France
(1845 - 1924)

305 partitions
206 MP3 16 MIDI

INSTRUMENTATIONS :
CHANT - CHORALE
› Choeur SA, piano ou orgue 1 Original
› 2 voix et orgue 1 Original
› 2 voix et piano ou orgue 1 Original
HARPE
› Violon, Harpe 1

ARRANGEURS :
› Fauré, Gabriel Original 2
› Dewagtere, Bernard 1
› Magatagan, Mike 1

Ses partitions:

Total des écoutes : 281 496

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Fauré, Gabriel

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Partitions Harpe › Violon, Harpe › Gabriel Fauré

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"Ave Maria" for Harp & Strings
Opus 93
Gabriel Fauré

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Télécharger PDF : "Ave Maria" (Opus 93) for Harp & Strings (8 pages - 199.54 Ko)

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VoirTélécharger PDF : Violon Parts (127.46 Ko)

VoirTélécharger PDF : Harpe Part (163.28 Ko)

VoirTélécharger PDF : Violon 1 Part (117.46 Ko)

VoirTélécharger PDF : Violon 2 Part (118 Ko)

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Télécharger MP3 : Audio principal (4.05 Mo)184x⬇ 1 527x

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Ave Maria for Harp & Strings

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(par Magatagan, Michael)123x⬇ 187x

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Ave Maria for Harp & Strings

Télécharger MP3 (3.07 Mo) :

(par Magatagan, Michael)316x⬇ 169x

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Compositeur :	Gabriel Fauré (1845 - 1924)
Instrumentation :	Violon, Harpe
Genre :	Romantique
Arrangeur :	Magatagan, Mike (1960 - ) S'ABONNER 84 Contacte Faire un don
Date :	1906
Droit d'auteur :	Public Domain
Gabriel Fauré was born in Pamiers, Ariège, Midi-Pyrénées, in the south of France, the fifth son and youngest of six children of Toussaint-Honoré Fauré (1810–85) and Marie-Antoinette-Hélène Lalène-Laprade (1809–87). Fauré was the youngest son of a schoolmaster's large family. His musical inclination showed itself early; when he was only nine years old his father was recommended to send him to the Niedermeyer School in Paris, which specialised in the training of church musicians. Here the somewhat dreamy, unambitious and homesick little Gabriel might have grown up to be solely a church organist and choirmaster "“ jobs he did hold for much of his adult life at the prestigious Madeleine in Paris. But among his teachers was the dynamic young Camille Saint-Saëns, who galvanised him into trying his hand at composition. Convinced of his pupil's gifts, Saint-Saëns took Fauré under his wing; he remained Fauré's closest friend and champion for the rest of their long lives. It was through the well-connected Saint-Saëns that Fauré "“ by then working as a church organist while composing his early songs and instrumental pieces "“ came to know Pauline Viardot and her family. Viardot had been the greatest mezzo-soprano of her day, acquainted with many of the artistic luminaries of the 19th century, not least Chopin and George Sand. She had married the theatre director Louis Viardot in 1840, but when she performed in St Petersburg the Russian novelist Ivan Turgenev fell in love with her and followed her back to Paris. Turgenev subsequently spent most of his life in her household; her four children addressed him as 'uncle'. Saint-Saëns introduced Fauré to the family in 1872 "“ and the young composer was soon captivated by Viardot's youngest daughter, Marianne. Gabriel Fauré's 1906 version of the Ave Maria for two sopranos and organ is a fairly straightforward setting of the text (which he had used in multiple settings), though it reflects more of an early music influence than is evident in the composer's other works. Here, Fauré employs a distinct spacing of the voices and makes generous use of melismas, a feature unusual in his music. This version of the Ave Maria is modeled closely on a version Fauré wrote in 1877. Although this piece was originally written for Voice (SS) and Organ, I created this arrangement for Concert (Pedal) Harp and Strings (2 Violins).
Source / Web :	MuseScore
	Ajoutée par magataganm, 14 Oct 2013
Partition centrale :	Ave Maria, 93 (4 partitions)