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Для кларнета и фортепиано
Название пользователя: Jules Demersseman: Deuxième Solo - Cavatina et Cabaletta
Инструменты |
Фортепиано, Кларнет |
Состав исполнителей |
Соло, Аккомпанирующее фортепиано |
Тип нот |
Партитура для двух исполнителей, Сольная партия |
Тональность |
Фа мажор |
Части |
1 до 1 из 1 |
Издатель |
Musik Fabrik |
Уровень сложности |
Средний уровень |
Время звучания |
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.
Для флейты и фортепиано
Название пользователя: Jules Demersseman: Deuxième Solo - Cavatina et Cabaletta
Инструменты |
Фортепиано, Флейта |
Состав исполнителей |
Соло, Аккомпанирующее фортепиано |
Тип нот |
Партитура для двух исполнителей, Сольная партия |
Тональность |
Фа мажор |
Части |
1 до 1 из 1 |
Издатель |
Musik Fabrik |
Уровень сложности |
Средний уровень |
Время звучания |
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.
Для гобоя и фортепиано
Название пользователя: Jules Demersseman: Deuxième Solo - Cavatina et Cabaletta
Инструменты |
Фортепиано, Гобой |
Состав исполнителей |
Соло, Аккомпанирующее фортепиано |
Тип нот |
Партитура для двух исполнителей, Сольная партия |
Тональность |
Фа мажор |
Части |
1 до 1 из 1 |
Издатель |
Musik Fabrik |
Уровень сложности |
Средний уровень |
Время звучания |
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.
For soprano saxophone and piano
Название пользователя: Jules Demersseman: Deuxième Solo - Cavatina et Cabaletta
Инструменты |
Фортепиано, Саксофон сопрано |
Состав исполнителей |
Соло, Аккомпанирующее фортепиано |
Тип нот |
Партитура для двух исполнителей, Сольная партия |
Тональность |
Фа мажор |
Части |
1 до 1 из 1 |
Издатель |
Musik Fabrik |
Уровень сложности |
Средний уровень |
Время звучания |
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.
For baritone saxophone and piano
Название пользователя: Jules Demersseman: Deuxième Solo - Cavatine
Инструменты |
Фортепиано, Саксофон баритон |
Состав исполнителей |
Соло, Аккомпанирующее фортепиано |
Тип нот |
Партитура для двух исполнителей, Сольная партия |
Тональность |
Си-бемоль мажор |
Части |
1 до 1 из 1 |
Издатель |
Musik Fabrik |
Уровень сложности |
Средний уровень |
Время звучания |
3'30 |
Год создания |
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.
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