the neck music is played the simpler it tends to be, if harder to play, and unless the low bass is an open string there wont be any. So I think the main part of attaining a fair transcription (better to be called an arrangement if the original musical structure is not strictly followed, as in this case) is determining how a good compromise can be reached. Melody, counterpoint, bass and main harmonies demand inclusion, and register is important. One may generally assume the original score can't be improved on. However, if the music may sound well on guitar, and the above elements can be incorporated without the playing becoming very difficult, something enjoyable to play and worthwhile listening to should be able to be achieved. Overture; 'A golden time …' Here the Mozart influence, better, inspiration, is wonderfully evident. A gentle waltz time (only the first section of the overture is transcribed) carries the colourful harmonies, strong melodic threads and connecting flourishes that stamp both pieces. The aria is alluded to in the Overture several times, which as you would expect, is intricately woven with the hints themes later to be established in the Opera. It has a kind of 'jazzy' freedom, and it's always miraculous to me that composition so involved can retain its musical line, here done in Strauss's inimitable way. The aria, sung not far into the Opera, has the perfect inevitability of Mozart, but again it is Strauss. As explained, keys have been changed to suit the guitar. Chorus and Aria This selection from the finale has features well worth trying to translate. The device of having a strong chorus, in the style of a Bach chorale, stated and then counterpointed by a solo voice in a restatement, is potent, and that in the opera the chorus (of the three nymphs) isn't immediately followed by the accompanying aria (of Ariadne) means the latter comes as a moment of surprising beauty. Neither parts are complicated, and lovely arpeggios, a feature Strauss's music, often impart the assured progressions. A problem was to capture the distinct register o.
$7.00 ≈
6.50€
Overture from the opera "The Magic Flute" for Clarinet Quartet
Overture from the opera "The Magic Flute" for Clarinet Quartet
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Clarinet Quartet: 4 clarinets
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INTERMEDIATE/ADVANCED
#
Classical
#
Wolfgang Amadeus Mozart
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Overture from the opera "The M
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Diego Marani
#
SheetMusicPlus
Composed by Wolfgang Amadeus Mozart (1756-1791). Arranged by Diego Marani. Classical, Concert, Instructional, Opera, Standards. 28 pages. Diego Marani...
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Composed by Wolfgang Amadeus Mozart (1756-1791). Arranged by Diego Marani. Classical, Concert, Instructional, Opera, Standards. 28 pages. Diego Marani #2158011. Published by Diego Marani
The marvelous Mozart's ouverture from the opera "Die Zauberflote" transcribed for clarinet quartet (the arrangement includes the following individual parts: 1st Bb Clarinet or Eb Clarinet, 2nd Bb Clarinet, 3rd Bb Clarinet or Eb Alto Clarinet, Bb Bass Clarinet).
$19.90 ≈
18.47€
Overture from the Opera "Così Fan Tutte" for Clarinet Quartet
Overture from the Opera "Così Fan Tutte" for Clarinet Quartet
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Clarinet Quartet: 4 clarinets
#
INTERMEDIATE/ADVANCED
#
Classical
#
Wolfgang Amadeus Mozart
#
Diego Marani
#
Overture from the Opera "Così
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Diego Marani
#
SheetMusicPlus
Woodwind Ensemble,Woodwind Quartet Clarinet - Level 4 - Digital Download SKU: A0.527677 Composed by Wolfgang Amadeus Mozart. Arranged by Diego Marani. Cl...
(+)
Woodwind Ensemble,Woodwind Quartet Clarinet - Level 4 - Digital Download SKU: A0.527677 Composed by Wolfgang Amadeus Mozart. Arranged by Diego Marani. Classical,Concert,Instructional,Opera,Standards. 40 pages. Diego Marani #3077717. Published by Diego Marani (A0.527677). Cosi fan tutte, ossia La scuola degli amanti (Thus Do They All, or The School for Lovers), K. 588, is an Italian-language opera buffa in two acts by Wolfgang Amadeus Mozart first performed on 26 January 1790 at the Burgtheater in Vienna, Austria. The libretto was written by Lorenzo Da Ponte who also wrote Le nozze di Figaro and Don Giovanni.This arrangement for clarinet quartet of the opera's ouverture includes the following parts: Bb Clarinet 1 or Eb Clarinet, Bb Clarinet 2, Bb Clarinet 3 or Eb Alto Clarinet, Bb Bass Clarinet.
$19.90 ≈
18.47€
Overture from the Opera "Così Fan Tutte" for Saxophone Ensemble
Overture from the Opera "Così Fan Tutte" for Saxophone Ensemble
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Saxophone ensemble
#
INTERMEDIATE/ADVANCED
#
Classical
#
Wolfgang Amadeus Mozart
#
Diego Marani
#
Overture from the Opera "Così
#
Diego Marani
#
SheetMusicPlus
Woodwind Ensemble Alto Saxophone,Baritone Saxophone,Soprano Saxophone,Tenor Saxophone - Level 4 - Digital Download SKU: A0.527679 Composed by Wolfgang Am...
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Woodwind Ensemble Alto Saxophone,Baritone Saxophone,Soprano Saxophone,Tenor Saxophone - Level 4 - Digital Download SKU: A0.527679 Composed by Wolfgang Amadeus Mozart. Arranged by Diego Marani. Classical,Concert,Instructional,Opera,Standards. 80 pages. Diego Marani #3079289. Published by Diego Marani (A0.527679). Cosi fan tutte, ossia La scuola degli amanti (Thus Do They All, or The School for Lovers), K. 588, is an Italian-language opera buffa in two acts by Wolfgang Amadeus Mozart first performed on 26 January 1790 at the Burgtheater in Vienna, Austria. The libretto was written by Lorenzo Da Ponte who also wrote Le nozze di Figaro and Don Giovanni.This arrangement for sax choir of the opera's ouverture includes the following parts: Eb Sopranino, Bb Soprano 1-2, Eb Alto 1-2-3, Bb Tenor 1-2-3, Eb Baritone 1-2, Bb Bass.
$24.90 ≈
23.12€
Overture from the Opera "Così Fan Tutte" for Saxophone Quartet
Overture from the Opera "Così Fan Tutte" for Saxophone Quartet
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Saxophone Quartet: 4 saxophones
#
INTERMEDIATE/ADVANCED
#
Classical
#
Wolfgang Amadeus Mozart
#
Diego Marani
#
Overture from the Opera "Così
#
Diego Marani
#
SheetMusicPlus
Woodwind Ensemble,Woodwind Quartet Alto Saxophone,Baritone Saxophone,Soprano Saxophone,Tenor Saxophone - Level 4 - Digital Download SKU: A0.527676 Compos...
(+)
Woodwind Ensemble,Woodwind Quartet Alto Saxophone,Baritone Saxophone,Soprano Saxophone,Tenor Saxophone - Level 4 - Digital Download SKU: A0.527676 Composed by Wolfgang Amadeus Mozart. Arranged by Diego Marani. Classical,Concert,Instructional,Opera,Standards. 32 pages. Diego Marani #3077713. Published by Diego Marani (A0.527676). Cosi fan tutte, ossia La scuola degli amanti (Thus Do They All, or The School for Lovers), K. 588, is an Italian-language opera buffa in two acts by Wolfgang Amadeus Mozart first performed on 26 January 1790 at the Burgtheater in Vienna, Austria. The libretto was written by Lorenzo Da Ponte who also wrote Le nozze di Figaro and Don Giovanni.This arrangement for sax quartet of the opera's ouverture includes the following parts: Bb Soprano, Eb Alto, Bb Tenor, Eb Baritone.
$19.90 ≈
18.47€
Overture from the Opera "Così Fan Tutte" for String Quartet
Overture from the Opera "Così Fan Tutte" for String Quartet
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String Quartet: 2 violins, viola, cello
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INTERMEDIATE/ADVANCED
#
Classical
#
Wolfgang Amadeus Mozart
#
Diego Marani
#
Overture from the Opera "Così
#
Diego Marani
#
SheetMusicPlus
String Quartet Cello,String Quartet,Viola,Violin - Level 4 - Digital Download SKU: A0.527678 Composed by Wolfgang Amadeus Mozart. Arranged by Diego Maran...
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String Quartet Cello,String Quartet,Viola,Violin - Level 4 - Digital Download SKU: A0.527678 Composed by Wolfgang Amadeus Mozart. Arranged by Diego Marani. Classical,Concert,Instructional,Opera,Standards. Score and parts. 32 pages. Diego Marani #3077851. Published by Diego Marani (A0.527678). Cosi fan tutte, ossia La scuola degli amanti (Thus Do They All, or The School for Lovers), K. 588, is an Italian-language opera buffa in two acts by Wolfgang Amadeus Mozart first performed on 26 January 1790 at the Burgtheater in Vienna, Austria. The libretto was written by Lorenzo Da Ponte who also wrote Le nozze di Figaro and Don Giovanni.This arrangement for string quartet of the opera's ouverture includes the following parts: Violin I, Violin II, Viola, Cello.
$19.90 ≈
18.47€
Overture from the opera Der Zigeunerbaron, arraged for Symphonic band (score)
Overture from the opera Der Zigeunerbaron, arraged for Symphonic band (score)
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Concert band
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ADVANCED
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Classical
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Johann Strauss Jr
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Han-Wei Lee
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Overture from the opera Der Zi
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Han-Wei Lee
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SheetMusicPlus
Concert Band - Level 5 - Digital Download SKU: A0.1006603 Composed by Johann Strauss Jr. Arranged by Han-Wei Lee. Romantic Period. Score and parts. 23 pa...
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Concert Band - Level 5 - Digital Download SKU: A0.1006603 Composed by Johann Strauss Jr. Arranged by Han-Wei Lee. Romantic Period. Score and parts. 23 pages. Han-Wei Lee #23731. Published by Han-Wei Lee (A0.1006603). Written by the waltz king Johann Strauss II, the opera's overture is perfect for whoever is planning a Strauss concert or either a new year celebrating party. The woodwind part might be challenging, but the music itself is just as beautiful as what Strauss had written. This product only contains score, parts will be sold respectively. Recommended instrumentation Piccolo 1 Flute 2 Oboe 2 Basson 2 Eb Clarinet 1 Clarinet I 4 Clarinet II 4 Clarinet III 4 Bass Clarinet 2 Alto Saxophone 2 Tenor Saxophone 1 Baryton Saxophone 1 Cornet I 2 Cornet II 2 Horn I 2 Horn II 2 Trombone I 1 Trombone II 1 Trombone III 1 Euphonium 2 Tuba 2 String Bass 2 Timpani 1 Mallet 1 Percussion 2.
$45.00 ≈
41.77€
Overture from the opera Der Zigeunerbaron, arraged for Symphonic band (parts)
Overture from the opera Der Zigeunerbaron, arraged for Symphonic band (parts)
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Concert band
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ADVANCED
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Classical
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Johann Strauss Jr
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Han-Wei Lee
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Overture from the opera Der Zi
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Han-Wei Lee
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SheetMusicPlus
Concert Band - Level 5 - Digital Download SKU: A0.1006602 Composed by Johann Strauss Jr. Arranged by Han-Wei Lee. Romantic Period. Score and parts. 89 pa...
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Concert Band - Level 5 - Digital Download SKU: A0.1006602 Composed by Johann Strauss Jr. Arranged by Han-Wei Lee. Romantic Period. Score and parts. 89 pages. Han-Wei Lee #23735. Published by Han-Wei Lee (A0.1006602). Written by the waltz king Johann Strauss II, the opera's overture is perfect for whoever is planning a Strauss concert or either a new year celebrating party. The woodwind part might be challenging, but the music itself is just as beautiful as what Strauss had written. This product only contains parts, score is sold respectively. Recommended instrumentation: Piccolo 1 Flute 2 Oboe 2 Basson 2 Eb Clarinet 1 Clarinet I 4 Clarinet II 4 Clarinet III 4 Bass Clarinet 2 Alto Saxophone 2 Tenor Saxophone 1 Baryton Saxophone 1 Cornet I 2 Cornet II 2 Horn I 2 Horn II 2 Trombone I 1 Trombone II 1 Trombone III 1 Euphonium 2 Tuba 2 String Bass 2 Timpani 1 Mallet 1 Percussion 2.
$100.00 ≈
92.83€
Suite from the opera "Hamlet", op. 64a
Suite from the opera "Hamlet", op. 64a
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Orchestra
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INTERMEDIATE/ADVANCED
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Adrian Gagiu
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Suite from the opera "Hamlet",
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Adrian Gagiu
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SheetMusicPlus
Full Orchestra - Level 4 - Digital Download SKU: A0.1370573 Composed by Adrian Gagiu. 21st Century,Classical,Opera. 312 pages. Adrian Gagiu #954918. Publ...
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Full Orchestra - Level 4 - Digital Download SKU: A0.1370573 Composed by Adrian Gagiu. 21st Century,Classical,Opera. 312 pages. Adrian Gagiu #954918. Published by Adrian Gagiu (A0.1370573). Score and parts of a Suite of orchestral excerpts from Hamlet (2017), a neo-romantic opera in 3 acts (libretto by Gene Tyburn, after Shakespeare), ranging between tragedy, irony and nostalgia: 1. Overture (Largo - Allegro assai e con brio) in D minor to Hamlet (2017). Dramatic composition, developing in sonatina form the main leitmotifs and themes of the opera (and the famous Folia theme in the beginning).2. Intermezzo No. 1 'The Players': humorous and ironic excerpt in B flat major for wind orchestra, accompanying the entrance of the players/actors.3. Intrada ('The Court'): orchestral march in E flat major, illustrating the entrance of the royal court.4. 'The Play': orchestral 'melodrama' in B flat major, illustrating in a satirical manner the play within the play and transforming bits by John Stepan Zamecnik for the silent movies of early 20th century.5. Intermezzo No. 2 'Polonius Chasing Hamlet': a symphonic scherzo in A flat major, illustrating Hamlet as he playfully grabs Polonius' hat and then is chased by him.6. 'Hamlet's Exile', linking together a postlude in F minor and an interlude in C major for string orchestra: after having accidentally killed Polonius, Hamlet feels sorry for him and then leaves in exile.7. Introduction to Act 3, in C minor: after having secretly returned from his exile in England, Hamlet arrives in the graveyard near Elsinore.8. Dead March in C minor: the funeral procession for Ophelia.9. The final chorus, in D major: after the horrors and crimes and Hamlet fulfilling his duty at his life's price, soothing hope returns.Total duration 33 min. Performing Rights Organization: SOCAN. The mp3 audio clip is the Overture.
$100.00 ≈
92.83€
Taras Bulba - Overture
Taras Bulba - Overture
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Orchestra
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INTERMEDIATE/ADVANCED
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Classical
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Mykola Lysenko
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Steven Nunes
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Taras Bulba - Overture
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Nagamon Publications
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SheetMusicPlus
Full Orchestra - Level 4 - Digital Download SKU: A0.1088189 By Mykola Lysenko. By Mykola Lysenko. Arranged by Steven Nunes. Classical,Romantic Period. Sc...
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Full Orchestra - Level 4 - Digital Download SKU: A0.1088189 By Mykola Lysenko. By Mykola Lysenko. Arranged by Steven Nunes. Classical,Romantic Period. Score and Parts. 125 pages. Nagamon Publications #692441. Published by Nagamon Publications (A0.1088189). Mykola Lysenko was a Ukrainian composer, pianist, conductor and ethnomusicologist of the late Romantic period. In his time he was the central figure of Ukrainian music, with an oeuvre that includes operas, art songs, choral works, orchestral and chamber pieces, and a wide variety of solo piano music. He is often credited with founding a national music tradition during the Ukrainian national revival. Taras Bulba is an opera in four acts with a libretto by Mykhailo Starytsky (the composer's cousin) after the novel Taras Bulba by Nikolai Gogol. The story was about a Cossack who kills his son after he betrayed those fighting for their freedom. This enjoyable and tuneful overture uses several themes from the opera, and is in the vein of other late Romantic Eastern European music. This PDF includes the full score and parts ready for printing.
$40.00 ≈
37.13€
Overture from the opera Tannhauser for Brass Quintet and Organ (opt.)
Overture from the opera Tannhauser for Brass Quintet and Organ (opt.)
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Brass Quintet: 2 trumpets, horn, trombone, tuba
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Classical
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Classical
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Richard Wagner
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Damiano Drei
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Overture from the opera Tannha
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Gordon Cherry
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SheetMusicPlus
Brass Ensemble - Digital Download SKU: A0.811244 Composed by Richard Wagner. Arranged by Damiano Drei. Opera,Romantic Period. Score and parts. 26 pages. ...
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Brass Ensemble - Digital Download SKU: A0.811244 Composed by Richard Wagner. Arranged by Damiano Drei. Opera,Romantic Period. Score and parts. 26 pages. Gordon Cherry #6432183. Published by Gordon Cherry (A0.811244). Wagner's Overture from Tannhauser is one of the great works of the repertoire. It begins with the solemn and sacred Pilgrim's Chorus. The music becomes more and more fervent and yearning, exploding into the great climax of the Chorus.This wonderful 4-minute arrangement for Brass Quintet and Organ (optional) by Damiano Drei is an abridged version of the overture and is appropriate for advanced performers.Instrumentation is for 2 Trumpets in C, Horn in F, Trombone, Tuba, and Organ (optional).
$30.00 ≈
27.85€
Don Giovanni - overture
Don Giovanni - overture
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Brass quartet : 2 trumpets, trombone, tuba
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ADVANCED
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Classical
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Classical
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Wolfgang Amadeus Mozart
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Frank Darmiento
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C parts)
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Don Giovanni - overture
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Sackbut Music, LLC
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SheetMusicPlus
Brass Ensemble Horn,Trombone,Trumpet,Tuba - Level 5 - Digital Download SKU: A0.810420 Composed by Wolfgang Amadeus Mozart. Arranged by Frank Darmiento. C...
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Brass Ensemble Horn,Trombone,Trumpet,Tuba - Level 5 - Digital Download SKU: A0.810420 Composed by Wolfgang Amadeus Mozart. Arranged by Frank Darmiento. Classical,Opera. Score and parts. 90 pages. Sackbut Music, LLC #2885713. Published by Sackbut Music, LLC (A0.810420). Overture to Don Giovanni composed by Wolfgang Amadeus Mozart (1756-1791). Arranged by Frank Darmiento. For 2 Trumpets, Horn, Trombone, Tuba, Brass Quintet. Classical Period, Opera. Advanced. , Score, Set of Parts. Sackbut Music, LLC #SC1028. Published by Sackbut Music, LLC. This is a brass quintet arrangement of the complete overture from the opera. (Duration: 7 min.) Instrumentation: Trumpet 1 (Bb & C parts); Trumpet 2 (Bb & C parts); Horn (F); Trombone; Tuba; optional Timpani.
$25.00 ≈
23.21€
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Overture from the Opera 
