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Best Classical Music Guitar Videos

Heitor Villa-lobos – 12 Études for Guitar with sheet music, con partitura

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Heitor Villa-lobos – 12 Études for Guitar with sheet music, con partitura

villa-lobos sheet music pdf

Villa-Lobos

Es el compositor brasileño más admirado, autor de una docena de sinfonías. Estudió la música popular de los indios de su tierra, incorporándola en su obra. Su música, de un carácter muy personal, se caracteriza por la potencia rítmica, que une a las formas del postromanticismo europeo, produciendo una música de una fascinante belleza tímbrica.

Heitor Villa-Lobos (1887-1959) nació en Rio de Janeiro (Brasil) el 5 de marzo de 1887. Su padre Raúl trabajaba como bibliotecario en la Biblioteca Nacional de Rio de Janeiro, siendo un gran amante de la música, tocando el violonchelo y el clarinete. Su primer maestro fue su propio padre que le enseñó a tocar el violonchelo, que se convirtió en su instrumento favorito. Además del repertorio clásico, con su primer contacto con la música de Bach, admiraba la música popular, lo que le daría a su obra un especial color, por este motivo aprendió también a tocar la guitarra. Con su padre asistía a reuniones de cantadores y seresteiros. Al no poderlos acompañar decidió practicar este tipo de música en su violonchelo.

Su madre había deseado que su hijo estudiara medicina por lo cual no le dejaba tocar el piano. Pero su vocación era superior y por ello aprendió a tocar la guitarra desarrollando una técnica especial.

Después de la muerte de su padre en 1899, su familia atraviesa grandes dificultades económicas. Por ello se gana la vida como músico de café interpretando música popular tocando el violoncello y la guitarra. La interpretación de los populares chorôs le produce una fascinación que le acompañará toda su vida. Mientras, estudia humanidades clásicas en el Monasterio de los Benedictinos de Rio. Luego toca el violoncello en el Teatro Recreio, una especie de music-hall, en el cine Odeon y en varios hoteles.

En esta época aprende pasos de la capoeira con sus nuevos amigos, entre los que se encuentra Zé do Cavaquinho, que años mas tarde sería un famoso chorão o sea intérprete de chorôs, género del que hablaremos en posteriores párrafos.

Otro gran amigo es el gran pianista polaco Arthur Rubinstein que conoció casualmente en los carnavales cariocas. Rubinstein que estaba vestido de mujer encontró a Villa-Lobos con una cobra de verdad enrollada a su cuello. Los dos fueron a divertirse en el carnaval, con el resultado de acabar en el cuartelillo de la policía.

Interesado en la música folclórica realiza su primer viaje en 1905 a los estados nororientales de Brasil. Estos viajes continuaron durante los ocho años siguientes, recorriendo el norte, los bordes del Amazonas y los estados del centro y sur del Brasil. Buscaba los orígenes de su cultura, sintiéndose plenamente identificado a su tierra. Recoge gran cantidad de melodías que después integrará a sus obras.

Entre los años 1908 y 1912 compone la “Suite popular brasileña” para guitarra, una obra que inmortaliza las creaciones de los improvisadores de los chorôs con sus transformaciones de las clásicas formas como la mazurca, el vals o la gavota.

En 1913 regresa a Rio conociendo a la pianista Lucilia Guimarães, casándose en el mismo año. Lucilia será la intérprete al piano de muchas obras compuestas por su marido entre 1910 y 1920. Estos años fueron muy creativos para Villa-Lobos, alcanzando en 1916 más de cien obras compuestas.

La música brasileña posee una gran riqueza al integrarse tres culturas muy diferentes. La cultura portuguesa blanca le aporta el sistema tonal, la cultura negra su sentido rítmico y el uso de la síncopa, finalmente se pueden unir las aportaciones de su propia cultura indígena.

En los años 1870 la música popular carioca estaba dominada por las danzas europeas, como la polka, la mazurca o el schotisch. También bajo la influencia argentina apareció una variante llamada tango brasileño. Estas danzas habían desplazadas a las folclóricas maxixe, modinhas o al landú. Esta época es la que vio el nacimiento de los chorôs.

La música popular estaba dividida entre la vocal y la instrumental. En la vocal dominaban las serenatas cantadas por los seresteiros. El choro era un conjunto instrumental que tocaba música de temas populares generalmente improvisados. El origen de la palabra choro es incierto pues existen muchas diversas explicaciones. De chorar o sea llorar, de chorus, coro, de choromeleiros, instrumentistas de la charamela, un precedente del clarinete o de xolo, una fiesta rural de los negros.

El conjunto instrumental original estaba formado por una guitarra, un cavaquinho, instrumente de la familia de la mandolina y una flauta. Mas tarde entraron los instrumentos de metal a formar parte de los chorôs. La Banda de Bomberos de Rio dirigida por Irineo de Almeida fue una gran populizadora del choro.

La música que interpretaban los chorôs se denominaba del mismo modo. En un principio los temas procedían de las polkas, valses y tangos brasileños. Estas danzas eran transformadas con los ritmos populares brasileños. El género nació en el pueblo, en reuniones donde se comía y bebía. Ernesto Nazareth (1863-1934) fue un gran compositor de chorôs, pero debido a su carácter popular muchas veces no los denominaba como tales.

La época de mayor esplendor del choro fueron los años 1920. Entonces empezó la influencia del jazz al que dieron un tratamiento especial o sea que se formó el jazz brasileño, pero este tema surgirá en los años venideros.

El primer concierto oficial dedicado exclusivamente a su música tuvo lugar el 13 de noviembre de 1915, el cual fue recibido por la crítica como un iconoclasta por su estilo de composición avanzado para lo que acostumbraban en esta época.

Descargar partituras aquí.

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Jazz & Rock Play Along

What a Wonderful World (piano solo) with lead sheet

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What a Wonderful World (piano solo) with lead sheet

piano solo sheet music score download partitura partition spartiti

Piano solo Sheet Music download.

What a Wonderful World” is a song written by Bob Thiele (as “George Douglas”) and George David Weiss. It was first recorded by Louis Armstrong and released in 1967 as a single, which topped the pop charts in the United Kingdom, though it performed poorly in the United States because Larry Newton, the president of ABC Records, disliked the song and refused to promote it.

After appearing in the film Good Morning, Vietnam, the song was re-released as a single in 1988, and it rose to number 32 on the Billboard Hot 100. Armstrong’s recording was inducted in the Grammy Hall of Fame in 1999. The publishing for this song is controlled by Concord, BMG Rights Management and Carlin America.

The song was written by producer Bob Thiele (as “George Douglas“) and composer and performer George David Weiss.

One source claims the song was first offered to Tony Bennett, who turned it down, although Louis Armstrong biographer Ricky Riccardi disputes this claim. George Weiss recounts in the book Off the Record: Songwriters on Songwriting by Graham Nash that he wrote the song specifically for Louis Armstrong. Weiss was inspired by Armstrong’s ability to bring people of different races together.

Because he was gigging at the Tropicana Hotel, Armstrong recorded the song in Las Vegas at Bill Porter’s United Recording studio. The session was scheduled to follow Armstrong’s midnight show, and by 2 am the musicians were settled and tape was rolling. Arranger Artie Butler was there with songwriters Weiss and Thiele, and Armstrong was in the studio singing with the orchestra. Armstrong had recently signed to ABC Records, and ABC president Larry Newton showed up to photograph Armstrong. Newton wanted a swingy pop song like “Hello, Dolly!“, a big hit for Armstrong when he was with Kapp Records, so when Newton heard the slow pace of “What a Wonderful World”, he tried to stop the session. Newton was locked out of the studio for his disruption, but a second problem arose: nearby freight train whistles interrupted the session twice, forcing the recording to start over. Armstrong shook his head and laughed off the distractions, keeping his composure. The session ended around 6 am, going longer than expected. To make sure the orchestra members were paid extra for their overtime, Armstrong accepted only $250 musicians union scale for his work.

The song was not initially a hit in the United States, where it sold fewer than 1,000 copies because Newton did not like or promote it, but was a major success in the United Kingdom, reaching number one on the UK Singles Chart. In the United States, the song hit No. 16 on the Billboard Bubbling Under Chart. It was also the biggest-selling single of 1968 in the UK where it was among the last pop singles issued by HMV before it became an exclusive classical music label. The song made Armstrong the oldest male to top the UK Singles Chart. Armstrong’s record was broken in 2009 when a remake of “Islands in the Stream” recorded for Comic Relief—which included the 68-year-old Tom Jones—reached number one in that chart.

ABC Records’ European distributor EMI forced ABC to issue a What a Wonderful World album in 1968 (catalogue number ABCS-650). It did not chart in the United States, due to ABC not promoting it, but charted in the UK where it was issued by Stateside Records with catalogue number SSL 10247 and peaked on the British chart at No. 37.

The song gradually became something of a standard and reached a new level of popularity. An episode of The Muppet Show produced in 1977 and broadcast early in 1978 featured Rowlf the Dog singing the song to a puppy. In 1978, it was featured in the closing scenes of BBC radio’s, The Hitchhiker’s Guide to the Galaxy, and was repeated for BBC’s 1981 TV adaptation of the series. In 1988, Armstrong’s recording appeared in the film Good Morning, Vietnam (despite the film being set in 1965 – two years before it was recorded) and was re-released as a single, hitting No. 32 on the Billboard Hot 100 chart in February 1988. The single charted at number one for the fortnight ending June 27, 1988 on the Australian chart. It is also the closing song for the 1995 movie 12 Monkeys and the 1998 film adaptation of Madeline.

In 2001, rappers Ghostface Killah, Raekwon, and the Alchemist released “The Forest,” a song that begins with three lines of lyric adapted from “What a Wonderful World”, altered to become “an invitation to get high” on marijuana. The rappers and their record company, Sony Music Entertainment, were sued by the owners of “What a Wonderful World,” Abilene Music. The suit was thrown out of court after Judge Gerard E. Lynch determined that the altered lyric was a parody, transforming the uplifting original message to a new one with a darker nature.

By April 2014, Louis Armstrong’s 1967 recording had sold 2,173,000 downloads in the United States after it was released digitally.

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Jazz Music Musical Analysis

Jazz Piano Left Hand Techniques

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Jazz Piano Left Hand Techniques

by Ron Drotos

Oh, Lady Be Good!’ by George Gershwin • Dénes Dosztán – piano

First Part: the “stride piano” technique.

One of the biggest questions that aspiring jazz pianists ask me is, “What do I do with my left hand?” Once you get a sense of what’s possible for the left hand, you can then decide which technique to use on each tune you play. A lot of this will depend on your own approach to each song and also on the style of the musicians you’re playing with as well
as the particular playing situation you’re in.

To give you a good sense of this, I’ve arranged the great jazz classic “Oh, Lady Be Good” using the 5 most popular left-hand styles in jazz piano. Learn each one thoroughly and
analyze how the particular technique relates to the underlying chords.

Then choose the one or two techniques you like best and use them on your favorite jazz standards.

The first part shows a “stride piano” technique typical of early jazz and the swing era of the 1930s and early 40s. The right hand is reminiscent of Count Basie’s great 1936 recording of the tune.

jazz piano sheet music
jazz piano sheet music
“Oh, Lady Be Good”
Music by George Gershwin
Lyrics by Ira Gershwin
(1924 – Public Domain) Arranged by Ron Drotos

Second Part: a walking bass line.

Now let’s learn a walking bass line. This technique can be used in many types of jazz, from swing to post-bop styles. You can walk bass lines when playing solo piano, or if
you’re accompanying a vocalist or instrumentalist, and no bass player is present. I’ve added a few chord substitutions that are commonly played during the middle section, or
“bridge.”

jazz piano sheet music
jazz piano sheet music

Part 3: a melodic bass line

My piano teacher Billy Taylor told me that when he was playing in the early 1940s, bass players were developing a melodic way of playing walking bass lines (similar to the bass line I wrote in the Part 2.

Dr. Taylor vividly remembered bass players asking him to stop playing stride and to voice his LH chords higher up on the piano, to stay out of their way.

The “shell” voicings I show here were very common during the bebop era. By including the root and either 3rd or 7th of each chord, they give enough to indicate the basic tonality
while letting the bass player and soloist (or right hand) use any melodic notes they prefer.

Notice how I’ve added some bebop-style embellishments to the RH melody. I’ve also changed many of the 6th chords to Maj7, and added an ending that’s typical of the bebop
era.

jazz piano sheet music
jazz piano sheet music

Part 4: “shell voicings.

LH “shell” voicings with the root, 3rd, and 7th of each chord can give a surprisingly full sound. Even Bill Evans, who popularized the rich A and B voicings found in our next
lesson, often used these more basic voicings when playing solo piano. Don’t worry if your hands aren’t large enough to stretch the 10th that some of these require. You can
simply re-arrange those voicings to be root, 3rd and 7th, as in the second measure here.

The RH part is exactly the same as in lesson 3, so you can compare the difference in the LH sound between the 2 and 3-note voicings.

jazz piano sheet music
jazz piano sheet music

Part 5: A and B rootless voicings.

Here are the famous left hand ‘A and B’ voicings, popularized by Bill Evans. Even though these voicings are the basis of much contemporary jazz playing, you’ll learn a lot more as
a player is you work through all 5 of these lessons in order, so you understand where how these rootless voicings developed historically.

(And as a bonus, you’ll know 5 great LH techniques, whereas a lot of jazz pianists nowadays only know one way to play!) Notice how I’ve moved the RH up an octave in spots to keep it out of the left hand’s way.

Have fun learning these LH techniques and applying them to your favorite jazz standards!

jazz piano sheet music
jazz piano sheet music

The Magician In You: Journey Through The Real Book #221 (Jazz Piano Lesson)

Vindeo Chapters:

Understanding the context of jazz standards 0:00 Keith Jarrett’s early period 0:42 1970s jazz-rock 1:33 A similar groove from Elton John 2:19 The tune’s shifting harmonic centers 3:37 How to practice hearing your way melodically through the changes 5:14 Keith Jarrett’s famous one-chord vamps 5:58 Planning the performance 6:31 Beginning with the introductory vamp 6:56

Stating the melody 7:22 The short vamp between choruses 8:19 Improvising a melodic solo 8:24 Using faster rhythms in the improvised line 8:53 Varying a country-rock lick 8:58 A touch of the blues 9:05 A fast arpeggio 9:08 Simplifying the solo 9:16 Parallel 6ths 9:19 Extending the Bbm7/Eb vamp 9:22 Improvising over the chord changes 9:35 Coltrane’s “sheets of sound” 9:41 A more folksy sound 9:51 Developing a motif 9:56 More country-rock 10:07

Highlighting the gospel music influence 10:23 Keeping the vamp brief this time 10:30 Fast soloing over the changes 10:37 A little bebop 10:55 Improvising with trills 11:00 Playful rhythms and rhythmic variety 11:07 Parallel 3rds over the extended vamp 11:37 Using the Eb Mixolydian mode 11:43 Going outside the changes 12:27 “Call and response” 12:34 Middle Eastern-influenced modal playing 12:56 Going “outside” over the pedal point 13:14 Bringing in a little funk 13:25 Coming in for a landing 13:33

Using a calmer LH texture under the melody 13:42 Becoming rhythmic again, for contrast 13:55 The final vamp, and “fade” 14:39 Looking for hints of Jarrett’s later playing style 14:57 Enjoying our journey through The Real Book 15:27 Play piano with more joy and less stress 15:40

Categories
Jazz Music

A Child is Born – Thad Jones comme joué par OSCAR PETERSON (partition, piano sheet music)

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A Child is Born – comme joué par by OSCAR PETERSON, partition de piano , (sheet music)

OSCAR PETERSON sheet music pdf

Ocar Peterson

Oscar Emmanuel Peterson, ou comme on l’appelait souvent, “Le roi du swing intérieur”, était l’un des artistes de musique jazz les plus influents et les plus réussis du XXe siècle. Capable de créer des mélodies divines et harmonieuses, ce pianiste et compositeur de jazz avait de la magie dans sa musique.

Avec ses mélodies apaisantes et harmonieuses, il a conquis le cœur de millions de personnes en créant une musique qui transcende les frontières culturelles et fait vivre aux gens un pur bonheur. Sa musique reflétait des émotions et des messages puissants, qui visaient à répandre la positivité, l’espoir et à connecter les gens avec ses merveilleuses créations musicales.

Considéré comme l’un des plus grands pianistes de jazz, il a eu une carrière impressionnante qui a duré plus de six décennies. Influençant et impactant le genre musical jazz, Oscar Peterson a donné au monde quelques-uns des meilleurs jazzmen jamais connus.

Oscar Peterson sheet music

Les premières années d’Oscar Peterson

Né et éduqué à Montréal, au Québec, il a été élevé par sa famille composée d’immigrants des Antilles. Son père travaillait comme bagagiste pour les Chemins de fer du Canadien Pacifique. Ayant grandi dans le quartier de la Petite-Bourgogne à Montréal, la musique jazz et sa culture avaient pris racine profondément chez Oscar depuis le tout début.

À l’âge de cinq ans, Oscar avait perfectionné et perfectionné ses compétences à la trompette et au piano, mais en raison d’un épisode de tuberculose à l’âge de sept ans, il n’était plus capable de jouer de la trompette et a donc concentré toutes ses énergies sur le jeu de la trompette et le piano.

Ses premiers professeurs de musique comprenaient son père, qui était un trompettiste et pianiste amateur, et sa sœur, qui lui a appris le piano classique.

Au cours de ses premières années, Oscar a étudié avec le pianiste d’origine hongroise Paul de Marky, qui était un élève d’Istvan Thoman, et donc son apprentissage initial du piano était plus axé sur le côté classique. Mais bientôt son attention fut attirée par le jazz traditionnel et le boogie-woogie, ce qui l’inspira à apprendre diverses pièces de ragtime. Et peu de temps après, à l’âge de neuf ans, Oscar Peterson avait perfectionné son art et pouvait jouer du piano avec grâce et élégance, impressionnant même les musiciens professionnels.

Dans les années suivantes, il étudie et apprend le piano et pratique quatre à six heures par jour. Il était vraiment passionné et dédié à la musique de tout son cœur. En 1940, alors qu’Oscar avait quatorze ans, il remporte le concours national de musique organisé par la Société Radio-Canada.

Avec une oreille fine pour la musique, Oscar a décidé de devenir musicien professionnel. Et peu de temps après, il abandonna l’école, où il jouait également dans un groupe avec Maynard Ferguson. Après avoir quitté l’école, Oscar est devenu pianiste professionnel et a joué dans une émission de radio hebdomadaire, et en même temps, il jouait dans des auditoriums et des hôtels. Pendant son adolescence, il a par ailleurs été membre du Johnny Holmes Orchestra.

Mais au fur et à mesure que sa carrière musicale progressait, il commença à se concentrer sur le boogie-woogie et le swing, inspiré par des artistes comme Nat King Cole et Teddy Wilson. De 1945 à 1949, Oscar travaille en trio et enregistre pour Victoria Records. Et au moment où il avait atteint la vingtaine, Oscar s’était créé une image impressionnante en raison de ses incroyables talents musicaux, et était souvent considéré comme un pianiste techniquement brillant et mélodiquement inventif.

La carrière musicale d’Oscar Peterson

La manière dont Oscar a rencontré Norman Granz n’était rien de moins qu’une scène de film. Sur le chemin de l’aéroport, Norman Granz a entendu la radio qui diffusait depuis un club local et a été hypnotisé par l’étonnante musique de piano jazz qu’il a entendue.

Il a ensuite dit au chauffeur de taxi de l’emmener dans ce club particulier afin qu’il puisse rencontrer le talentueux pianiste de jazz. Et c’est là qu’il a rencontré Oscar Peterson.

Plus tard, il a également présenté Oscar à New York lors d’un concert ‘Jazz at the Philharmonic’. Norman fut le manager d’Oscar pendant la majeure partie de sa carrière musicale. En 1950, Oscar a travaillé en duo avec le contrebassiste Ray Brown, puis a ajouté le guitariste Barney Kessel.

Peu de temps après, Herb Ellis a remplacé Barney Kessel et le trio était ensemble de 1953 à 1958, souvent en tournée avec ‘Jazz at the Philharmonic’. Ce trio était considéré comme la collaboration la plus sensationnelle et la plus stimulante, que ce soit lors de représentations publiques ou d’enregistrements en studio.

Peu de temps après, Oscar a formé un trio avec le guitariste Joe Pass et le bassiste Niels-Henning Orsted-Pedersen, et a enregistré leur album légendaire ‘The Trio’ qui a remporté le Grammy Award 1974 pour la meilleure performance de musique jazz par un groupe. Le trio a ensuite créé certaines des musiques de jazz et de piano jazz les plus agréables et apaisants jamais créées. Et en 1974, Oscar a ajouté le batteur britannique Martin Drew à son groupe. Leur quatuor a été une collaboration fructueuse et a fait de nombreuses tournées et enregistrés dans le monde entier.

Plus tard, Oscar Peterson a également sorti ses enregistrements pour piano solo, qui présentaient son piano jazz solo, et a sorti une série d’albums intitulée ‘Exclusive for My Friends’. Oscar a enregistré plusieurs albums à succès avec divers musiciens tout au long de cette période jusqu’à ce qu’il ait un accident vasculaire cérébral. À la fin des années 1980 et 1990, après s’être remis d’un accident vasculaire cérébral, il se produit et enregistre avec son protégé Benny Green.

Au cours des années 1990 et 2000, il a enregistré plusieurs albums magnifiques et a offert au monde de la musique jazz de remarquables créations pour piano solo.

Oscar Peterson sheet music sheet music pdf

Inspirations et influences

La musique avait inspiré et attiré Oscar dès son plus jeune âge. Lorsque son père a joué un disque de ‘Tiger Rag’ d’Art Tatum, il a été fasciné et impressionné par la musique mélodieuse. Il a été influencé par des artistes légendaires comme Teddy Wilson, James P. Johnson, Nat King Cole et Art Tatum.

Il remercie également sa sœur de lui avoir enseigné le piano comme aucun autre professeur, et comment elle a enseigné et influencé sa carrière musicale. Sous la direction de sa sœur, Oscar Peterson a maîtrisé le cœur de la musique classique pour piano et a tout appris, des gammes aux préludes et fugues.

La santé et les dernières années d’Oscar

Alors qu’Oscar Peterson était un musicien incroyable et étonnant, il souffrait d’arthrite depuis sa jeunesse. Et plus tard, victime d’un accident vasculaire cérébral en 1993, celui-ci affaiblit son côté gauche et l’éloigne de la musique et du piano pendant près de deux ans.

Bien qu’Oscar ait récupéré et amélioré son côté gauche après l’AVC, son jeu de piano et sa capacité à jouer au maximum ont diminué. Il a ensuite ajusté son jeu et sa musique reposait principalement sur sa main droite. Plus tard, en 2007, la santé d’Oscar a commencé à se détériorer et le 23 décembre 2007, il est décédé à son domicile de Mississauga, en Ontario, en raison d’une insuffisance rénale.

La légende du piano jazz et son parcours remarquable

La musique est un langage qui ne parle pas avec des mots, il parle avec des émotions. Et le jazz est l’un de ces styles de musique qui passe par les oreilles et mène droit au cœur.

Oscar Peterson était l’un des musiciens de jazz les plus influents de notre époque et il a vraiment donné au monde du jazz des créations incroyables et stellaires. Souvent appelé « le Maharaja du clavier », il était un maître de son art et s’est produit lors de milliers de concerts dans le monde entier. Tout au long de son incroyable carrière musicale, Oscar Peterson a sorti plus de 200 enregistrements, a remporté huit prix Grammy, dont le ‘Grammy Lifetime Achievement Award’, et divers autres prix et distinctions comme le ‘International Lifetime Achievement Award’.

Considéré comme l’un des plus grands pianistes de jazz de tous les temps, Oscar Peterson est véritablement une légende. Écoutez la merveilleuse musique de piano jazz solo d’Oscar Peterson et de nombreux autres musiciens de jazz sur Calm Radio.

Categories
Beautiful Music

Leroy Anderson (1908-1975) and the Forgotten Dreams

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Table of Contents

    Leroy Anderson and the Forgotten Dreams (piano sheet music)

    Leroy Anderson and the Forgotten Dreams (piano sheet music)

    Leroy Anderson

    Leroy Anderson (June 29, 1908 – May 18, 1975) was an American composer of short, light-hearted concert pieces, many of which were premiered by the Boston Pops Orchestra under Arthur Fiedler. John Williams has described him ‘as one of America’s greatest masters of light orchestral music’.

    Born in Cambridge, Massachusetts to Swedish parents, Leroy Anderson received his first piano lessons from his mother, who was an organist. He continued his piano lessons with Henry Gideon at the New England Conservatory of Music, and also took double bass lessons with Gaston Dufresne in Boston.

    In 1926, Leroy Anderson entered Harvard, where he studied theory with Walter Spalding, counterpoint with Edward Ballantine, harmony with Georges Enesco, and composition with Walter Piston, earning his Bachelor of Arts in 1929 and his Master of Arts in 1930.

    leroy anderson free sheet music & scores pdf

    In August 1946, he composed the famous title ‘Sleigh Ride’, also known as ‘Promenade en Traineau’, (piece for the holidays and Christmas Day) during a heat wave.

    Unusual instrumentation, or ‘instruments,’ frequently appears in various of Anderson’s music. Sandpaper Ballet uses sandpaper, The Typewriter uses a typewriter, Sleigh Ride uses sleigh bells, The Phantom Regiment uses neighing horses, The Waltzing Cat has the orchestra imitating cat meowing, and The Syncopated Clock uses a grandfather clock. The Syncopated Clock was chosen by WCBS as the theme for The Late Show in 1950. The track was Anderson’s first chart success, reaching number 12 on the US singles chart in the spring of 1951.

    Then, in June 1952, the title Blue Tango was number 1 on the American charts for five weeks.

    In 1958, Anderson set the fairy tale ‘Goldilocks’ to music, for which he wrote 18 pieces of music. The musical ran for 161 performances from October 11, 1958, to February 28, 1959, on Broadway at the Lunt-Fontanne Theater and earned actors Russell Nype Best Actor and Pat Stanley Best Actress Tony Awards.

    In 2006, one of his piano famous works, Forgotten Dreams, became the soundtrack for a British television advert for a mobile phone company.

    Works (excerpt)

    (in alphabetical order)

    • Alma Mater (1954)
    • Arietta (1962)
    • Balladette (1962)
    • Belle of the Ball (1951)
    • Birthday Party (1970)
    • Blue Tango (1951)
    • Bugler’s Holiday (1954)
    • Cambridge Centennial March of Industry (1946)
    • The Captains and the Kings (1962)
    • Chatterbox (1966)
    • Chicken Reel (1946)
    • China Doll (1951)
    • A Christmas Festival (1950) (9:00)
    • A Christmas Festival (1952) (5:45)
    • Clarinet Candy (1962)
    • Classical Jukebox (1950)
    • Concerto in C Major for Piano and Orchestra (1953)
    • The Cowboy and His Horse (1966)
    • Do You Think That Love Is Here To Stay? (1935)
    • Easter Song (194-)
    • Fiddle-Faddle (1947)
    • The First Day of Spring (1954)
    • Forgotten Dreams (1954)
    • The Girl in Satin (1953)
    • The Golden Years (1962)

    GOLDILOCKS (Musical)

    • Goldilocks Overture (1958)
    • Come to Me (1958)
    • Guess Who (1958)
    • Heart of Stone (Pyramid Dance) (1958)
    • He’ll Never Stray (1958)
    • Hello (1958)
    • If I Can’t Take it With Me (1958)
    • I Never Know When to Say When (1958)
    • Lady in Waiting (1958)
    • Lazy Moon (1958)
    • Little Girls (1958)
    • My Last Spring (1958)
    • Save a Kiss (1958)
    • Shall I Take My Heart and Go? (1958)
    • Tag-a-long Kid (1958)
    • The Pussy Foot (1958)
    • Town House Maxixe (1958)
    • Who’s Been Sitting in My Chair? (1958)
    • Governor Bradford March (1948)
    • Harvard Fantasy (1936)
    • Hens and Chickens (1966)
    • Home Stretch (1962)
    • Horse and Buggy (1951)

    THE IRISH SUITE (1947 & 1949)

    • The Irish Washerwoman (1947)
    • The Minstrel Boy (1947)
    • The Rakes of Mallow (1947)
    • The Wearing of the Green (1949)
    • The Last Rose of Summer (1947)
    • The Girl I Left Behind Me (1949)
    • Jazz Legato (1938)
    • Jazz Pizzicato (1938)
    • Love May Come and Love May Go (1935)
    • Lullaby of the Drums (1970)
    • March of the Two Left Feet (1970)
    • Melody on Two Notes (1966)
    • Mother’s Whistler (1940)
    • The Music in My Heart (1935)
    • An Old Fashioned Song (196-)
    • Old MacDonald Had a Farm (1947)
    • The Penny Whistle Song (1951)
    • The Phantom Regiment (1951)
    • Piece for Rolf (1961)
    • Plink, Plank, Plunk! (1951)
    • Promenade (1945)
    • Sandpaper Ballet (1954)
    • Saraband (1948)

    SCOTTISH SUITE (1954)

    • The Bluebells of Scotland
    • Turn Ye To Me
    • Second Regiment, Connecticut National Guard March (1973)
    • Serenata (1947)
    • Sleigh Ride (1948)
    • Song of Jupiter (1951)
    • Song of the Bells (1953)
    • Suite of Carols for Strings (1955)
    • Suite of Carols for Brass (1955)
    • Suite of Carols for Woodwinds (1955)
    • Summer Skies (1953)
    • The Syncopated Clock (1945)
    • Ticonderoga March (1939)
    • To a Wild Rose (1970) (Edward MacDowell)
    • A Trumpeter’s Lullaby (1949)
    • The Typewriter (1950)
    • You Can Always Tell a Harvard Man (1962)
    • Waltz Around the Scale (1970)
    • The Waltzing Cat (1950)
    • Wedding March for Jane and Peter (1972)
    • What’s the Use of Love? (1935)
    • The Whistling Kettle (1966)
    • Woodbury Fanfare (1959)
    Categories
    Best Classical Music

    Bach, J.S. – Orchestersuiten Suite Nr. 1 C-Dur BWV 1066 “Passepied” (Klaviersolo Noten)

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      Bach, J.S. – Orchestersuiten Suite Nr. 1 C-Dur BWV 1066 “Passepied” (Klaviersolo) mit Noten

      bach sheet music

      Die Ouvertüre, die J.S. Bachs Erste Orchestersuite wurde auf einem bewährten, bereits bestehenden Modell aufgebaut. Man könnte es sogar eine Formel nennen.

      Es war die stilvolle „Französische Ouvertüre“ aus den 1650er Jahren, die die Ballette von Jean-Baptiste Lully (1632-1687) eröffnete, einem Komponisten, der den Großteil seines Lebens am Hof ​​Ludwigs XIV. verbrachte. Die französische Ouvertüre beginnt mit einem majestätischen langsamen Abschnitt, der aus stattlichen punktierten Rhythmen besteht, die für einen König geeignet sind.

      Dies führt zu einem schnelleren Abschnitt voller imitierender, frugaler Kontrapunkte. All das können Sie in der Ouvertüre zu Lullys Comédie-ballet von 1670, Le Bourgeois Gentilhomme, hören. Vielleicht träumte Prinz Leopold, Bachs Dienstherr in Köthen, davon, ein Stück der künstlerischen Opulenz zu importieren, die ein fester Bestandteil der Regierungszeit des Sonnenkönigs (die von 1643 bis 1715 dauerte) gewesen war.

      In der Ersten Orchestersuite, die irgendwann vor 1725 komponiert wurde, folgte Bach der Formel treu. Die folgenden Sätze (Courante, Gavotte I und II, Forlane, Menuett I und II, Bourreé I und II, Passepied I und II) verwenden barocke Tanzformen, die sowohl in Frankreich als auch in Italien beliebt waren. Doch innerhalb der Grenzen dieser populären Formen öffnet Bach die Tür zu reiner Magie.

      Hören Sie sich ab den Eröffnungstakten die reichhaltige Konversation zwischen den Stimmen an, die alle Grenzen zwischen „Melodie“ und „Harmonie“ verwischt. Im schnelleren Fugenabschnitt splittern Gruppen von Soloinstrumenten ab und machen dies zu einem virtuellen Concerto Grosso.

      Diese Stimmen werden mit einem ebenso aufregenden Sinn für Dramatik in den Tänzen lebendig. Beachten Sie in Gavotte II die fanfarenartige Linie der Violine, die sich hinterhältig um die Oboen und das Continuo windet.

      Darauf folgt der Forlane, der seine Wurzeln als ausgelassener italienischer Straßentanz hat, oft mit Mandolinen und Kastagnetten. In Bachs Forlane erzeugen wirbelnde Linien in den inneren Streicherstimmen ein Gefühl überbordender Vorwärtsbewegung. Zahlreiche zusätzliche Abenteuer entfalten sich in den Sätzen kontrastierender Tänze der Suite.

      bach sheet music download

      Auch nach dem Tod Ludwigs des Vierzehnten träumte jeder Prinz hin und wieder von einem Hof ​​wie dem des Sonnenkönigs. Und was passte besser zu einem solchen Hof als eine französische Ouvertüre?

      Sehr wenig Instrumentalmusik von Bach ist erhalten geblieben. Und wir wissen praktisch nichts darüber, wann, warum oder für wen die erhaltene Musik geschrieben wurde. Dasselbe gilt für diese Suite, die in Stil und Atmosphäre der von Lully am Hof ​​Ludwigs des Vierzehnten geschriebenen Tanzmusik entspricht: eine Reihe stilisierter Tänze.

      Heutzutage nennen wir das eine Suite, aber damals war es als Ouvertüre oder Eröffnungsstück bekannt. Als Hommage an den König begann eine solche Abfolge von Tänzen mit einer stattlichen Eröffnung, mit einem bemerkenswerten Staccato-Rhythmus – zu dem der König seinen Auftritt machen konnte – gefolgt von einem etwas schnelleren, fugalen Mittelteil. Die Instrumentierung von Bachs Orchestersuite Nr. 1 ist ebenfalls französisch, wobei Oboen und ein Fagott die Streicherstimmen verdoppeln.

      Diese Suite könnte durchaus in Bachs Zeit als Kapellmeister in Köthen entstanden sein, wo Prinz Leopold gelegentlich von einem Hof ​​im Stile des Sonnenkönigs geträumt haben muss. Aber auch für die Konzerte des Collegium Musicum in Leipzig war diese Tanzmusik gut geeignet.

      Bei der Auswahl der Tänze ließ sich Bach für diese Suite nicht nur von Frankreich, sondern auch von Italien inspirieren. Die Reihenfolge ist ziemlich normal und manchmal ein bisschen altmodisch, mit Tänzen, die paarweise wiederholt werden. Typisch französisch sind Gavotte, Menuett und Passepied.

      Die Courante war sowohl in Frankreich als auch in Italien beliebt, und die Forlane stammt ursprünglich aus Italien, wurde aber auch am französischen Hof in Mode. Am Ende hat Bach allem seinen eigenen Stempel aufgedrückt. Die Oboen und das Fagott verdoppeln die Streicher, gehen aber manchmal auch eigene Wege und schaffen so eine Art Concerto Grosso in Verkleidung.

      Französischer Bach

      Auch nach dem Tod Ludwigs des Vierzehnten träumte jeder Prinz hin und wieder von einem Hof ​​wie dem des Sonnenkönigs. Und was passte besser zu einem solchen Hof als eine französische Ouvertüre?

      Sehr wenig Instrumentalmusik von Bach ist erhalten geblieben. Und wir wissen praktisch nichts darüber, wann, warum oder für wen die erhaltene Musik geschrieben wurde. Dasselbe gilt für diese Suite, die in Stil und Atmosphäre der von Lully am Hof ​​Ludwigs des Vierzehnten geschriebenen Tanzmusik entspricht: eine Reihe stilisierter Tänze. Heutzutage nennen wir das eine Suite, aber damals war es als Ouvertüre oder Eröffnungsstück bekannt.

      Als Hommage an den König begann eine solche Abfolge von Tänzen mit einer stattlichen Eröffnung mit einem bemerkenswerten Staccato-Rhythmus – zu dem der König seinen Auftritt machen konnte – gefolgt von einem etwas schnelleren, fugalen Mittelteil. Die Instrumentierung von Bachs Orchestersuite Nr. 1 ist ebenfalls französisch, wobei Oboen und ein Fagott die Streicherstimmen verdoppeln.

      Diese Suite könnte durchaus in Bachs Zeit als Kapellmeister in Köthen entstanden sein, wo Prinz Leopold gelegentlich von einem Hof ​​im Stile des Sonnenkönigs geträumt haben muss. Aber auch für die Konzerte des Collegium Musicum in Leipzig war diese Tanzmusik gut geeignet.
      Bei der Auswahl der Tänze ließ sich Bach für diese Suite nicht nur von Frankreich, sondern auch von Italien inspirieren. Die Reihenfolge ist ziemlich normal und manchmal ein bisschen altmodisch, mit Tänzen, die paarweise wiederholt werden.

      Typisch französisch sind Gavotte, Menuett und Passepied. Die Courante war sowohl in Frankreich als auch in Italien beliebt, und die Forlane stammt ursprünglich aus Italien, wurde aber auch am französischen Hof in Mode. Am Ende hat Bach allem seinen eigenen Stempel aufgedrückt. Die Oboen und das Fagott verdoppeln die Streicher, gehen aber manchmal auch eigene Wege und schaffen so eine Art Concerto Grosso in Verkleidung.

      Orchestersuiten, BWV 1066-1069
      Obwohl es verlockend ist, von den Vier Orchestersuiten , könnte es gut sein, dass Bach noch eine oder zwei oder sogar zehn davon geschrieben hat. Denn anders als die „Brandenburgischen“ Konzerte sind diese Vier Orchestersuiten nicht miteinander verwandt. Spezialisten wie Joshua Rifkin betrachten sie sogar als Arrangements von Stücken anderer Genres.

      Bach hat einfach vorzeigbare Festmusik für die wohlhabenden Höfe von Weimar und Köthen geschrieben; Gelegenheitsmusik, die später im Repertoire des Collegium Musicum eine neue Heimat fand.

      Bachs Suiten (Reihe stilisierter Tänze) strahlen den Stil und die Atmosphäre der Tanzmusik aus, die Lully am Hofe Ludwigs des Vierzehnten geschrieben hat. Heutzutage nennen wir das eine Suite, aber damals war es als Ouvertüre oder Eröffnungsstück bekannt.

      Als Hommage an den König begann eine solche Abfolge von Tänzen mit einer stattlichen Eröffnung mit einem bemerkenswerten Staccato-Rhythmus – zu dem der König seinen Auftritt machen konnte – gefolgt von einem etwas schnelleren, fugalen Mittelteil.

      Eine interessante Hypothese über den relativen Mangel an Suiten bei Bach ist, dass er das Genre nicht ausreichend beherrschen konnte. Das Modell kam direkt aus dem Paris von Lully und duldete keine Konkurrenz. Besonders die pompöse Ouvertüre – mit langsam-schnell-langsam, fugalem Mittelteil und „französischen“ Rhythmen – ist typisch … und vielleicht zu restriktiv für unseren jungen deutschen Kapellmeister.

      Der abschließende Passepied verwendet im kontrastierenden Mittelsatz das Originalthema in den hohen Streichern und fügt nach Art einer Variation eine fortlaufende Achtelkette der beiden unisono geführten Oboen hinzu.

      Bach Suite Nr. 1 C-Dur BWV 1066: Analyse

      Von den vier Werken, die heute „Orchestersuite“ (oder „Ouvertüre“ zu Bach) genannt werden, gilt die C-Dur-Orchestersuite als die früheste der vier erhaltenen, es ist für zwei Oboen, Fagott, Streicher und Continuo gesetzt. Dies ist „wohl die konservativste der vier“ (Robin Stowell, „Orchestral Suites“ in Oxford Composer Companions: JS Bach).

      Und vielleicht ist sie deshalb weniger bekannt als die beiden „Interior“-Suiten, die zweite Suite in h-Moll (mit der berühmten Badinerie) und die dritte Suite in D-Dur (mit der berühmten „Air for the G-String “).

      Stilistisch ist die Erste Suite in C-Dur französischen Suiten nachempfunden und verwendet daher französisch stilisierte Tanzsätze (Französische Ouvertüre, Courante, Gavotte I & II, Forlane, Menuett I & II, Bourreé I & II, Passepied I & II). Gleichzeitig ähnelt es einem Concerto grosso, wobei die Oboenpaare oft als Concertino dienen. Wir sehen den Einfluss des Concerto grosso schon im ersten Satz, einer französischen Ouvertüre.

      Normalerweise denken wir nicht an Sologruppen in einem französischen Ouvertürensatz. Aber hier, im schnelleren Fugenabschnitt, gibt es Teile, die deutlich mit „Trio“ gekennzeichnet sind – für die Oboen mit ihrer Continuo-Unterstützung (nur Fagott) – und andere, die mit „Tutti“ für das gesamte Ensemble gekennzeichnet sind:

      Beachten Sie aus der Liste der Sätze (oben) die Anzahl der paarigen Sätze – zwei Gavottes, zwei Menuette, zwei Bourreés, zwei Passpieds. Während die anderen drei Suiten einige gepaarte Bewegungen haben, hat keine so viele. Diese gepaarten Sätze werden normalerweise als ABA-Form gespielt: Gavotte I wie geschrieben, Gavotte II wie geschrieben, Gavotte I wieder ohne Wiederholungen.

      Die gepaarten Gavotten bieten schöne klangliche und strukturelle Kontraste zueinander, wobei die erste durchgehend das gesamte Ensemble verwendet; dies ist im Wesentlichen eine vierstimmige Struktur, mit Oboen und ersten Geigen, die unisono spielen, und die zweiten Geigen, Bratschen und Continuo (einschließlich Fagott), die jeweils die anderen drei Stimmen bilden.

      In der zweiten Gavotte hingegen treten die Oboen fast wie ein weiteres Conertino auf, wobei die Streicher ein Unisono-Fanfarenmotiv sowohl als „Füller“ als auch als Kontrapunkt spielen. Robin Stowell identifiziert dies als dieselbe Fanfarenidee, die Bach im Eröffnungschor der Kantate 70 verwendet (Stowell, „Orchestral Suites“, in Oxford Composer Companions: JS Bach ).

      Am bemerkenswertesten unter den Sätzen ist vielleicht die Verwendung des Forlane, des einzigen italienischen Tanzes unter den Sätzen und einer seltenen Tanzform für Bach. Insbesondere der Forlane (auch „Forlana“ genannt) war im Venedig des 18. Jahrhunderts beliebt und war normalerweise ein Straßentanz mit Mandolinen, Kastagnetten und Trommeln. Es war daher sehr rhythmisch.

      Ein Forlane war normalerweise in zusammengesetzten Metren und oft in 6/8. Bachs Beispiel steht im 6/4-Takt. Ein Forlane wird wegen des 6/4- oder 6/8-Takts oft als „schwebend“ beschrieben, aber mit dem schnellen Tempo und den zahlreichen punktierten Rhythmen würde ich Bachs Forlane nicht als trällernd beschreiben. Die Basslinie ist stark fragmentiert und repetitiv, fast wie ein Ostinato – sie ist sicherlich ostinatoartig in Bezug auf den Rhythmus und behält das gleiche Muster im ersten Abschnitt bis zur Kadenz bei.

      In ähnlicher Weise zeigen auch die Menuette (Menuette) und Bourreés durch wechselnde Besetzung klangliche und strukturelle Kontraste in ihren Paarungen. Das erste Menuett verwendet das gesamte Orchester, während das zweite nur für Streicher bestimmt ist. Die erste Bourreé ist für ein volles Orchester – wie die erste Gavotte – mit Oboen und ersten Violinen unisono in einer ansonsten vierstimmigen Textur.

      Aber die zweite Bourreé verwendet nur das „Concertino“ – die beiden Oboen mit Fagott als Continuo. Es ist eine einfachere Textur als anderswo in der Suite, nicht nur, weil es nur drei Stimmen gibt, sondern auch, weil die beiden Oboen häufig im rhythmischen Unisono auftreten. Dies ist auch der einzige Satz in der ersten Orchestersuite, der in Moll steht.

      (Lassen Sie sich nicht von der partiellen Tonartvorzeichnung in dem Beispiel täuschen, die nur zwei Bes zeigt; dies ist eindeutig in c-Moll, wie durch die Verwendung von H-Naturtönen belegt wird.)

      Categories
      Best Classical Music

      Claude Debussy interpreta Debussy – Clair de Lune (1913)

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      Claude Debussy interpreta Debussy – Clair de Lune (1913)

      Claude-Achille Debussy – Clair de Lune (Mondglanz, Mondschein, Moonlight), Suite Bergamasque, Debussy, pianoforte.

      La Suite bergamasque fu composta per la prima volta nel 1890-1905. “Claude Debussy suona le sue opere migliori” Claude Debussy, Piano Roll, 1913.

      claude debussy sheet music score download partitura partition spartiti

      Dal 1903 al 1913, Claude Debussy registrò molti dei suoi brani su rulli di pianoforte. Debussy si rallegrò della qualità della riproduzione, dicendo in una lettera a Edwin Welte: “È impossibile raggiungere una perfezione di riproduzione maggiore di quella dell’apparato Welte. Sono felice di assicurarvi in ​​queste righe il mio stupore e la mia ammirazione per quanto ho sentito. Sono, egregio signore, vostra fedelmente, Claude Debussy.

      Con più di un secolo di vita, queste registrazioni ci permettono di ascoltare il grande compositore suonare le proprie opere. Debussy fece le sue ultime registrazioni quando aveva 52 anni e soffriva di cancro, nel 1913. Morì meno di cinque anni dopo, il 25 marzo 1918.

      I rulli per la riproduzione del pianoforte erano generalmente realizzati dalle esibizioni registrate di musicisti famosi. In genere, un pianista si siede a un pianoforte di registrazione appositamente progettato e l’altezza e la durata di tutte le note suonate sarebbero contrassegnate o perforate su un rullo vuoto, insieme alla durata del pedale di sostegno e di sordina.

      La riproduzione di pianoforti può anche ricreare la dinamica dell’esecuzione di un pianista per mezzo di perforazioni di controllo appositamente codificate posizionate verso i bordi di un rullino musicale, ma questa codifica non è mai stata registrata automaticamente.

      Diverse compagnie avevano modi diversi di annotare le dinamiche, alcune tecnicamente avanzate (sebbene non necessariamente più efficaci), altre segrete e altre ancora dipendenti interamente dalle note scritte a mano di un produttore discografico, ma in tutti i casi questi geroglifici dinamici dovevano essere abilmente convertiti in speciali perforati codici necessari ai diversi tipi di strumento.

      Il modo di suonare di molti pianisti e compositori è preservato durante la riproduzione del piano roll. Gustav Mahler, Camille Saint-Saëns, Edvard Grieg, Teresa Carreño, Claude Debussy, Manuel de Falla, Scott Joplin, Sergei Rachmaninoff, Sergei Prokofiev, Alexander Scriabin, Jelly Roll Morton e George Gershwin sono tra i compositori e pianisti che hanno suonato registrato in questo modo.

      Il famoso Clair de lune di Claude Debussy è il terzo brano della Suite bergamasque per pianoforte, un’opera il cui titolo è stato scelto tanto per l’amore del suo compositore per i suoni delle parole quanto per le sue implicazioni rinascimentali (sebbene l’opera possa essere giustamente descritta come qualcosa di un omaggio ai clavicembalisti francesi di un tempo).

      Il re bemolle maggiore di Clair de lune è scelto perfettamente, la melodia scintillante in terze parallele (con sordina, richieste di Debussy) sapientemente bilanciata dal tempo rubato meravigliosamente dissonante che la segue. Durante la sezione centrale un poco mosso di Clair de lune, la musica si gonfia ben oltre il pianissimo dell’apertura, e nel suo culmine si potrebbe dire che il giovane compositore ha creato più della luce del sole che della luce della luna; gli incessanti arpeggi possono ben essere esagerati, ma si possono comunque apprezzarli.

      Piccoli frammenti di questi arpeggi si fanno strada nella ripresa della musica di apertura, e ai toni rotolanti della sezione centrale vengono date alcune misure per perorare ancora una volta la loro causa prima che la cadenza cromatica finale, un momento di assoluta tranquillità, sia resa .

      Clair de Lune è una poesia francese scritta da Paul Verlaine nell’anno 1869. È l’ispirazione per il terzo e più famoso movimento dell’omonima Suite bergamasque di Debussy del 1890. ‘Clair de lune’ (‘Moonlight’) è dalla prima raccolta di Verlaine Fêtes galantes (Gallant Parties, 1869).

      Clair de Lune di Paul Verlaine

      Clair de lune ” (inglese “Moonlight”) è una poesia scritta dal poeta francese Paul Verlaine nel 1869. È l’ispirazione per il terzo e più famoso movimento della Claude Debussy del 1890 Suite bergamasque . Debussy ha anche eseguito due impostazioni della poesia per accompagnamento vocale e pianoforte. La poesia è stata musicata anche da Gabriel Fauré , Louis Vierne e Josef Szulc .

      La tua anima è un paesaggio scelto
      Vanno affascinanti maschere e bergamasche
      Suonare il liuto e ballare e quasi
      Tristi sotto i loro travestimenti stravaganti.

      Mentre si canta in modalità minore
      Vincere l’amore e la vita opportuna
      Non sembrano credere nella loro felicità
      E il loro canto si mescola al chiaro di luna,

      Nel calmo chiaro di luna triste e bella,
      Chi fa sognare gli uccelli sugli alberi
      E singhiozzare di estasi i getti d’acqua,
      I grandi getti d’acqua si snelliscono tra i marmi.

      La tua anima è un paesaggio scelto
      Dove passeggiano incantevoli mascherate e ballerine,
      Suonare il liuto e ballare, e quasi
      Triste sotto i loro fantastici travestimenti.

      Mentre canta in tonalità minore
      Dell’amore vittorioso e della vita piacevole
      Sembrano non credere nella propria felicità
      E il loro canto si fonde con la luce della luna,

      Con la luce triste e bella della luna,
      Che fa sognare gli uccelli sugli alberi,
      E fa singhiozzare di estasi le fontane,
      L’acqua sottile scorre tra le statue marmoree.

      Categories
      Film Music Beautiful Music

      Ennio Morricone – R.I.P., Maestro

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      Ennio Morricone – Once upon a time in America – Nuovo Cinema Paradiso – Piano & Bandoneon

      Morricone’s Sheet music is fully available in our Library

      Ennio Morricone, the Italian composer whose symphonic scores backed everything from spaghetti westerns to romance, horror and sci-fi films, has died aged 91.

      Track Kist: 1. This Kind of Love (Questa Specie D’Amore) 2. Love Theme for Nata (Cinema Paradiso) 3. La Califfa 4. Romanza Quartiere (Quartiere) 5. Chi Mai (Maddalena & Le professionel) 6. Ninna Nanna per Adulteri (Cuore di Mamma) 7. Silvie – Momento D’Amore (Via Mala) 8. La Messicana (Vamos a matar compañeros) 9. Once Upon a Time in the West (with. Edda Dell’Orso) 10. Irene (Gli intoccabili)

      11. La Donna e la Campagna (La Califfa) 12. Lei Mi Ama (D’amore si Muore – For Love One Dies) 13. Cinema Paradiso – Main Theme 14. Una Fotografia (L’Alibi) 15. Poesia di una Donna – Version 3 (Veruschka) 16. In ogni casa una storia (Quartiere) 17. Le Foto Proibite di una Signora per Bene 18. La Scoperta dell’America – Love Theme 19. Tema di Dunja (Il Fiore delle Mille e una Notte – Arabian Nights)

      20. A Lidia (Scusi Facciamo l’Amore ? – Listen, Let’s Make Love) 21. De Copalamo (La Cugina) 22. Viaggio con Anita 23. Eros Profondo (La Donna Invisibile – The Invisible Woman)

      Ennio Morricone, (10 November 1928 – 6 July 2020) was an Italian composer, orchestrator, conductor, and former trumpet player who wrote music in a wide range of styles. Morricone composed over 400 scores for cinema and television, as well as over 100 classical works. He started as a talented football player for A.S. Roma but left the sport to follow his passion for music. His score to The Good, the Bad and the Ugly (1966) is considered one of the most influential soundtracks in history and was inducted into the Grammy Hall of Fame.

      His filmography includes over 70 award-winning films, all Sergio Leone‘s films since A Fistful of Dollars, all Giuseppe Tornatore‘s films since Cinema Paradiso, The Battle of Algiers, Dario Argento‘s Animal Trilogy, 1900, Exorcist II, Days of Heaven, several major films in French cinema, in particular the comedy trilogy La Cage aux Folles I, II, III and Le Professionnel, as well as The Thing, The Mission, The Untouchables, Mission to Mars, Bugsy, Disclosure, In the Line of Fire, Bulworth, Ripley’s Game and The Hateful Eight.

      After playing the trumpet in jazz bands in the 1940s, he became a studio arranger for RCA Victor and in 1955 started ghost writing for film and theatre. Throughout his career, he composed music for artists such as Paul Anka, Mina, Milva, Zucchero and Andrea Bocelli. From 1960 to 1975, Morricone gained international fame for composing music for Westerns and—with an estimated 10 million copies sold—Once Upon a Time in the West is one of the best-selling scores worldwide.

      From 1966 to 1980, he was a main member of Il Gruppo, one of the first experimental composers collectives, and in 1969 he co-founded Forum Music Village, a prestigious recording studio. From the 1970s, Morricone excelled in Hollywood, composing for prolific American directors such as Don Siegel, Mike Nichols, Brian De Palma, Barry Levinson, Oliver Stone, Warren Beatty, John Carpenter and Quentin Tarantino. In 1977, he composed the official theme for the 1978 FIFA World Cup.

      He continued to compose music for European productions, such as Marco Polo, La piovra, Nostromo, Fateless, Karol and En mai, fais ce qu’il te plait. Morricone’s music has been reused in television series, including The Simpsons and The Sopranos, and in many films, including Inglourious Basterds and Django Unchained. He also scored seven Westerns for Sergio Corbucci, Duccio Tessari‘s Ringo duology and Sergio Sollima‘s The Big Gundown and Face to Face.

      Ennio Morricone worked extensively for other film genres with directors such as Bernardo Bertolucci, Mauro Bolognini, Giuliano Montaldo, Roland Joffé, Roman Polanski and Henri Verneuil. His acclaimed soundtrack for The Mission (1986) was certified gold in the United States. The album Yo-Yo Ma Plays Ennio Morricone stayed 105 weeks on the Billboard Top Classical Albums.

      Morricone’s best-known compositions include “The Ecstasy of Gold“, “Se Telefonando“, “Man with a Harmonica“, “Here’s to You“, the UK No. 2 single “Chi Mai“, “Gabriel’s Oboe” and “E Più Ti Penso“. In 1971, he received a “Targa d’Oro” for worldwide sales of 22 million, and by 2016 Morricone had sold over 70 million records worldwide. In 2007, he received the Academy Honorary Award “for his magnificent and multifaceted contributions to the art of film music.” He has been nominated for a further six Oscars.

      In 2016, Morricone received his first competitive Academy Award for his score to Quentin Tarantino’s film The Hateful Eight, at the time becoming the oldest person ever to win a competitive Oscar. His other achievements include three Grammy Awards, three Golden Globes, six BAFTAs, ten David di Donatello, eleven Nastro d’Argento, two European Film Awards, the Golden Lion Honorary Award and the Polar Music Prize in 2010. Morricone has influenced many artists from film scoring to other styles and genres, including Hans Zimmer,Danger Mouse, Dire Straits, Muse, Metallica, and Radiohead.

      Morricone’s Sheet music is fully available in our Library.

      morricone sheet music pdf

      List of compositions by Ennio Morricone

      1950s
      YearTitleDirector
      1955AbandonedFrancesco Maselli
      1959La Duchessa di Santa LuciaRoberto Bianchi Montero
      Death of a FriendFranco Rossi
      1960s
      YearTitleDirector
      1960Run with the DevilMario Camerini
      LipstickDamiano Damiani
      L’AvventuraMichelangelo Antonioni
      Le Pillole Di ErcoleLuciano Salce
      1961The Fascist
      The Last JudgmentVittorio De Sica
      1962L’italiano ha 50 anniFrancomaria Trapani
      Gli Italiani e le vacanzeFilippo Walter Ratti
      I motorizzatiCamillo Mastrocinque
      Crazy DesireLuciano Salce
      Il SorpassoDino Risi
      I due della legioneLucio Fulci
      Eighteen in the SunCamillo Mastrocinque
      A Girl…and a MillionLuciano Salce
      1963Violenza segretaGiorgio Moser
      Il SuccessoDino Risi
      Le monachineLuciano Salce
      El Greco
      Gunfight at Red SandsRicardo Blasco
      Mario Caiano
      I basilischiLina Wertmüller
      1964Una Nuova fonte di energiaDaniele G. Luisi
      MalamondoPaolo Cavara
      I maniaciLucio Fulci
      I marziani hanno 12 maniFranco Castellano
      Giuseppe Moccia
      In ginocchio da teEttore Fizzarotti
      Bullets Don’t ArgueMario Caiano
      A Fistful of DollarsSergio Leone
      I due evasi da Sing SingLucio Fulci
      Before the RevolutionBernardo Bertolucci
      …e la donna creò l’uomo Camillo Mastrocinque
      1965A Pistol for RingoDuccio Tessari
      Nightmare CastleMario Caiano
      Agent 077: Mission Bloody MarySergio Grieco
      Highest PressureEnzo Trapani
      SlalomLuciano Salce
      Menage all’italianaFranco Indovina
      Fists in the PocketMarco Bellocchio
      ThrillingCarlo Lizzani
      Gianni Luigi Polidori
      Ettore Scola
      Non son degno di teEttore Fizzarotti
      Se non avessi più te
      Idoli controluceEnzo Battaglia
      For a Few Dollars MoreSergio Leone
      The Return of RingoDuccio Tessari
      1966The Bible: In the BeginningJohn Huston
      Seven Guns for the MacGregorsFranco Giraldi
      Wake Up and DieCarlo Lizzani
      Agent 505: Death Trap in BeirutManfred R. Köhler
      The Hawks and the SparrowsPier Paolo Pasolini
      The Battle of AlgiersGillo Pontecorvo
      The Hills Run RedCarlo Lizzani
      Un uomo a metàVittorio De Seta
      How I Learned to Love WomenLuciano Salce
      For a Few Extra DollarsGiorgio Ferroni
      Florence: Days of DestructionFranco Zeffirelli
      Navajo JoeSergio Corbucci
      The Big GundownSergio Sollima
      The Good, the Bad and the UglySergio Leone
      1967Il giardino delle delizieSilvano Agosti
      Dalle Ardenne all’inferno / Dirty HeroesAlberto de Martino
      The RoverTerence Young
      The WitchesLuchino Visconti
      Mauro Bolognini
      Pier Paolo Pasolini
      Franco Rossi
      Vittorio De Sica
      The HellbendersSergio Corbucci
      China is NearMarco Bellocchio
      O.K. ConneryAlberto De Martino
      MatchlessAlberto Lattuada
      Grand SlamGiuliano Montaldo
      The Girl and the GeneralPasquale Festa Campanile
      ArabellaMauro Bolognini
      Face to FaceSergio Sollima
      Her HaremMarco Ferreri
      1968Danger: DiabolikMario Bava
      TepepaGiulio Petroni
      The MercenarySergio Corbucci
      Eat-itFrancesco Casaretti
      Come Play with MeSalvatore Samperi
      A Sky Full of Stars for a RoofGiulio Petroni
      Ecce HomoBruno Gaburro
      Run, Man, RunSergio Sollima
      EscalationRoberto Faenza
      Death Rides a HorseGiulio Petroni
      Guns for San SebastianHenri Verneuil
      Comandamenti per un gangsterAlfio Catabiano
      TheoremPier Paolo Pasolini
      PartnerBernardo Bertolucci
      Roma come ChicagoAlberto De Martino
      Machine Gun McCainGiuliano Montaldo
      Once Upon a Time in the WestSergio Leone
      The Great SilenceSergio Corbucci
      AlibiVittorio Gassman
      Adolfo Celi
      Luciano Lucignani
      GalileoLiliana Cavani
      The Lady of MonzaEriprando Visconti
      A Fine PairFrancesco Maselli
      A Quiet Place in the CountryElio Petri
      1969Cuore di mammaSalvatore Samperi
      Listen, Let’s Make LoveVittorio Caprioli
      H2SRoberto Faenza
      The Fifth Day of PeaceGiuliano Montaldo
      Fräulein DoktorAlberto Lattuada
      The Invisible WomanPaolo Spinola
      L’assoluto naturaleMauro Bolognini
      La stagione dei sensiMassimo Franciosa
      The Sicilian ClanHenri Verneuil
      Burn!Gillo Pontecorvo
      Sai cosa faceva Stalin alle donne?Maurizio Liverani
      Senza sapere niente di leiLuigi Comencini
      Metti una sera a cenaGiuseppe Patroni Griffi
      Brief SeasonRenato Castellani
      Vergogna, schifosiMauro Severino
      That Splendid NovemberMauro Bolognini
      The Five Man ArmyItalo Zingarelli
      YearTitleDirector
      1970Violent CitySergio Sollima
      The VoyeurFranco Indovina
      Hornets’ NestPhil Karlson
      I cannibaliLiliana Cavani
      The Red TentMikhail Kalatozov
      Investigation of a Citizen Above SuspicionElio Petri
      La califfaAlberto Bevilacqua
      The Most Beautiful WifeDamiano Damiani
      The Bird with the Crystal PlumageDario Argento
      MetelloMauro Bolognini
      When Women Had TailsPasquale Festa Campanile
      Kill the Fatted Calf and Roast ItSalvatore Samperi
      CompañerosSergio Corbucci
      Two Mules for Sister SaraDon Siegel
      1971‘Tis Pity She’s a WhoreGiuseppe Patroni Griffi
      1870Alfredo Giannetti
      Winged DevilsDuccio Tessari
      Duck, You Sucker!Sergio Leone
      Cold Eyes of FearEnzo G. Castellari
      The DecameronPier Paolo Pasolini
      Tre nel milleFranco Indovina
      The Cat o’ Nine TailsDario Argento
      IncontroPiero Schivazappa
      The Working Class Goes to HeavenElio Petri
      The BurglarsHenri Verneuil
      Short Night of Glass DollsAldo Lado
      Forbidden Photos of a Lady Above SuspicionLuciano Ercoli
      The Case is Closed, Forget ItDamiano Damiani
      MaddalenaJerzy Kawalerowicz
      OceanoFolco Quilici
      A Lizard in a Woman’s SkinLucio Fulci
      Four Flies on Grey VelvetDario Argento
      Without Apparent MotivePhilippe Labro
      Sacco & VanzettiGiuliano Montaldo
      Veruschka: Poetry of a WomanFranco Rubartelli
      1972Anche se volessi lavorare, che faccio?Flavio Mogherini
      What Am I Doing in the Middle of a Revolution?Sergio Corbucci
      Who Saw Her Die?Aldo Lado
      What Have You Done to Solange?Massimo Dallamano
      D’amore si muoreCarlo Carunchio
      Fiorina la vaccaVittorio De Sisti
      The Fifth CordLuigi Bazzoni
      I figli chiedono perchéNino Zanchin
      Devil in the BrainSergio Sollima
      The Master and MargaretAleksandar Petrović
      Chronicles of a HomicideMauro Bolognini
      The Canterbury TalesPier Paolo Pasolini
      Sonny and JedSergio Corbucci
      BluebeardEdward Dmytryk
      Black Belly of the TarantulaPaolo Cavara
      PlotYves Boisset
      Life is Tough, Eh Providence?Giulio Petroni
      L’ultimo uomo di SaraMaria Virginia Onorato
      La cosa buffaAldo Lado
      My Dear KillerTonino Valerii
      When Women Lost Their TalesPasquale Festa Campanile
      This Kind of LoveAlberto Bevilacqua
      The Sicilian CheckmateFlorestano Vancini
      1973Property is No Longer a TheftElio Petri
      Here We Go Again, Eh Providence?Alberto De Martino
      Crescete e moltiplicateviGiulio Petroni
      Giordano BrunoGiuliano Montaldo
      My Name Is NobodyTonino Valerii
      Night Flight from MoscowHenri Verneuil
      Libera, My LoveMauro Bolognini
      Massacre in RomeGeorge P. Cosmatos
      RevolverSergio Sollima
      Woman Buried AliveAldo Lado
      The Master TouchMichele Lupo
      1974AllonsanfànPaolo Taviani
      Vittorio Taviani
      The Murri AffairMauro Bolognini
      Arabian NightsPier Paolo Pasolini
      Around the World with Peynet’s LoversCesare Perfetto
      The Devil Is a WomanDamiano Damiani
      La cuginaAldo Lado
      Weak SpotPeter Fleischmann
      The SecretRobert Enrico
      Le trio infernalFrancis Girod
      AutopsyArmando Crispino
      Almost HumanUmberto Lenzi
      Last Days of MussoliniCarlo Lizzani
      SpasmoUmberto Lenzi
      1975Eye of the CatAlberto Bevilacqua
      The Divine NymphGiuseppe Patroni Griffi
      The Flower in His MouthLuigi Zampa
      Lips of Lurid BlueGiulio Petroni
      The Sunday WomanLuigi Comencini
      The AntichristAlberto De Martino
      LéonorJuan Luis Buñuel
      Last Stop on the Night TrainAldo Lado
      Fear Over the CityHenri Verneuil
      Salò, or the 120 Days of SodomPier Paolo Pasolini
      Todo modoElio Petri
      A Genius, Two Partners and a DupeDamiano Damiani
      The “Human” FactorEdward Dmytryk
      1976End of the GameMaximilian Schell
      The Desert of the TartarsValerio Zurlini
      And Agnes Chose to DieGiuliano Montaldo
      The InheritanceMauro Bolognini
      1900Bernardo Bertolucci
      Down the Ancient StaircaseMauro Bolognini
      Rene the CaneFrancis Girod
      San Babila-8 P.M.Carlo Lizzani
      A Sold LifeAldo Florio
      1977Hitch-HikePasquale Festa Campanile
      The CatLuigi Comencini
      Il mostroLuigi Zampa
      Il prefetto di ferroPasquale Squitieri
      Stato interessanteSergio Nasca
      OrcaMichael Anderson
      Exorcist II: The HereticJohn Boorman
      1978CorleonePasquale Squitieri
      Stay As You AreAlberto Lattuada
      Where Are You Going on Holiday?Mauro Bolognini
      Holocaust 2000Alberto De Martino
      L’immoralitàMassimo Pirri
      One, Two, Two : 122, rue de ProvenceChristian Gion
      Days of HeavenTerrence Malick
      La Cage aux FollesÉdouard Molinaro
      1979Lovers and LiarsMario Monicelli
      Dedicato al Mare EgeoMasuo Ikeda
      BloodlineTerence Young
      I as in IcarusHenri Verneuil
      A Dangerous ToyGiuliano Montaldo
      La LunaBernardo Bertolucci
      Buone notizieElio Petri
      The HumanoidAldo Lado
      The MeadowPaolo Taviani
      Vittorio Taviani
      OgroGillo Pontecorvo
      1980s
      YearTitleDirector
      1980The Blue-Eyed BanditAlfredo Giannetti
      Il ladronePasquale Festa Campanile
      La Cage aux Folles IIEdouard Molinaro
      Si salvi chi vuoleRoberto Faenza
      The IslandMichael Ritchie
      Fun is BeautifulCarlo Verdone
      Men or Not MenValentino Orsini
      WindowsGordon Willis
      1981Bianco, rosso e VerdoneCarlo Verdone
      ButterflyMatt Cimber
      Espion, lève-toiYves Boisset
      The Lady BankerFrancis Girod
      La disubbidienzaAldo Lado
      Tragedy of a Ridiculous ManBernardo Bertolucci
      The Lady of the CamelliasMauro Bolognini
      The ProfessionalGeorges Lautner
      Buddy Goes WestMichele Lupo
      So FineAndrew Bergman
      White DogSamuel Fuller
      1982CopkillerRoberto Faenza
      A Time to DieMatt Cimber
      Blood LinkAlberto De Martino
      The RuffianJosé Giovanni
      NanaDan Wolman
      The ThingJohn Carpenter
      1983The KeyTinto Brass
      HundraMatt Cimber
      Treasure of the Four CrownsFerdinando Baldi
      Le MarginalJacques Deray
      Thieves After DarkSamuel Fuller
      SaharaAndrew V. McLaglen
      1984Once Upon a Time in AmericaSergio Leone
      La Cage aux Folles III: The WeddingGeorges Lautner
      1985The TrapGiuseppe Patroni Griffi
      The RepenterPasquale Squitieri
      Red SonjaRichard Fleischer
      1986The Venetian WomanMauro Bolognini
      The MissionRoland Joffé
      1987ControlGiuliano Montaldo
      Farewell MoscowMauro Bolognini
      The Gold Rimmed GlassesGiuliano Montaldo
      RampageWilliam Friedkin
      QuartiereSilvano Agosti
      The UntouchablesBrian De Palma
      1988A Time of DestinyGregory Nava
      FranticRoman Polanski
      Cinema ParadisoGiuseppe Tornatore
      1989Time to KillGiuliano Montaldo
      Casualties of WarBrian De Palma
      Fat Man and Little BoyRoland Joffé
      1990s
      YearTitleDirector
      1990Tie Me Up! Tie Me Down!Pedro Almodóvar
      The Palermo ConnectionFrancesco Rosi
      HamletFranco Zeffirelli
      The BachelorRoberto Faenza
      The Big ManDavid Leland
      Everbody’s FineGiuseppe Tornatore
      State of GracePhil Joanou
      Tre colonne in cronacaCarlo Vanzina
      1991BugsyBarry Levinson
      Especially on SundayMarco Tullio Giordana
      Giuseppe Tornatore
      Husband and LoversMauro Bolognini
      MoneySteven Hilliard Stern
      1992City of JoyRoland Joffé
      The Long SilenceMargarethe von Trotta
      Lorenzo’s OilGeorge Miller
      1993In the Line of FireWolfgang Petersen
      Jonah Who Lived in the WhaleRoberto Faenza
      The EscortRicky Tognazzi
      1994A Pure FormalityGiuseppe Tornatore
      Love AffairGlenn Gordon Caron
      DisclosureBarry Levinson
      WolfMike Nichols
      1995The Star MakerGiuseppe Tornatore
      Who Killed PasoliniMarco Tullio Giordana
      The Night and the MomentAnna Maria Tatò
      Sostiene PereiraRoberto Faenza
      1996The Stendahl SyndromeDario Argento
      La LupaGabriele Lavia
      We Free KingsSergio Citti
      The NymphLina Wertmüller
      Strangled LivesRicky Tognazzi
      1997Cartoni animatiFranco Citti
      Sergio Citti
      LolitaAdrian Lyne
      U TurnOliver Stone
      1998The Legend of 1900Giuseppe Tornatore
      The Phantom of the OperaDario Argento
      BulworthWarren Beatty
      2000s
      YearTitleDirector
      2000Canone Inverso – Making LoveRicky Tognazzi
      MalènaGiuseppe Tornatore
      Mission to MarsBrian De Palma
      2001VatelRoland Joffé
      Aida of the TreesGuido Manuli
      Un altro mondo è possibileVarious
      La ragion puraSilvano Agosti
      2002Senso ’45Tinto Brass
      Ripley’s GameLiliana Cavani
      Carlo Giuliani, BoyFrancesca Comencini
      2003The End of a MysteryMiguel Hermoso
      Instructing the HeartGiovanni Morricone
      200472 MetersVladimir Khotinenko
      Guardians of the CloudsLuciano Odorisio
      2005FatelessLajos Koltai
      E ridendo l’ucciseFlorestano Vancini
      2006The Unknown WomanGiuseppe Tornatore
      LibertasVeljko Bulajic
      A CrimeManuel Pradal
      2008The Demons of St. PetersbergGiuliano Montaldo
      2009BaariaGiuseppe Tornatore
      2010s
      YearTitleDirector
      2011Love StoryFlorian Habicht
      2013The Best OfferGiuseppe Tornatore
      2015Come What MayChristian Carion
      Il Sole è buioGiuseppe Papasso
      The Hateful EightQuentin Tarantino
      2016The CorrespondenceGiuseppe Tornatore

      Classic (absolute) music

      Ennio Morricone’s classical compositions include over 15 piano concertos, 30 symphonic pieces, choral music, one opera and one mass. His first classical pieces date back to the late-forties.

      • Il Mattino (for voice and piano) 1946
      • Imitazione (for voice and piano) 1947
      • Iintimità (for voice and piano) 1947
      • Barcarola funebre (for piano) 1952
      • Preludio a una Novella senza titolo (for piano) 1952
      • Distacco I (for voice and piano) 1953
      • Distacco II (for voice and piano) 1953
      • Verrà la morte (for contralto and piano) 1953
      • Oboe sommerso (for baritone and five instruments) 1953
      • Musica (for piano and string orchestra) 1954
      • Sonata (for brass ensemble, piano and timpani) 1954
      • Variations on a theme by Frescobaldi (for piano) 1955
      • Cantata (for orchestra and mixed chorus singing a text by Cesare Pavese) 1955
      • Sestetto (for flute, oboe, bassoon, violin, viola and cello) 1955
      • Twelve Variations (for oboe d’amore, cello and piano) 1956
      • Invenzione, canone e ricercare (for piano) 1956
      • Concerto (for orchestra) 1957
      • Distanze (for violin, cello and piano) 1958
      • Requiem per un destino (for mixed chorus and orchestra) 1966
      • Suoni per Dino (a piece for viola virtuoso Dino Asciolla using 2 magnetic tapes) 1969
      • Proibito (for 8 trumpets) 1972
      • Gestazione (for female voice and instruments plus pre-recorded electronic sounds and an ad lib string orchestra) 1980
      • Totem secondo (for 5 bassoons and 2 contrabassoons) 1981
      • Second Concerto (for flute, cello and orchestra) 1984–85
      • Four Studies (for piano) 1984–89
      • Frammenti di Eros (Cantata for soprano, piano and orchestra to a text by Sergio Miceli) 1985
      • Cantata per L’Europa (for soprano, two vocal recitals, mixed chorus and orchestra) 1988
      • Mordenti (for harpsichord) 1988
      • Epos (for orchestra) 1989
      • Study (for double-bass) 1989
      • Reflessi (for cello) 1989–90
      • Frammenti di giochi (for violin and harp) 1990
      • Third Concerto (for guitar, marimba and string orchestra) 1990–91
      • UT (for trumpet, timpani, bass drum and string orchestra) 1991
      • Una via crucis (‘Stations of The Cross’ in various vocal and instrumental combinations and in collaboration with Michele Dall’Ongaro and Egisto Macchi)
      • Fourth Concerto (for organ, two trumpets, two trombones and orchestra) 1993
      • Vidi aquam (for soprano and small orchestra) 1993
      • Elegia per Egisto (a piece for violin dedicated to his fellow-Nuova Consonanza member Egisto Macchi) 1993
      • Il silenzio, il gioco, la memoria (for a chorus of children’s voices singing a text by Sergio Miceli) 1994
      • Partenope (an opera with a libretto by Guido Barbieri and Sandro Cappelletto) 1996
      • Passaggio secondo (for flute, oboe, clarinet, bassoon, French horn, 20 strings and a vocal recital of a text by Allen Ginsberg) 1996
      • Scherzo (for violin and piano) 1996; Ombra di lontana presenza (for viola, string orchestra and magnetic tape) 1997
      • Nocturne and Passacaglia (for flute, oboe, clarinet, piano and strings) 1998
      • Amen (for 6 choruses of mixed voices) 1998
      • Pietre (for double chorus, percussion and cello) 1999
      • For the Children Killed by the Mafia (for soprano, baritone, 6 instruments and two voices reciting a text by Luciano Violente) 1999
      • Abenddämmerung (for violin, cello, piano and soprano or mezzo-soprano singing a text by Heinrich Heine) 2000
      • If This Be a Man (for soprano, violin, strings and vocal recital of a text by Primo Levi) 2001
      • Voci dal silenzio (for vocal recital, recorded voice, chorus and orchestra) 2002
      • Finale (for two organs) 2002
      • Riverberi (for flute, cello and piano) 2004
      • Missa Papae Francisci (mass for double chorus, orchestra and organ) 2015

      Live albums

      • Ennio Morricone live (with Metropole Orchestra) (1987)
      • Concerto Premio Nino Rota (1995)
      • Ennio Morricone – Live (1995)
      • Morricone dirige a Morricone (1998)
      • Cinema Concerto: Ennio Morricone at Santa Cecilia (1999)
      • Verona Arena Concerto (2002)
      • La leggenda della pianista (2003)
      • Focus: Ennio Morricone & Dulce Pontes (2004)
      • Voci dal silenzio (2004)
      • Morricone Conducts Morricone: The Munich Concert 2004 (2006)
      • Note di Pace/Peace Notes: Live at Piazza San Marco, Venice (2008)
      • Giorgio Armani presents Musica per il cinema (2CD)(2012)

      Studio albums

      with Gruppo di Improvvisazione di Nuova Consonanza

      • 1966 “Nuova Consonanza”, LP RCA
      • 1967 “The Private Sea of Dreams” (as Il Gruppo), LP RCA Victor
      • 1968 “Improvisationen” LP Deutsche Grammophon
      • 1970 “The Feed-back” (as The Group), LP RCA
      • 1973 “Improvvisazioni a Formazioni Variate” (also known as “Gruppo d’Improvvisazione Nuova Consonanza”), LP General Music
      • 1975 “Nuova Consonanza”, LP Cinevox Records. Reissue 2007 CD Bella Casa
      • 1976 “Musica su Schemi”, LP Cramps Records. Reissue 2002: LP Get Back, CD Ampersand
      • 1992 “1967–1975”, CD Edition RZ
      • 2006 “Azioni”, CD Die Schachtel
      • 2010 “Niente”, CD Cometa Edizioni Musicali. Reissue 2012 LP The Omni Recording Corporation/The Roundtable
      • 2011 “Eroina”, CD Cometa Edizioni Musicali

      with Chico Buarque

      • Per un pugno di samba (1970, Chico Buarque & Ennio Morricone)
      • Sonho de um Carnaval (2000, Chico Buarque & Ennio Morricone)
      • De sa terra a su xelu (2002, Clara Murtas & Ennio Morricone)

      other

      Selected compilations

      • Morricone: Belmondo (1971)
      • Take off: Film Hits (1978)
      • Oscar Valdambrini (1982)
      • His Greatest Themes (1986)
      • Film Music, Vol. 1: The Collection (1987)
      • Film Music, Vol. 2 (1988)
      • Once Upon a Time in the West: 20 Famous Film Tracks of Ennio Morricone (1989)
      • Zijn Grootste Successen (1990)
      • Chamber Music (1990)
      • The Legendary Italian Westerns (1990)
      • Original Film Musik Von Ennio Morricone (1993)
      • 93 Movie Sounds (1994)
      • Classic Ennio Morricone (1994)
      • Spaghetti Western: The Ennio Morricone Collection (1995)
      • The Ennio Morricone Anthology: A Fistful of Film Music (1995)
      • An Ennio Morricone: Dario Argento Trilogy (1995)
      • Anthology: Main Titles & Rare Tracks (1995)
      • With Love: Music Composed & Conducted By (1995)
      • Neapolitan Songs (1995)
      • Best of Ennio Morricone (BMG) (1995)
      • Love Themes (1995)
      • Film Hits (1995)
      • Western Movie Themes from Clint Eastwood Movies (1995)
      • Film Festival (1995)
      • Movie Classics: The Music of Ennio Morricone & Hugo Montenegro (1996)
      • TV Film Music (1996)
      • Time of Adventure (1996)
      • Main Titles, Vol. 1 (1965–1995) (1996)
      • Magic World of Ennio Morricone (1996)
      • Once Upon a Time in the Cinema (1996)
      • Time for Suspense (1996)
      • Fear According to Morricone (1997)
      • Singles Collection, Vol. 2 (1997)
      • Film Music by Ennio Morricone (Disky) (1998)
      • Movie Classics (1998)
      • Ennio Morricone Songbook, Vol. 2: Western Songs & Ballads (1998)
      • Mondo Morricone (1999)
      • 1966–1987 (1999)
      • Love Themes (1999)
      • Main Titles, Vol. 3: 1965–1985 (1999)
      • With Love, Vol. 2 (1999)
      • The Gangster Collection (1999)
      • Morricone 2000 (1999)
      • The Thriller Collection (1999)
      • Once Upon a Time in the West (Compilation) (1999)
      • Selections from Chronicle (1999)
      • Genius of Ennio Morricone (2000)
      • The Very Best of Ennio Morricone (2000)
      • Psycho Morricone (2001)
      • 40th Commemoration: Ultimate Soundtracks Collection (2001)
      • 40th Commemoration: Ultimate Italian Pops Collection (2001)
      • 40th Commemoration: Ultimate Mood Music Collection (2001)
      • Mondo Morricone Revisited, Vol. 1 (2002)
      • More Mondo Morricone Revisited, Vol. 2 (2002)
      • Molto Mondo Morricone, Vol. 3 (2002)
      • Morricone in the Scene: Chase Morricone (2002)
      • Bizarre Morricone (2002)
      • Lounge Morricone (2002)
      • Notte Morricone (2002)
      • Vivid Sound (2002)
      • Signor Morricone Tempo (2002)
      • Psichedelico Jazzistico (2004)
      • Erotica Morricone: So Sweet So Sensual (2004)
      • Casa Della Musica (2004)
      • A Celebration of Ennio Morricone’s 75th Anniversary (2004)
      • Great Melodies of Ennio Morricone (2004)
      • Movie Masterpieces (2004)
      • Morricone Aromatico (2004)
      • Once Upon a Time… The Essential Ennio Morricone (2004)
      • Film Music Maestro (2004)
      • The Best of Ennio Morricone (Setteottavi) (2005)
      • Morricone Happening (2005)
      • Most Famous Hits (2005)
      • Morricone Kill: Spaghetti Western Magic from the Maestro (2005)
      • Morricone High (2005)
      • Morricone in Love (2005)
      • Maestro (2005)
      • Crime and Dissonance (2005)
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      Best Relaxing Piano Studio Ghibli Complete Collection 2017

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      Best Relaxing Piano Studio Ghibli Complete Collection 2017

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      Bill Evans, american jazz pianist and composer (1929-1980)

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      Bill Evans

      Born August 16, 1929, in Plainfield, NJ
      Died September 15, 1980, in New York, NY

      Bill Evans sheet music

      William John Evans (August 16, 1929 – September 15, 1980) was an American jazz pianist and composer who mostly played in trios. His use of impressionist harmony, inventive interpretation of traditional jazz repertoire, block chords, and trademark rhythmically independent, “singing” melodic lines continue to influence jazz pianists today.

      Born in Plainfield, New Jersey, in 1929, he was classically trained at Southeastern Louisiana University and the Mannes School of Music, where he majored in composition and received the Artist Diploma. In 1955, he moved to New York City, where he worked with bandleader and theorist George Russell. In 1958, Evans joined Miles Davis‘s sextet, which in 1959, then immersed in modal jazz, recorded Kind of Blue, the best-selling jazz album of all time.

      Bill Evans was born in Plainfield, New Jersey on August 16, 1929 and began his music studies at age 6. Classically trained on piano; he also studied flute and violin as a child. He graduated with a degree in piano performance and teaching from Southeastern Louisiana College (now University) in 1950, and studied composition at Mannes College of Music in New York. After a stint in the Army, he worked in local dance bands, and with clarenetist Tony Scott, Chicago-area singer Lucy Reed and guitarist Mundell Lowe, who brought the young pianist to the attention of producer Orrin Keepnews at Riverside Records.

      Evans’ first album was New Jazz Conceptions in 1956, which featured the first recording of his most loved composition, “Waltz for Debby”. It’s follow-up, Everybody Digs Bill Evans was not recorded for another two years; the always shy and self- deprecating pianist claiming he “had nothing new to say.” He gradually got noticed in the NYC jazz scene, for his original piano sound and fluid ideas, when in 1958, Miles Davis asked him to join his group (which also featured John Coltrane and Cannonball Adderley) He stayed for nearly a year, touring and recording, and subsequently playing on the all-time classic Kind of Blue album — as well as composing “Blue in Green”, now a jazz standard. His work with Miles helped solidify Bill’s reputation, and in 1959, Evans founded his most innovative trio with the now-legendary bassist Scott LaFaro and with Paul Motian on drums. The trio concept of equal interplay among the musicians was virtually pioneered by Evans, and these albums remain the most popular in his extensive catalog. They did two studio albums together in addition to the famous ‘live” sessions at NYC’s Village Vanguard in 1961. LaFaro’s tragic death in a car accident a few weeks after the Vanguard engagement — an event which personally devastated Bill — sent the pianist into seclusion for a time, after which he returned to the trio format later in 1962, with Motian again, and Chuck Israels on bass.

      His 1963 Conversations With Myself album , in which he double and triple-tracked his piano, won him the first of many Grammy® awards and the following year he first toured overseas, playing to packed houses from Paris to Tokyo, now solidifying a worldwide reputation. The great bassist Eddie Gomez began a fruitful eleven year tenure with Bill in 1966, in various trios with drummers Marty Morell, Philly Joe Jones, Jack DeJohnette and others — contributing to some of the most acclaimed club appearances and albums in Evans’s career. His recorded output was considerable — (for Riverside, Verve, Columbia, Fantasy and Warner Bros) over the years, and he also did sessions (especially early on) with some of the top names in jazz. Musicians like Charles Mingus, Art Farmer, Stan Getz, Oliver Nelson, Jim Hall, George Russell, Shelley Manne, Toots Theielmans, Kai Winding /J.J. Johnson, Hal McKusick and others all featured Evans. In the seventies, he recorded extensively– primarily trio and solo piano now and then, but also including several quintet albums under his own name as well two memorable dates with singer Tony Bennett.

      His last trio was formed in 1978, featuring the incomparably sensitive Marc Johnson on bass and drummer Joe LaBarbera, which rejuvenated the often-ailing pianist, who was elated with his new line-up, calling it “the most closely related” to his first trio (with LaFaro and Motian). He suffered yet more family problems and upheavals in his personal life, (often due to bouts with narcotics addiction) and yet brought a new dynamic musical vitality, a surer confidence, fresh energy and even more aggressive interplay to the trio’s repertoire. Evans’ health was deteriorating, however, though he insisted on working until he finally had to cancel midweek during an engagement at Fat Tuesday’s in New York. A few days later, he had to be taken to Mount Sinai Hospital on September 15, 1980, where he died from a bleeding ulcer, cirrhosis of the liver and bronchial pneumonia . He is buried next to his beloved brother Harry, in Baton Rouge, Louisiana.

      While Evans was open to new musical approaches that would not compromise his musical and artistic vision — such as his occasional use of electric piano, and his brief associations with avant-garde composer George Russell — he always insisted on the purity of the song structure and the noble history of the jazz tradition. It was a point the highly articulate Evans was quite forthcoming about in the various interviews he gave throughout his career. Consistently true to his own pianistic standards, he continued to enhance his own singular vision of music until the very end.

      Bill Evans sheet music
      Bill Evans sheet music

      In his short life, Bill Evans was a prolific and profoundly creative artist and a genuinely compassionate and gentle man, often in the face of his recurring health problems and his restless nature. His rich legacy remains undiminished, and his compositions have enjoyed rediscovery by jazz players and even some classical musicians. Even twenty-five years after his passing, Bill Evans’ music continues to influence musicians and composers everywhere and all those who have been deeply touched by his expressive genius and sensitive, lyrical artistry.

      Bill Evans: The Complete Catalog of Recordings.

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