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Deuxième Solo - Cavatina et Cabaletta

Clássico/Peça • 1858
 
 
   
 

para clarinete e piano

Título por Autor: Jules Demersseman: Deuxième Solo - Cavatina et Cabaletta


11.55 USD

vendedor Musik Fabrik
PDF, 496.8 Kb ID: SM-000226404 data do carregamento: 24 mai 2015
Instrumentação
Piano, Clarinete
Composição para
Solo, Piano de Acompanhamento
Tipo de composição
Score for two performers, Parte de solo
chave
Fá (F) maior
movimento(s)
1 para 1 de 1
Editora
Musik Fabrik
dificuldade
Medium
duração
4'30
Jules Demersseman was born on January 9, 1833 in Hondschoote, a small town in the north of France
now near the border of Belgium. He entered the Paris Conservatory in 1844 in the class of Jean-Louis
Tulou and won a first prize in flute in 1845. Demersseman had a career as a pedogogue and soloist, often
performing his own compositions. A close friend of Adolphe Sax, he wrote some of the first works ever
written for the saxophone, as well as for the saxhorn and for Sax‘s valved trombone, most of which were
published by Sax himself.. Demersseman died in Paris on December 1, 1866 at the age of 33.
The work is in the form of a Cavatina and Cabaletta, a vocal aria form used in Bel Canto operas during the
life of Demersseman. In this form, a slow, expressive and ornamented melody (the cavatina), usually with
solo cadenzas is followed by a faster, usually more dramatic but equally florid section (the cabaletta). Famous
examples of this form include the aria Una voce poco fa in Rossini’s Il barbiere di Siviglia and Casta diva ...
Ah! bello a me ritorno in Bellini‘s, Norma. It is important to listen to vocal performances in this style, especially
in performing the solo cadenzas, which (in spite of the notation) are not necessarily meant to be performed as
virtuoso effects., but rather as a means of displaying expression and beautiful tone.
The piano part, obviously written to be quickly readable for a conservatory accompanist, has been modified
to provide a fuller sound for the concert hall. If the work is used for examinations, these doublings may be
changed back to single notes, if desired. Other dynamics, articulations, and expressive marks, absent in the
first edition, have been added.
  • comentários

para flauta e piano

Título por Autor: Jules Demersseman: Deuxième Solo - Cavatina et Cabaletta


11.55 USD

vendedor Musik Fabrik
PDF, 490.2 Kb ID: SM-000226406 data do carregamento: 24 mai 2015
Instrumentação
Piano, Flauta
Composição para
Solo, Piano de Acompanhamento
Tipo de composição
Score for two performers, Parte de solo
chave
Fá (F) maior
movimento(s)
1 para 1 de 1
Editora
Musik Fabrik
dificuldade
Medium
duração
4'30
Jules Demersseman was born on January 9, 1833 in Hondschoote, a small town in the north of France
now near the border of Belgium. He entered the Paris Conservatory in 1844 in the class of Jean-Louis
Tulou and won a first prize in flute in 1845. Demersseman had a career as a pedogogue and soloist, often
performing his own compositions. A close friend of Adolphe Sax, he wrote some of the first works ever
written for the saxophone, as well as for the saxhorn and for Sax‘s valved trombone, most of which were
published by Sax himself.. Demersseman died in Paris on December 1, 1866 at the age of 33.
The work is in the form of a Cavatina and Cabaletta, a vocal aria form used in Bel Canto operas during the
life of Demersseman. In this form, a slow, expressive and ornamented melody (the cavatina), usually with
solo cadenzas is followed by a faster, usually more dramatic but equally florid section (the cabaletta). Famous
examples of this form include the aria Una voce poco fa in Rossini’s Il barbiere di Siviglia and Casta diva ...
Ah! bello a me ritorno in Bellini‘s, Norma. It is important to listen to vocal performances in this style, especially
in performing the solo cadenzas, which (in spite of the notation) are not necessarily meant to be performed as
virtuoso effects., but rather as a means of displaying expression and beautiful tone.
The piano part, obviously written to be quickly readable for a conservatory accompanist, has been modified
to provide a fuller sound for the concert hall. If the work is used for examinations, these doublings may be
changed back to single notes, if desired. Other dynamics, articulations, and expressive marks, absent in the
first edition, have been added.
  • comentários

para oboe e piano

Título por Autor: Jules Demersseman: Deuxième Solo - Cavatina et Cabaletta


11.55 USD

vendedor Musik Fabrik
PDF, 490.5 Kb ID: SM-000226409 data do carregamento: 24 mai 2015
Instrumentação
Piano, Oboé
Composição para
Solo, Piano de Acompanhamento
Tipo de composição
Score for two performers, Parte de solo
chave
Fá (F) maior
movimento(s)
1 para 1 de 1
Editora
Musik Fabrik
dificuldade
Medium
duração
4'30
Jules Demersseman was born on January 9, 1833 in Hondschoote, a small town in the north of France
now near the border of Belgium. He entered the Paris Conservatory in 1844 in the class of Jean-Louis
Tulou and won a first prize in flute in 1845. Demersseman had a career as a pedogogue and soloist, often
performing his own compositions. A close friend of Adolphe Sax, he wrote some of the first works ever
written for the saxophone, as well as for the saxhorn and for Sax‘s valved trombone, most of which were
published by Sax himself.. Demersseman died in Paris on December 1, 1866 at the age of 33.
The work is in the form of a Cavatina and Cabaletta, a vocal aria form used in Bel Canto operas during the
life of Demersseman. In this form, a slow, expressive and ornamented melody (the cavatina), usually with
solo cadenzas is followed by a faster, usually more dramatic but equally florid section (the cabaletta). Famous
examples of this form include the aria Una voce poco fa in Rossini’s Il barbiere di Siviglia and Casta diva ...
Ah! bello a me ritorno in Bellini‘s, Norma. It is important to listen to vocal performances in this style, especially
in performing the solo cadenzas, which (in spite of the notation) are not necessarily meant to be performed as
virtuoso effects., but rather as a means of displaying expression and beautiful tone.
The piano part, obviously written to be quickly readable for a conservatory accompanist, has been modified
to provide a fuller sound for the concert hall. If the work is used for examinations, these doublings may be
changed back to single notes, if desired. Other dynamics, articulations, and expressive marks, absent in the
first edition, have been added.
  • comentários

For soprano saxophone and piano

Título por Autor: Jules Demersseman: Deuxième Solo - Cavatina et Cabaletta


11.55 USD

vendedor Musik Fabrik
PDF, 497.7 Kb ID: SM-000226410 data do carregamento: 24 mai 2015
Instrumentação
Piano, Saxofone soprano
Composição para
Solo, Piano de Acompanhamento
Tipo de composição
Score for two performers, Parte de solo
chave
Fá (F) maior
movimento(s)
1 para 1 de 1
Editora
Musik Fabrik
dificuldade
Medium
duração
4'30
Jules Demersseman was born on January 9, 1833 in Hondschoote, a small town in the north of France
now near the border of Belgium. He entered the Paris Conservatory in 1844 in the class of Jean-Louis
Tulou and won a first prize in flute in 1845. Demersseman had a career as a pedogogue and soloist, often
performing his own compositions. A close friend of Adolphe Sax, he wrote some of the first works ever
written for the saxophone, as well as for the saxhorn and for Sax‘s valved trombone, most of which were
published by Sax himself.. Demersseman died in Paris on December 1, 1866 at the age of 33.
The work is in the form of a Cavatina and Cabaletta, a vocal aria form used in Bel Canto operas during the
life of Demersseman. In this form, a slow, expressive and ornamented melody (the cavatina), usually with
solo cadenzas is followed by a faster, usually more dramatic but equally florid section (the cabaletta). Famous
examples of this form include the aria Una voce poco fa in Rossini’s Il barbiere di Siviglia and Casta diva ...
Ah! bello a me ritorno in Bellini‘s, Norma. It is important to listen to vocal performances in this style, especially
in performing the solo cadenzas, which (in spite of the notation) are not necessarily meant to be performed as
virtuoso effects., but rather as a means of displaying expression and beautiful tone.
The piano part, obviously written to be quickly readable for a conservatory accompanist, has been modified
to provide a fuller sound for the concert hall. If the work is used for examinations, these doublings may be
changed back to single notes, if desired. Other dynamics, articulations, and expressive marks, absent in the
first edition, have been added.
  • comentários

For baritone saxophone and piano

Título por Autor: Jules Demersseman: Deuxième Solo - Cavatine


10.35 USD

vendedor Musik Fabrik
PDF, 371.3 Kb ID: SM-000226435 data do carregamento: 25 mai 2015
Instrumentação
Piano, Saxofone Barítono
Composição para
Solo, Piano de Acompanhamento
Tipo de composição
Score for two performers, Parte de solo
chave
Si (B) bemol maior
movimento(s)
1 para 1 de 1
Editora
Musik Fabrik
dificuldade
Medium
duração
3'30
Ano de composição
1866
Jules Demersseman was born on January 9, 1833 in Hondschoote, a small town in the north of France
now near the border of Belgium. He entered the Paris Conservatory in 1844 in the class of Jean-Louis
Tulou and won a first prize in flute in 1845. Demersseman had a career as a pedogogue and soloist, often
performing his own compositions. A close friend of Adolphe Sax, he wrote some of the first works ever
written for the saxophone, as well as for the saxhorn and for Sax‘s valved trombone, most of which were
published by Sax himself.. Demersseman died in Paris on December 1, 1866 at the age of 33.

The Premier solo was performed for the exams at Adolphe Sax's saxophone class at the Paris Conservatory
in 1866.

The work is in the form of a Cavatina and a shorter Cabaletta, a vocal aria form used in Bel Canto operas during the
life of Demersseman. In this form, a slow, expressive and ornamented melody (the cavatina), usually with
solo cadenzas is followed by a faster, usually more dramatic but equally florid section (the cabaletta). Famous
examples of this form include the aria Una voce poco fa in Rossini’s Il barbiere di Siviglia and Casta diva ...
Ah! bello a me ritorno in Bellini‘s, Norma. It is important to listen to vocal performances in this style, especially
in performing the solo cadenzas, which (in spite of the notation) are not necessarily meant to be performed as
virtuoso effects., but rather as a means of displaying expression and beautiful tone.
  • comentários
 
 
   
 
 
   
 
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