Bach, J.S. – Präludium I in c-Moll, BWV 999 aus dem Wohltemperierten Klavier (Buch 1) mit Noten
Tag: sheet music score download partitura partition spartiti 楽譜 망할 음악 ноты noten
Heitor Villa-lobos – 12 Études for Guitar with sheet music, con partitura
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.
What a Wonderful World (piano solo) with lead sheet
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.
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.
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.
坂本 龍一 Ryuichi Sakamoto Full Album 2020 – 坂本 龍一 Ryuichi Sakamoto Best Of (with sheet music)
坂本 龍一（さかもと りゅういち、Sakamoto Ryūichi、1952年1月17日 – ）は、日本のミュージシャン、作曲家、編曲家、作詞家、音楽プロデューサー、音楽評論家、指揮者、タレント、俳優、政治活動家。東京都出身。
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Ryuichi Sakamoto (坂本 龍一, Sakamoto Ryūichi, born January 17, 1952) is a Japanese composer, singer, songwriter, record producer, activist, and actor who has pursued a diverse range of styles as a solo artist and as a member of Yellow Magic Orchestra (YMO). With his bandmates Haruomi Hosono and Yukihiro Takahashi, Sakamoto influenced and pioneered a number of electronic music genres.
Sakamoto began his career while at university in the 1970s as a session musician, producer, and arranger. His first major success came in 1978 as co-founder of YMO. He concurrently pursued a solo career, releasing the experimental electronic fusion album Thousand Knives in 1978. Two years later, he released the album B-2 Unit. It included the track “Riot in Lagos”, which was significant in the development of electro and hip hop music.
He went on to produce more solo records, and collaborate with many international artists, David Sylvian, Carsten Nicolai, Youssou N’Dour, and Fennesz among them. Sakamoto composed music for the opening ceremony of the 1992 Barcelona Olympics, and his composition “Energy Flow” (1999) was the first instrumental number-one single in Japan’s Oricon charts history.
As a film-score composer, Sakamoto has won an Oscar, a BAFTA, a Grammy, and 2 Golden Globe Awards. Merry Christmas, Mr. Lawrence (1983) marked his debut as both an actor and a film-score composer; its main theme was adapted into the single “Forbidden Colours” which became an international hit.
His most successful work as a film composer was The Last Emperor (1987), after which he continued earning accolades composing for films such as The Sheltering Sky (1990), Little Buddha (1993), and The Revenant (2015). On occasion, Sakamoto has also worked as a composer and a scenario writer on anime and video games. In 2009, he was awarded the Ordre des Arts et des Lettres from the Ministry of Culture of France for his contributions to music.
Sheet Music download here.
Lang, Lang – Journey of a thousand miles – my story (1982) Book is available in our online Library.
Lang Lang: “Number One” was a phrase my father—and, for that matter, my mother—repeated time and time again. It was a phrase spoken by my parents’ friends and by their friends’ children. Whenever adults discussed the great Chinese painters and sculptors from the ancient dynasties, there was always a single artist named as Number One. There was the Number One leader of a manufacturing plant, the Number One worker, the Number One scientist, the Number One car mechanic. In the culture of my childhood, being best was everything.
It was the goal that drove us, the motivation that gave life meaning. And if, by chance or fate or the blessings of the generous universe, you were a child in whom talent was evident, Number One became your mantra. It became mine. I never begged my parents to take off the pressure. I accepted it; I even enjoyed it. It was a game, this contest among aspiring pianists, and although I may have been shy, I was bold, even at age five, when faced with a field of rivals.
Born in China to parents whose musical careers were interrupted by the Cultural Revolution, Lang Lang has emerged as one of the greatest pianists of our time. Yet despite his fame, few in the West know of the heart-wrenching journey from his early childhood as a prodigy in an industrial city in northern China to his difficult years in Beijing to his success today.
Journey of a Thousand Miles documents the remarkable, dramatic story of a family who sacrificed almost everything—his parents’ marriage, financial security, Lang Lang’s childhood, and their reputation in China’s insular classical music world—for the belief in a young boy’s talent. And it reveals the devastating and intense relationship between a boy and his father, who was willing to go to any length to make his son a star.
An engaging, informative cultural commentator who bridges East and West, Lang Lang has written more than an autobiography: his book opens a door to China, where Lang Lang is a cultural icon, at a time when the world’s attention will be on Beijing. Written with David Ritz, the coauthor of many bestselling autobiographies, Journey of a Thousand Miles is an inspiring story that will give readers an appreciation for the courage and sacrifice it takes to achieve greatness.
Fans all over the world are in awe of the Chinese pianist Lang Lang’s magnificent talent and won over by his immense charm. The excitement his performances evoke is well documented in the legions of reviews and profiles about him. What is less known, however, is the heart-wrenching story of his journey from a young prodigy in an industrial city in northern China to one of the greatest pianists of our time.
Journey of a Thousand Miles documents the remarkable story of a boy and his father who sacrificed almost everything–family, financial security, Lang Lang’s childhood, and their reputation in China’s insular classical music world–for the belief in a young boy’s talent.
An engaging, informative cultural commentator who bridges east and west, Lang Lang has written more than an autobiography; his story opens a door to Chinese culture at a time when the world’s attention will be on Beijing. Written with David Ritz, the coauthor of many bestselling autobiographies, Journey of a Thousand Miles is an inspiring story that will give readers new insight into China and classical music, and appreciation for the courage and sacrifice it takes to achieve artistic greatness.
The 25-year-old Chinese piano prodigy chronicles his coming of age.
Lang Lang – Bach: Goldberg Variations, BWV 988: Aria
Table of Contents
- Henry Mancini Em Bossa Nova – 1967 – Full Album – Sheet Music
- Henry Mancini
- Days Of Wine And Roses
- Henry Mancini’s Song Highlights
- Henry Mancini’s awards
- Grammy Awards
Henry Mancini Em Bossa Nova – 1967 – Full Album – Sheet Music
Henry Nicola Mancini (born Enrico Nicola Mancini; April 16, 1924 – June 14, 1994) was an American composer, conductor, arranger, pianist and flautist. Often cited as one of the greatest composers in the history of film, he won four Academy Awards, a Golden Globe, and twenty Grammy Awards, plus a posthumous Grammy Lifetime Achievement Award in 1995.
His works include the theme and soundtrack for the Peter Gunn television series as well as the music for The Pink Panther film series (“The Pink Panther Theme“) and “Moon River” from Breakfast at Tiffany’s. The Music from Peter Gunn won the first Grammy Award for Album of the Year. Mancini enjoyed a long collaboration composing film scores for the film director Blake Edwards. Mancini also scored a No. 1 hit single during the rock era on the Hot 100: his arrangement and recording of the “Love Theme from Romeo and Juliet” spent two weeks at the top, starting with the week ending June 28, 1969.
1. Champagne And Quail (00:00) // 2. Charade (02:52) // 3. Days Of Wine And Roses (07:10) // 4. Royal Blue (09:54) // 5. Megeve (12:43) // 6. Moon River (15:06) // 7. Sally’s Tomato (18:06) // 8. Breakfast at Tiffany’s (21:27) // 9. Night Side (25:00) // 10. Latin Snowfall (27:11) // 11. Mr. Lucky (29:46) // 12. Dreamsville (32:12)
Days Of Wine And Roses
Henry Mancini
Days Of Wine And Roses
The days of wine and roses,
Laugh and run away,
Like a child at play,
Through a meadowland,
Toward a closing door,
A door marked never more,
That wasnt there before.
The lonely night discloses,
Just a passing breeze,
Filled with memories,
Of the golden smile,
That introduced me to,
The days of wine and roses,
And you!
The lonely night discloses,
Just a passing breeze,
Filled with memories,
Of the golden smile,
That introduced me to,
The days of wine and roses,
And you!
Henry Mancini’s Song Highlights
Henry Mancini’s awards
Grammy Awards
| Year | Album/Track | Award | |
|---|---|---|---|
| 1970 | T | Theme from “Z” (Life Goes On) | Best Instrumental Arrangement |
| 1970 | A | Theme from Z and Other Film Music | Other Pop/Rock&Roll/ Contemporary Awards or Instrumental |
| 1969 | T | Love Theme {From Romeo and Juliet} | Best Instrumental Arrangement |
| 1964 | A | Pink Panther | Best Instrumental Arrangement |
| 1964 | T | Pink Panther Theme | Best Instrumental Composition (other than Jazz) |
| 1964 | T | Pink Panther Theme | Best Pop Instrumental Performance |
| 1963 | T | Days of Wine and Roses | Best Instrumental Arrangement Accompanying Vocalist(s)/Best Background Arrangement |
| 1963 | T | Days of Wine and Roses | Record Of The Year |
| 1963 | T | Days of Wine and Roses | Song Of The Year/New Song Of The Year |
| 1962 | T | Baby Elephant Walk | Best Instrumental Arrangement |
| 1961 | A | Breakfast at Tiffany’s | Best Instrumental Composition Written Specifically For A Motion Picture or for Television |
| 1961 | T | Breakfast At Tiffany’s | Best Pop Instrumental Performance |
| 1961 | T | Moon River | Best Arrangement Accompanying A Vocalist Or Instrumentalist |
| 1961 | T | Moon River | Record Of The Year |
| 1961 | T | Moon River | Song Of The Year/New Song Of The Year |
| 1960 | A | Blues and the Beat | Best Large Jazz Ensemble Performance |
| 1960 | A | Music from Mr. Lucky | Best Arrangement Accompanying A Vocalist Or Instrumentalist |
| 1960 | A | Music from Mr. Lucky | Best Pop Instrumental Performance |
| 1958 | A | Music from Peter Gunn [RCA] | Album Of The Year |
| 1958 | A | Music from Peter Gunn [RCA] | Best Arrangement Accompanying A Vocalist Or Instrumentalist |
Can’t Take My Eyes Off You – by by Bob Crewe and Bob Gaudio (1967) with sheet music (available in our online Library), performed by 101 Strings Orchestra.
“Can’t Take My Eyes Off You” is a 1967 song written by Bob Crewe and Bob Gaudio. It was recorded as a single by Frankie Valli.
The song was among his biggest hits, earning a gold record and reaching No. 2 on the Billboard Hot 100 for a week, stuck behind “Windy” by the Association.
Gaudio was a bandmate of Valli’s in the Four Seasons. It was Valli’s biggest solo hit until he hit No. 1 in 1975 with “My Eyes Adored You”.Bob Gaudio, an original member of the Four Seasons, refers to “Eyes” today as “the one that almost got away” until Windsor, Ontario radio station CKLW (a station also serving the Detroit metro on the American side of the border) intervened.
In 1967, the record’s producers urged Paul Drew, program director at the legendary station, to consider the tune for rotation. For much of the ’60s and ’70s, CKLW was credited with launching hit records via its powerful signal, blanketing the Great Lakes region.
Drew didn’t warm to the song at first, but accepted an invitation to hear it live at the Roostertail, where Frankie Valli was performing a weeklong stint with the Four Seasons. Drew liked what he heard and added the song to his station’s playlist. “The switchboards lit up, and the rest, as they say, is history,” Gaudio recalls.”Can’t Take My Eyes Off You” has been recorded in many other arrangements, many of which have been on the charts in different countries.
The song is a staple of television and film soundtracks, even being featured as part of the plot of some films, such as when the lead characters sing or arrange their own version of the song. The Valli version was also used by NASA as a wake-up song on the STS-126 Space Shuttle mission, to celebrate the anniversary of astronaut Christopher Ferguson, one of the mission’s crew members.
The song was written by Bob Crewe and Bob Gaudio. Arrangement was done by Artie Schroeck and Gaudio. The original recording was made at A & R Studio 2 (formerly Columbia Studio A) 799 7th Avenue in New York City, with Bob Crewe producing and Phil Ramone engineering.
The song has been recorded by many artists. Among the most notable examples are the following: The Lettermen (#7 in 1967, in a medley with “Goin’ Out of My Head”) A version by Andy Williams made it to #5 on the UK singles chart in 1968.[17] The arranger and producer was Nick DeCaro and the conductor was Eddie Karam.
This version is included in the soundtrack of the 2001 film Bridget Jones’s Diary. It is also included in the soundtrack for Black Mirror Season 5 Episode 2; Smithereens. In 2002 he recorded a new version of the song, as a duet with British actress and singer Denise van Outen, which reached #23 in the UK singles charts. Maureen McGovern (#27 on the US Adult Contemporary chart in 1979; #5 Canadian AC in 1980).
1991, Pet Shop Boys used part of the song on their version of U2’s “Where the Streets Have No Name”, which reached #4 in the U.K. and #72 in the U.S.[citation needed] 1992, Dutch singers Gerard Joling and Tatjana Šimić recorded a duet version of the song (including a rap segment by Darrell Bell), which peaked at #5 in the Dutch Top 40 charts. 1993, the song was recorded by a-ha singer Morten Harket for the soundtrack of the movie Coneheads (1993). 1998, Lauryn Hill (#35 on the Hot 100 Airplay chart and #2 on the Rhythmic Top 40 chart in 1998 and #8 on the Australian Singles Charts).
This version was also nominated for a Grammy Award for Best Female Pop Vocal Performance in 1999. 2004, Jennifer Peña recorded a Latin version of the song, “No Hay Nadie Igual Como Tú”, which reached #33 on the Latin charts. 2011, Stereophonics frontman Kelly Jones sang an acoustic version of the song in tribute to former Wales national football team manager Gary Speed.
The song was adopted as an anthem for Welsh football fans during Speed’s playing career with Wales after being used in a BBC Wales promo for the 1994 World Cup qualifying campaign. In 2013, the vocal harmony group the Overtones covered the song for the official soundtrack of the German film Buddy.
In 2014, John Lloyd Young covered the song for the movie Jersey Boys about the band the Four Seasons in which he played Frankie Valli. 101 Strings Orchestra was a brand for a highly successful easy listening symphonic music organization, with a discography exceeding 150 albums and a creative lifetime of around 30 years beginning in 1957. 101 Strings had a trademark sound, focusing on melody with a laid-back ambiance most often featuring strings.
Their LPs were individualized by the slogan “The Sound of Magnificence”, a puffy cloud logo and sepia-toned photo of the orchestra. The 101 Strings orchestra included 124 string instruments, and was conducted by Wilhelm Stephan. The orchestra’s famous official photograph was taken in the Musikhalle Hamburg.
Sheet Music Lyrics:
You’re just too good to be true
Can’t take my eyes off of you
You’d be like Heaven to touch
I wanna hold you so much
At long last, love has arrived
And I thank God I’m alive
You’re just too good to be true
Can’t take my eyes off of you
Pardon the way that I stare
There’s nothin’ else to compare
The sight of you leaves me weak
There are no words left to speak
But if you feel like I feel
Please let me know that it’s real
You’re just too good to be true
Can’t take my eyes off of you
I love you, baby
And if it’s quite alright
I need you, baby
To warm the lonely night
I love you, baby
Trust in me when I say
Oh, pretty baby
Don’t bring me down, I pray
Oh, pretty baby
Now that I’ve found you, stay
And let me love you, baby
Let me love you
You’re just too good to be true
Can’t take my eyes off of you
You’d be like Heaven to touch
I wanna hold you so much
At long last, love has arrived
And I thank God I’m alive
You’re just too good to be true
Can’t take my eyes off you
I love you, baby
And if it’s quite alright
I need you, baby
To warm the lonely night
I love you, baby
Trust in me when I say
Oh, pretty baby
Don’t bring me down, I pray
Oh, pretty baby
Now that I’ve found you, stay
Oh, pretty baby
Trust in me when I say
Oh, pretty baby
Sheet music download here.
Joe Hisaishi : Studio Ghibli Experience, Part 1 with sheet music.
出典: フリー百科事典『ウィキペディア（Wikipedia）』 ナビゲーションに移動検索に移動
Track List:
0:00 One Summer’s Day 4:32 The Sixth Station 8:23 Ashitaka and San 12:22 Merry-Go-Round of Life 17:36 Fantasia (for NAUSICCA) 24:34 Innocent 27:07 Il Porco Rosso 32:00 The Wind Forest 36:56 Merry-Go-Round 41:24 Ponyo on the cliff by the sea 44:13 Castle in the Sky 50:45 Cave of Mind
| 久石譲 | |
|---|---|
| 基本情報 | |
| 出生名 | 藤澤守[1] |
| 生誕 | 1950年12月6日（69歳） |
| 出身地 | 日本 長野県中野市 |
| 学歴 | 国立音楽大学作曲科卒業 |
| ジャンル | 映画音楽 クラシック ミニマル・ミュージック |
| 職業 | 作曲家 編曲家 国立音楽大学招聘教授 |
| 担当楽器 | 指揮 ピアノ |
| 活動期間 | 1974年 – [注 1] |
| レーベル | ユニバーサルシグマ |
| 事務所 | 株式会社ワンダーシティ |
| 公式サイト | 久石譲オフィシャルサイト |
久石 譲（ひさいし じょう、Joe Hisaishi、1950年12月6日 – ）は、日本の作曲家、編曲家、指揮者、ピアニスト。本名、藤澤 守（ふじさわ まもる）。歌手の麻衣は長女。久石の楽譜は図書館にあります。
Mamoru Fujisawa (藤澤 守, Fujisawa Mamoru, born December 6, 1950), known professionally as Joe Hisaishi (久石 譲, Hisaishi Jō), is a Japanese composer and musical director known for over 100 film scores and solo albums dating back to 1981. Hisaishi is also known for his piano scores. Hisaishi’s sheet music can be found in our Library.
While possessing a stylistically distinct sound, Hisaishi’s music has been known to explore and incorporate different genres, including minimalist, experimental electronic, European classical, and Japanese classical. Lesser known are the other musical roles he plays; he is also a typesetter, author, arranger, and conductor.
He has been associated with animator Hayao Miyazaki since 1984, having composed scores for all but one of his films. He is also recognized for the soundtracks he has provided for filmmaker ‘Beat’ Takeshi Kitano, including A Scene at the Sea (1991), Sonatine (1993), Kids Return (1996), Hana-bi (1997), Kikujiro (1999), and Dolls (2002), as well for the video game series Ni no Kuni. He was a student of anime composer Takeo Watanabe.
長野県中野市出身。長野県須坂高等学校を経て、国立音楽大学作曲科卒業。久石譲の名は、大学在学中に友人と話し合った結果、当時活躍していたクインシー・ジョーンズの名前をもじり漢字に当てたものに由来する。
映画音楽を中心に手掛ける。特に宮崎駿監督作品においては、『風の谷のナウシカ』以降、『風立ちぬ』まで29年間すべての長編アニメーション映画の音楽を手掛けている。また、北野武監督作品においても、『あの夏、いちばん静かな海。』から『Dolls』までの7作品の音楽を手掛けている。
ソロ活動も行っており、多数のソロアルバムをリリースしている。これらのアルバムでは、指揮・演奏・プロデュースも手掛け、ジャンルにとらわれない独自のスタイルを確立している。また、一部の楽曲では、自らボーカルを担当している。
Studio Ghibli Inc. (Japanese: 株式会社スタジオジブリ, Hepburn: Kabushiki-gaisha Sutajio Jiburi) is a Japanese animation film studio headquartered in Koganei, Tokyo. The studio is best known for its animated feature films, and has also produced several short films, television commercials, and one television film. It was founded on 15 June 1985 by directors Hayao Miyazaki and Isao Takahata and producer Toshio Suzuki, after the success of Topcraft‘s anime film Nausicaä of the Valley of the Wind (1984). Studio Ghibli has also collaborated with video game studios on the visual development of several video games.
Six of Studio Ghibli’s films are among the 10 highest-grossing anime films made in Japan, with Spirited Away (2001) being the second highest, grossing over US$360 million worldwide. Many of their works have won the Animage Anime Grand Prix award, and four have won the Japan Academy Prize for Animation of the Year. Five of Studio Ghibli’s films have received Academy Award nominations. Spirited Away won the Golden Bear in 2002 and the Academy Award for Best Animated Feature Film in 2003. Totoro, a character from My Neighbor Totoro, is the studio’s mascot.
On 3 August 2014, Studio Ghibli temporarily halted production following the retirement of Miyazaki. In February 2017, Toshio Suzuki announced that Miyazaki had come out of retirement again to direct a new feature film, How Do You Live?, with Studio Ghibli.
沿革
1985年6月15日 – 株式会社スタジオジブリ（初代）設立。最初の場所は吉祥寺駅近くの第2井野ビル。
1991年 – 宮崎駿の新スタジオ建設案で経営方針の対立が勃発。原徹が常務を辞任し退社。後任に鈴木敏夫が就任。
1992年8月6日 – 小金井市梶野町（東小金井駅近く）の新社屋に移転。
1997年6月 – 経営悪化した徳間書店の収益確保の一環で徳間書店に吸収合併。株式会社スタジオジブリを解散。徳間書店の社内カンパニー「株式会社徳間書店 スタジオジブリ・カンパニー」となる。同年『もののけ姫』完成後、宮崎駿が退社。
1999年 – 徳間書店が事業部制を導入。「株式会社徳間書店 スタジオジブリ事業本部」となる。同年に宮崎駿がスタジオジブリ所長として復帰。
2004年 – 株式会社徳間書店 スタジオジブリ事業本部を有限会社スタジオジブリに分割。
2005年4月 – 徳間書店からの分離・独立により[6][7]、組織形態を有限会社から株式会社へ変更[3]。株式会社スタジオジブリ（2代）がスタジオジブリ事業本部の業務すべてを継承。鈴木敏夫が代表取締役社長に、宮崎駿とスティーブン・アルパートがそれぞれ取締役に就任。
2008年2月 – 鈴木敏夫が代表取締役社長を退任し、後任に星野康二（元ウォルト・ディズニー・ジャパン会長）が就任。
2009年4月 – トヨタ自動車本社内に新スタジオとして「西ジブリ」を開設。
2010年8月 – 西ジブリを閉鎖。
2014年8月 – 制作部門の休止が発表。社内では年内をもって制作部門の社員全員の退職が発表される。
2015年10月 – 第20回釜山国際映画祭で「アジア映画人賞」が授与される。
5月19日 – 宮崎の新作長編アニメーション映画の本格的な始動に伴う、制作部門の活動再開、及び新人スタッフの募集開始を発表。
11月28日 – 代表取締役社長に中島清文（旧ジブリの森美術館 館長）が就任。先代社長・星野は代表取締役会長に就任。また、現在、宮崎駿の新作長編アニメ映画『君たちはどう生きるか』と、宮崎吾朗のCG長編アニメ映画を2本同時で制作していることを発表。鈴木敏夫は、『君たちはどう生きるか』は同名小説とは異なり、ファンタジー作品となることを明かしている。
Schubert, Trio No. 2, Op. 100, Andante con moto | Ambroise Aubrun, Maëlle Vilbert, Julien Hanck
Schubert spent the majority of his brief but prodigious life writing and performing music within the intimate and convivial company of family and friends. Almost entirely without patrons, commissions nor aristocratic associations, he flourished within a small, cultured middle-class Viennese community where the majority of his music would remain, unknown to the larger world until after his death. Schubert wrote reams of music ideal for the setting: over six-hundred songs, numerous piano works for two and four hands, and a sizable canon of chamber music. In his final decade, Schubert produced a mature series of highly original chamber music that ranks among the greatest ever created including the Trout Quintet, the last four String Quartets, two Piano Trios and a breathtaking final work, the String Quintet in C major.
Despite his rapidly declining health, his final year yielded the Piano Trios, the Quintet, three Piano Sonatas and a towering Symphony in C major. It would seem that Schubert’s music just got better and better right until the end. Dying at the age of only thirty-one, Schubert may have departed with still “fairer hopes”, but the music he left behind could easily occupy a much longer life in the service of appreciating it all.
The last Piano Trio in E-flat major, Op. 100, D.929, is a gigantic masterpiece that, with Beethoven’s Archduke, could be considered among the few greatest piano trios in the traditional repertory. It is gigantic in length and breadth, wealthy in thematic ideas, constant transformations and ingenious details of construction. A typical performance runs to nearly forty-five minutes and this without taking the repeat in the first movement, and, after Schubert’s edits in the finale, removing its repeat as well as some one hundred additional measures. “Heavenly lengths”, as Schumann would write. Like much of Schubert’s “late” music, it is grand and profound in a way that goes well beyond the relatively modest context in which he wrote.
It was among the few pieces performed in the only public concert featuring Schubert’s music held during his lifetime, the only work published outside Austria before his death. Schumann wrote, “a Trio by Schubert passed across the musical world like some angry comet in the sky”. More intense than its worthy companion, the Piano Trio in B-flat major written around the same time, it flairs with passion, pathos, perhaps even anger, but it is equally saturated with joy, grace and triumphant beauty.
The first movement sonata in moderate tempo is full of Schubertian lyricism and energy, with as many as six separate thematic ideas in the exposition alone. Careful inspection reveals that they are related. Swept along within Schubert’s typical flow of songlike themes, it is easy to overlook the ways in which he equally excels with a set of key motives that interrelate and recur throughout the trio in a wonderful organic unity. While vast, the trio is also highly integrated. The development is concerned chiefly with the last theme working this generous sonata into surprising dramatic heights.
The slow movement begins with a somber, poised march with a singing cello lament in a minor key. A second theme melts the chill into a tender, bright warmth of smooth motion, a contrast that generates another unexpected epic, the most memorable movement of the trio. Twice, it swells into a blinding heat of monumental passion before cooling again into the restrained, unforgiving march.
The Scherzo delights with sparkling play and clever invention: it is a canon throughout with piano and strings imitating each other in a variety of shifting combinations interlacing two and three-part textures in a genial dance like so many Schubert wrote for his Viennese friends. The trio section is more rustic and bold with heavy accents and a recall of one of the troubled, rhythmic themes from the first movement charmed into dance through a loving contrapuntal embrace.
The finale is combination of rondo and sonata forms with no less than three additional melodies, as though Schubert had an inexhaustible font of new music pouring out of his racing, mortal imagination. Midway through, Schubert reintroduces the march theme from the second movement, reminding us of something important we may have forgotten. Now, at least four distinct themes weave in an out of a tapestry of dazzling color and virtuosity with music that perhaps exceeds even Mozart with its lyrical bounty. For a final transformation of tremendous effect and compelling unity, Schubert returns to the march theme yet again, this time reborn in a final triumphant major key.
A casual listen to Schubert sometimes provokes the reaction that he is a bit long-winded, maybe even a bit repetitive. A more attentive listening reveals that Schubert never says the same thing twice. With his masterful handling of an ever-changing texture, his uncanny use of color within a chamber ensemble, his expert rhythmic sense and his exotic, emotionally keen harmonic modulations, Schubert always invests his recurring thematic material with new meaning, ultimately building a large-scale narrative where nothing is redundant and everything necessary. His music demands from the listener only an equivalently generous presence of heart and mind.
The Trio No. 2 in E-flat major for piano, violin, and violoncello, D. 929, was one of the last compositions completed by Franz Schubert, dated November 1827. It was published by Probst as opus 100 in late 1828, shortly before the composer’s death and first performed at a private party in January 1828 to celebrate the engagement of Schubert’s school-friend Josef von Spaun. The Trio was among the few of his late compositions Schubert heard performed before his death. It was given its first private performance by Carl Maria von Bocklet on the piano, Ignaz Schuppanzigh playing the violin, and Josef Linke playing cello.
Like Schubert’s other piano trio, this is a comparatively larger work than most piano trios of the time, taking almost 50 minutes to perform. The second theme of the first movement is based loosely on the opening theme of the Minuet and Trio of Schubert’s G major sonata (D. 894). Scholar Christopher H. Gibbs asserts direct evidence of Beethoven’s influence on the Trio.
The main theme of the second movement was used as one of the central musical themes in Stanley Kubrick‘s 1975 film Barry Lyndon. It has also been used in a number of other films, including The Hunger, Crimson Tide, The Piano Teacher, L’Homme de sa vie, Land of the Blind, Recollections of the Yellow House, The Way He Looks, Miss Julie, the HBO miniseries John Adams, The Mechanic, two episodes of American Crime Story, and as the opening piece for the ABC documentary The Killing Season.
The piano trio contains four movements:
I. Allegro
The first movement is in sonata form. There is disagreement over the break-up of thematic material with one source claiming six separate units of thematic material while another source divides them into three themes each with two periods. There is to an extent extra thematic material during the recapitulation. At least one of the thematic units is based closely on the opening theme of the third movement of the earlier Piano Sonata in G major, D 894. The development section focuses mainly on the final theme of the exposition.
II. Andante con moto
Principal theme in the second movement
The second movement takes an asymmetrical-double-ternary form. The principal theme is based in the Swedish folk song Se solen sjunker, which the composer had heard in the Fröhlich sisters’ house, sung by the tenor Isak Albert Berg.
III. Scherzo: Allegro moderato
The scherzo is an animated piece in standard double ternary form.
IV. Allegro moderato
The finale is in sonata-rondo form. Schubert also includes in two interludes the opening theme of the second movement in an altered version. Schubert also made some cuts in this finale, one of which includes the second-movement theme combined contrapuntally with other material from the finale.
https://www.earsense.org/chamber-music/Franz-Schubert-Piano-Trio-No-2-in-E-flat-major-Op-100-D-929/
https://sheetmusiclibrary.website/selected-classical-sheet-music/