Sheet music

"Sposa, son Disprezzata" from "Bajazet" (RV 703 No 13) for Viola & Piano

2 parts3 pages03:573 years ago5,780 views
Viola, Piano
Antonio Lucio Vivaldi nicknamed il Prete Rosso ("The Red Priest") because of his red hair, was an Italian Baroque composer, priest, and virtuoso violinist, born in Venice. Vivaldi is recognized as one of the greatest Baroque composers, and his influence during his lifetime was widespread over Europe. Vivaldi is known mainly for composing instrumental concertos, especially for the violin, as well as sacred choral works and over 40 operas. His best known work is a series of violin concertos known as The Four Seasons.

Bajazet (also called Il Tamerlano) is an Italian opera composed by Antonio Vivaldi in 1735. Its libretto was written by Agostino Piovene. It was premiered in Verona, during the Carnival season of that year. This opera (catalog number RV 703) is presented in 3 acts, with a three-movement sinfonia as an introduction. The story is about the fate of Bajazet (known as Beyazid I) after being captured by Tamerlane (Timur Lenk).

Bajazet is a pasticcio. It was a common practice during Vivaldi's time for composers to borrow and adapt arias from other composers with their own works for an opera. Vivaldi himself composed the arias for the good characters (Bajazet, Asteria and Idaspe) and mostly used existing arias from other composers for the villains (Tamerlano, Irene, Andronico) in this opera. Some of the arias are reused from previous Vivaldi operas. The famous aria, "Sposa son disprezzata" (The Scorned Wife) is from this opera and this arrangement was created for Viola & Acoustic Piano and it is best played using the "GeneralUser GS.sf2" Soundfont by S. Christian Collins Software (http://www.schristiancollins.com/generaluser.php).
"Going Home" for Organ
Video

"Going Home" for Organ

1 part2 pages03:136 years ago5,692 views
Organ
At a time of great loss, many people find themselves looking for words, they struggle to express their sincere, and often heartfelt, empathy for the sad occasion, it is at these times that music can unveil a dimension of meaning and feeling that words alone cannot create.

I created this hymn version of the folk spiritual "Goin' Home" (from William Arms Fisher/Antonín Leopold Dvořák: "The New World Symphony" Largo Symphony No. 9 in E minor, Op. 95 Movement 2) for the Sierra Vista United Methodist Church (SVUMC) in an attempt to reinforce solace in the somber occasion. I believe this intrepretation reveals the light at the end of the tunnel.
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This concerns one specific score by @Mike Magatagan namely the score https://musescore.com/mike_magatagan/scores/3004231If you click "Download" and choose "PDF including Parts"  the returned document is not a PDF but a "Not Found" error in XML format such as:  <Error><Code>NoSuchKey</Code><Message>The specified key does not exist.</Message><Key>3004231/8628087/18f138fc27/general-parts/score-parts.pdf</Key><RequestId>7C02B5365F83A247</RequestId><HostId>++UrE4WzPLQL6n4nqY64Q5aoi88wzvJjJqfSUqDiw2DSzJYIpfHzp0IE6RMQiDFkoGyv5AujhOA=</HostId></Error> All other export formats work fine.As a test I've downloaded that score in mscz format, opened it up with musescore 2.3.2 and used "Save online" to save it privately into my account (private url https://musescore.com/jeetee/scores/5304581 ). From there I can download the PDF with parts without issues.Mike already tried to "update" his score by resaving the score to his account; we were hoping this would force the musescore server to regenerate this PDF. Alas this seems to not work.Can someone on your end ( @Ximich or @abruhanov probably) debug this and/or force the server to generate that file?Thanks!

"Je te Veux" for String Quintet

5 parts7 pages04:513 years ago5,677 views
Violin(2), Viola, Cello, Contrabass
"Je te veux" (French for I want you) is a song composed by Erik Satie to a text by Henry Pacory. A sentimental, slow waltz, it was originally written for the singer Paulette Darty, whose accompanist Satie had been for a period of time.

During the 1900's, Erik Satie produced several first rate cafe songs and music hall pieces, which include "Je te veux" - a graceful French waltz and "Le Piccadilly" - with a strong Scott Joplin ragtime flavour.

This song was registered on November 1902, but some argue it had actually been composed in 1897. Satie composed various versions of the Je te veux waltz, including one for piano. I created this arrangement from the Piano version for String Quintet (2 Violins, Viola, Cello & Bass).
"Le Piccadilly"
Video

"Le Piccadilly"

1 part3 pages01:086 years ago5,667 views
Erik Satie, a French composer, studied music at the Paris Conservatory Schola Cantorum. He was the pupil of Vincent D'Indy and Albert Roussel.

Against the romantic Wagnerian style which was incapable of expressing a French sensibility, Satie developed a controlled, abstract and seemingly simple style. His music, in general, features a removed, unaffected beauty. Although his early works anticipate the harmonic innovations of some impressionists, such as Debussy and Ravel, his later compositions foretell the neoclassicism of the early 20th century.

During the 1900's, Erik Satie produced several first rate cafe songs and music hall pieces, which include "Je te veux" - a graceful French waltz and "Le Piccadilly" - with a strong Scott Joplin ragtime flavour.

It is hard for us now to imagine how astonished the Paris audience must have been with Satie's music which was so different from the lush compositions of his peers, Franck and Saint-Saens. Satie's audience must have been especially astonished when the music they heard was accompanied by the composer's bizarre titles and performance instructions. Yet Satie's compositions are still unlike anything else in the piano literature and still full of touching and evocative delight and charm.

This piece is best played using the "GeneralUser GS.sf2" Soundfont by S. Christian Collins Software (http://www.schristiancollins.com/generaluser.php).

Sonata III (Op. 1 No. 3 HWV 363b) for Flute & Piano

2 parts8 pages08:136 years ago5,609 views
The Flute sonata in G major (HWV 363b) was composed (circa 1711-16) by George Frideric Handel for flute and keyboard (harpsichord). The work is also referred to as Opus 1 No. 5, and was first published in 1732 by Walsh. Other catalogues of Handel's music have referred to the work as HG xxvii,19; and HHA iv/3,28. The sonata was originally composed as an oboe sonata in F major (HWV 363a).

Both the Walsh edition and the Chrysander edition indicate that the work is for recorder ("Flauto"), and published it as Sonata V.

The sonata begins with an Adagio that is derived from an aria in Handel's opera Rinaldo. Over a stately harpsichord accompaniment, the flute delivers a long-lined melody punctuated by brief sighing phrases. This leads with an unresolved cadence to the Allegro, which launches itself with the aforementioned stuttering trumpet call. The motif reappears frequently, and provides the basis of much of the harpsichord accompaniment, while the flute spins out highly florid melodic lines.

A second Adagio begins with a falling, stepwise figure in the continuo, whereupon the flute develops a broader, pensive melody that allows for generous ornamentation. The concluding Minuet (Handel uses the Italian spelling, Menuetto) is a lively, truly dancing piece that wouldn't be out of place in Water Music. Its duration is less a matter of tempo than how many repeats the performers choose to observe.

This piece is best played using the "GeneralUser GS.sf2" Soundfont by S. Christian Collins Software (http://www.schristiancollins.com/generaluser.php).

"Shenandoah" for Flute & Harp

2 parts2 pages01:276 years ago5,541 views
Flute, Harp
"Oh Shenandoah!" seems to have originated in the early nineteenth century as a land ballad in the areas of the Mississippi and Missouri Rivers, with a story of a Scots/Irish trader who fell in love with the daughter of the Indian chief Shenandoah. The song was taken up by sailors plying these rivers, and thus made its way down the Mississippi to the open ocean. The song had great appeal for American deep-sea sailors, and its rolling melody made it ideal as a capstan shanty, where a group of sailors push the massive capstan bars around and around in order to lift the heavy anchor.

Before and during the French and Indian War, the Scots/Irish were among the first to suffer, and among those who suffered most because of their inhabitation of the frontier and their proximity to the various Indian tribes, many of whom couldn’t get along with each other, let alone, with the white settlers. The Scots/Irish had fresh memories of the border raids from the days back in Northern Ireland and Scotland.

The song reached its first height of popularity perhaps a little before the 1840s, the beginning of the fast clipper ship era that added so much to American growth. The song was traditional with the U.S. Army cavalry, who called it “The Wild Mizzourye”. In fact, “Shenandoah” was known by countless names, including: “Shennydore”, “The Wide Missouri”, “The Wild Mizzourye”, “The Oceanida” and “Rolling River”.

The song "Oh, Shenandoah" became almost a hymn in Virginia, commemorating these early Scots/Irish settlers and their land that they loved.

Although this piece was originally written for traditional folk instruments, I arranged it for Flute and Concert (Pedal) Harp.

"Joy to the World" for Piano, Organ and Choir

6 parts13 pages03:447 years ago5,504 views
An ensemble for piano, organ and church choir arranged for the Sierra Vista United Methodist Church (SVUMC) from the United Methodist Church Hymnal #246. "Joy to the World" was adapted and arranged to the English hymn writer Isaac Watts' lyrics by Lowell Mason in 1839 from an older melody which was then believed to have originated from Handel, not least because the theme of the refrain (And heaven and nature sing...) appears in the orchestra opening and accompaniment of the recitative Comfort ye from Handel's Messiah, and the first four notes match the beginning of the choruses Lift up your heads and Glory to God from the same oratorio. However, Handel did not compose the entire tune. The name "Antioch" is generally used for the tune. This piece is best played using the "GeneralUser GS.sf2" Soundfont by S. Christian Collins Software (http://www.schristiancollins.com/generaluser.php).

"O Holy Night" In C♭ Major for Flute & Harp

2 parts5 pages02:106 years ago5,447 views
Flute, Harp
"O Holy Night" ("Cantique de Noël") is a well-known Christmas carol composed by Adolphe Adam in 1847 to the French poem "Minuit, chrétiens" (Midnight, Christians) by Placide Cappeau (1808–1877). Cappeau, a wine merchant and poet, had been asked by a parish priest to write a Christmas poem. Unitarian minister John Sullivan Dwight, editor of Dwight's Journal of Music, created a singing edition based on Cappeau's French text in 1855. In both the French original and in the two familiar English versions of the carol, the text reflects on the birth of Jesus and of mankind's redemption.
"Méditation" from the Opera "Thaïs" by Jules Massenet
Video

"Méditation" from the Opera "Thaïs" by Jules Massenet

2 parts4 pages04:216 years ago5,413 views
Flute, Piano
Jules Émile Frédéric Massenet was a French composer lived from May 12, 1842 – August 13, 1912 and is best known for his operas. His compositions were very popular in the late 19th and early 20th centuries, and he ranks as one of the greatest melodists of his era. Soon after his death, Massenet's style went out of fashion, and many of his operas fell into almost total oblivion. Apart from Manon and Werther, his works were rarely performed. However, since the mid-1970s, many of his operas such as Thaïs (pronounced tah-eess / ta:'i:s) and Esclarmonde have undergone periodic revivals.

Thaïs was created as an opera in three acts by Jules Massenet to a French libretto by Louis Gallet based on the novel Thaïs by Anatole France. It was first performed at the Opéra Garnier in Paris on 16 March 1894, starring the American soprano Sybil Sanderson, for whom Massenet had written the title role.

This famous "Méditation", the entr'acte for violin and orchestra played between the scenes of Act II, is often performed as a concert music piece; it has been arranged for many different instruments as with the flute and piano here.

"The Flower Duet" from Lakmé for Viola Duet & Cello

3 parts1 page01:214 years ago5,361 views
Viola(2), Cello
The Flower Duet (Sous le dôme épais) is a famous duet for sopranos from Léo Delibes' opera Lakmé, first performed in Paris in 1883. The duet takes place in Act 1 of the three act opera, between characters Lakmé, the daughter of a Brahmin priest, and her servant Mallika, as they go to gather flowers by a river. The Hindus go to perform their rites in a sacred Brahmin temple under the high priest, Nilakantha. Nilakantha's daughter Lakmé (which derives from the Sanskrit Lakshmi) and her servant Mallika are left behind and go down to the river to gather flowers where they sing the famous "Flower Duet."

I created this simplified version of the main theme for Viola Duet & Cello to highlight as well as provide haunting undertones.

"Trumpet Tune & March" in D Major for Trumpet & Piano

2 parts2 pages01:545 years ago5,339 views
Trumpet, Piano
Jeremiah Clarke (c. 1674–1707) was an English baroque composer, organist and, pupil of John Blow at St Paul's Cathedral. He later became organist at the Chapel Royal. After his death, he was succeeded in that post by William Croft.

Clarke is best remembered for a popular keyboard piece: the Prince of Denmark's March, which is commonly called the Trumpet Voluntary, written about 1700. From c. 1878 until the 1940s the work was attributed to Henry Purcell, and was published as Trumpet Voluntary by Henry Purcell in William Sparkes's Short Pieces for the Organ, Book VII, No. 1 (London, Ashdown and Parry). This version came to the attention of Sir Henry J. Wood, who made two orchestral transcriptions of it, both of which were recorded. The recordings further cemented the erroneous notion that the original piece was by Purcell. Clarke's piece is a popular choice for wedding music, and has featured in royal weddings.

The famous Trumpet Tune in D (also incorrectly attributed to Purcell), was taken from the semi-opera The Island Princess which was a joint musical production of Clarke and Daniel Purcell (Henry Purcell's younger brother)—probably leading to the confusion.

Although originally written for Pipe Organ, I Arranged this piece for "C" Trumpet and Piano.

"Easter Medley" Duet for Piano and Organ

2 parts6 pages02:176 years ago5,324 views
A piano, organ and choir (SATB) arrangement for the Sierra Vista United Methodist Church (SVUMC) from a medley of both "Christ the Lord Is Risen Today" (from the UMH # 302, Text by Charles Wesley, 1707-1788 & Music by Lyra Davidica, 1708) and "Crown Him with Many Crowns" (from the UMH # 327, Text by Matthew Bridges, 1800-1894, and Godfrey Thring, 1823-1903 & Music by George J. Elvey, 1816-1893).

"Christ the Lord Is Risen Today" is a Christian hymn associated with Easter. Most of the stanzas were written by Charles Wesley, and the hymn appeared under the title Hymn for Easter Day in Hymns and Sacred Songs by Charles and John Wesley in 1739. It remains a traditional processional hymn on Easter Sunday.

"Faith of Our Fathers" In the 1800s there was great tension between the Catholic and Anglican churches (see: History of Hymns). Crown Him with Many Crowns is a wonderful example of how God takes the troubles of man and turns them around for good (Romans 8:28).

"Crown Him with Many Crowns" was originally penned in 1851 by Matthew Bridges (1800-1894), who once wrote a book condemning Roman Catholic theology, and then later converted to Catholicism. Bridges wrote six stanzas, based upon Revelations 19:12, “...and on His head were many crowns.” Godfrey Thring (1823-1903) was a devout Anglican clergyman who was concerned that this popular hymn was allowing Catholic theology to be sung by protestant congregations. And so he wrote six new verses.

This piece is best played using the "GeneralUser GS.sf2" Soundfont by S. Christian Collins Software http://www.schristiancollins.com/generaluser.php).

"The Women of Ireland" (Mná Na H'Éireann) for Flute & Piano

2 parts2 pages042 years ago5,280 views
Flute, Piano
Mná na hÉireann" (English: Women of Ireland), is a poem written by Ulster poet Peadar Ó Doirnín (1704–1796), most famous as a song, and especially set to an air composed by Seán Ó Riada (1931–1971). As a modern song, Mná na hÉireann is usually placed in the category of Irish rebel music[citation needed]; as an eighteenth-century poem it belongs to the genre (related to the aisling) which imagines Ireland as a generous, beautiful woman suffering the depredations of an English master on her land, her cattle, or her self, and which demands Irishmen to defend her, or ponders why they fail to.[1] The poem also seems to favor Ulster above the other Irish provinces. Ó Doirnín was part of the distinctive Airgíalla tradition of poetry, associated with southern Ulster and north Leinster; in this poem he focuses on Ulster place-names, and he sees the province as being particularly assaulted (for instance, he says that being poor with his woman would be better than being rich with herds of cows and the shrill queen who assailed Tyrone, in Ulster, i.e. Medb who attacked Cooley, as the borderlands of Ulster, which would have lain in ancient Airgíalla). This may be because, besides being the poet's home, until the success of the Plantation of Ulster the province had been the most militantly Gaelic of the Irish provinces in the sixteenth and seventeenth centuries.

Although originally written for traditional instruments, i created this arrangement for a friend as a duet for Flute and Piano.
"Gymnopédie #1" for Piano
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"Gymnopédie #1" for Piano

1 part5 pages03:017 years ago5,201 views
Erik Satie's Gymnopédie #1. Satie's Gymnopedies are what many consider to be the groundwork for today's ambient music; it's as ignorable as it is interesting (although, I find it hard to ignore such great music). These three beautiful pieces for solo piano are calming, reflective, ethereal, relaxing, soothing, and elegant.

Gymnopedie No. 1 - Lent et douloureux (slow and mournfully) with a hollow, but eerily warm melody gently floating atop an accompaniment of steady short-long rhythms, Gymnopedie No. 1 is as expressive as it is transparent. Its simplicity and openness masterfully disguises its apparent dissonances.

See also: #2 (http://musescore.com/user/13216/scores/23965) & #3 (http://musescore.com/user/13216/scores/38026)

"Praise God, from Whom All Blessings Flow"

1 part2 pages00:466 years ago5,155 views
"Praise God, from Whom All Blessings Flow" from the United Methodist Hymnal # 94 is one of two doxologies used in the United Methodist Service. This is meant to be a short statement of praise, glory, and thanksgiving to God and is a hymn designed to be sung by the worshiping congregation.

The doxology most familiar to United Methodists is the hymn "Old 100th" with the opening line, "Praise God, from whom all blessings flow." In many United Methodist churches, this is listed in worship bulletins as "The Doxology" and is sung by the congregation as the offering is brought forward.
"The Last Hope" (Opus 16) for Piano
Video

"The Last Hope" (Opus 16) for Piano

1 part7 pages04:365 years ago5,146 views
Louis Moreau Gottschalk (1829 – 1869) was the eldest son of a Jewish-English New Orleans real estate speculator and his French-descended bride. Gottschalk may have heard the drums at Place Congo in New Orleans, but his exposure to Creole melody likely came through his own household; his mother had grown up in Haiti and fled to Louisiana after that island's slave uprising. Piano study was undertaken with Narcisse Lettellier, and at age 11, Gottschalk was sent to Paris. Denied entrance to the Conservatoire, he continued with Charles Hallé and Camille Stamaty, adding composition with Pierre Maleden. His Paris debut at the Salle Pleyel in 1845 earned praise from Chopin. By the end of the 1840s, Gottschalk's first works, such as Bamboula, appeared. These syncopated pieces based on popular Creole melodies rapidly gained popularity worldwide. Gottschalk left Paris in 1852 to join his father in New York, only to encounter stiff competition from touring foreign artists. With his father's death in late 1853, Gottschalk inherited support of his mother and six siblings. In 1855, he signed a contract with publisher William Hall to issue several pieces, including The Banjo and The Last Hope. The Last Hope is a sad and sweetly melancholy piece, and it proved hugely popular. Gottschalk found himself obliged to repeat it at every concert, and wrote "even my paternal love for The Last Hope has succumbed under the terrible necessity of meeting it at every step." With an appearance at Dodsworth Hall in December 1855, Gottschalk finally found his audience. For the first time he was solvent, and at his mother's death in 1857 Gottschalk was released from his familial obligations. He embarked on a tour of the Caribbean and didn't return for five years. When this ended, America was in the midst of Civil War. Gottschalk supported the north, touring Union states until 1864. Gottschalk wearied of the horrors surrounding him, becoming an avid proponent of education, playing benefit concerts for public schools and libraries. During a tour to California in 1865, Gottschalk entered into an involvement with a young woman attending a seminary school in Oakland, and the press excoriated him. He escaped on a steamer bound for Panama City. Instead of returning to New York, he pressed on to Peru, Chile, Uruguay, and Argentina, staying one step ahead of revolutions, rioting, and cholera epidemics, but he began to break down under the strain. Gottschalk contracted malaria in Brazil in August 1869; still recovering, he was hit in the abdomen by a sandbag thrown by a student in São Paolo. In a concert at Rio de Janeiro on November 25, Gottschalk collapsed at the keyboard. He had appendicitis, which led to peritonitis. On December 18, 1869, Gottschalk died at the age of 40.

The impact of Gottschalk's music on the later development of ragtime might seem obvious, yet there is no proven link from him to the syncopated popular music he anticipated in works like Bamboula. The music of Scott Joplin and Jelly Roll Morton show traces of Gottschalk's melodic shape and rhythmic pulse, and the New Orleans-born Morton likewise studied under Lettellier. Nickelodeon pianists disserviced Gottschalk by loving him too well; pieces like The Dying Poet and Morte!! turned many a dramatic corner in silent movie houses, and the public began to identify these themes as cliché. By the 1940s, Gottschalk was condemned as hopelessly old-fashioned, and it would take decades of work by scholars to improve his critical fortunes. In his best music, Gottschalk was an American original; masterpieces like Souvenir de Porto Rico, Union, and O ma charmant, épargnez-moi! transcend time through their emotional power, technical mastery, audacity, wit, and charm.

"The Last Hope" is annotated "Meditation Religieuse". It was hugely successful. Gottschalk drew upon a popular vein, that of the religious meditation. The composition became a Presbyterian hymn, "Holy Ghost with light divine..."

This piece is best played using the "GeneralUser GS.sf2" Soundfont by S. Christian Collins Software (http://www.schristiancollins.com/generaluser.php).
Sonata in D Major (Opus 166) for Oboe and Piano
Video

Sonata in D Major (Opus 166) for Oboe and Piano

2 parts18 pages08:536 years ago5,127 views
Oboe, Piano
In the last year of his life, at the age of 85, Camille Saint-Saëns was still active as a composer and conductor, traveling between Algiers and Paris. Besides a final piano album leaf, his last completed works were three sonatas, one each for oboe, clarinet, and bassoon. He sensed that he did not have much time left; he wrote to a friend, "I am using my last energies to add to the repertoire for these otherwise neglected instruments." He intended to write sonatas for another three wind instruments, but was never able to. Saint-Saëns began the pieces early in the year while in Algeria and completed them in April in Paris. He was not alone in wanting to write for these instruments. English composers, such as Holst and Bax, and other French composers, such as Honegger and Milhaud, were also starting to expand the literature for woodwind instruments around the same time. In fact, Saint-Saëns' sonatas have pastoral and humorous moments that are similar to those others' works, relying on simpler melodies and textures than are found even his earlier chamber works, yet retaining Classical forms for their structure. Although all three sonatas were published before Saint-Saëns' death, they were not premiered until later.

The Sonata for oboe and piano, Op. 166, was the first of the three to be completed over the course of a couple of months in early 1921. As soon as he was finished, Saint-Saëns wrote to his publisher in Paris that he wanted to have them "tested" before they were edited for publication. The Oboe Sonata was played by his friend Louis Bas, who seemed so pleased with the work that Saint-Saëns dedicated it to him. The structure and lines of the sonata are not unlike what other French and neo-Classical composers were using around the same period and, in fact, the Oboe Sonata also has almost a preternatural resemblance to the works of the English pastoralists (Saint-Saëns was living in Algeria when he wrote it). The sonata opens with a gentle Andantino, followed by the bipartite second movement, an ad libitum recitative leading into an Allegretto gigue. The final Molto allegro is almost dance-like with shades of the energy of Saint-Saëns' more youthful works. All in all, the sonata is a standard work in the oboe repertoire, giving the performer a gratifying match between technical challenges and melodic expression.


Saint-Saëns' Oboe Sonata has three movements however, the movements are not ordered according to the traditional fast-slow-fast sonata system. The tempo of the movements increases successively.

The first movement, Andantino, is music of a pastoral kind, in ternary form ABA. The opening theme of the oboe solo is an echo of the Westminster chime.

The core of the second movement is a Romance, marked Allegretto. It is preceded by an introduction and followed by an epilogue.The introduction and epilogue are marked ad libitum - that is, the performer is free to choose the tempo they feel is most appropriate. At the end of the second movement there is an oboe cadenza, with sharp piano chords and expressive phrases.

The last movement, titled Molto Allegro, short and brilliant, has passages of great difficulty and virtuosity.
Nocturne (Opus 9 No. 2) for Flute & Harp
Custom audio

Nocturne (Opus 9 No. 2) for Flute & Harp

2 parts4 pages03:045 years ago5,115 views
Flute, Harp
The Nocturnes, Op. 9 are a set of three nocturnes written by Frédéric Chopin between 1830 and 1832 and dedicated to Madame Camille Pleyel. The work was published in 1833.

Chopin composed this popular Nocturne in E-flat major, Op. 9, No. 2 when he was about twenty and it is in rounded binary form (A, A, B, A, B, A) with coda, C. The A and B sections become increasingly ornamented with each recurrence. The penultimate bar utilizes considerable rhythmic freedom, indicated by the instruction, senza tempo (without tempo). Nocturne in E-flat major opens with a legato melody, mostly played piano, containing graceful upward leaps which becomes increasingly wide as the line unfolds. This melody is heard again three times during the piece. With each repetition, it is varied by ever more elaborate decorative tones and trills. The nocturne also includes a subordinate melody, which is played with rubato.

A sonorous foundation for the melodic line is provided by the widely spaced notes in the accompaniment, connected by the damper pedal. The waltz like accompaniment gently emphasizes the 12/8 meter, 12 beats to the measure subdivided into four groups of 3 beats each.

The nocturne is reflective in mood until it suddenly becomes passionate near the end. The new concluding melody begins softly but then ascends to a high register and is played forcefully in octaves, eventually reaching the loudest part of the piece, marked fortissimo. After a trill-like passage, the excitement subsides; the nocturne ends calmly.

Although originally composed for solo piano, I created this arrangement for Flute & Concert (Pedal) Harp.

"Après un Rêve" (Opus 7 No 1) for Viola & Piano

2 parts3 pages02:444 years ago5,053 views
Viola, Piano
Trois mélodies is a set of mélodies for solo voice and piano, by Gabriel Fauré. It is composed of Après un rêve (Op. 7, No. 1), one of Faure's most popular vocal pieces, Hymne (Op. 7, No. 2), and Barcarolle (Op. 7, No. 3). The songs were written between 1870 and 1878.

Gabriel Fauré's "Après un rêve," Op. 7/1, a setting of an anonymous poem translated by Romain Bussine, is one of the composer's best-known works for voice. The text describes a dream in which the narrator and her beloved come together in an almost otherworldly meeting, followed by a longing to return to this dream state after awakening: "In a sleep which your image charmed, I dreamt of happiness, ardent mirage.... You called me, and I left the earth, to flee with you towards the light.... Return, return, radiant, mysterious night!"

Though light, the piano accompaniment provides an underlying pulse, lending the song a sense of propulsion; at the same time, the vocal line is appropriately dreamy and languid. While the vocal range is not especially demanding, the accompaniment provides little pitch support for the voice's sometimes unusual intervals. When well performed, this richly expressive song is one of the most impressive and moving in the entire repertoire.

Although originally written for Voice & Piano, I created this transcription for Viola & Piano.