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Sheet music, primarily vocal music of American imprint, dating from the 18th century to the present, with most titles in the period 1840–1950. John Hay Library at Brown University: ART SONG CENTRAL: downloadable, IPA transcriptions, vocal: 1,000 Printable sheet music primarily for singers and voice teachers—most downloadable.
Swan, inspiration for Saint-Saëns' piece Le cygne "Le cygne", pronounced [lə siɲ], or "The Swan", is the 13th and penultimate movement of The Carnival of the Animals by Camille Saint-Saëns. Originally scored for solo cello accompanied by two pianos, it has been arranged and transcribed for many instruments but remains best known as a cello ...
"Silver Swan Rag" was never copyrighted or published in Joplin's lifetime. Though two companies (QRS Music Roll Company and National) issued piano roll recordings of it in 1914, the piece was neglected for many years. Interest in Joplin's music revived in the 1960s.
"The Silver Swan" is a madrigal by Orlando Gibbons (1583–1625), composed during the early Baroque period. Gibbons's best-known song and among the most admired English madrigals, it is scored for five voices— cantus , quintus , alto , tenor and bass .
Two pianos and cello: a slowly moving cello melody (which evokes the swan elegantly gliding over the water) is played over rippling sixteenths in one piano and rolled chords in the other. A staple of the cello repertoire, this is one of the best-known movements of the suite, usually in the version for cello with solo piano which was the only ...
Paul Hindemith's Der Schwanendreher (literally, "The Swan Turner") is a concerto for viola and orchestra. Der Schwanendreher occupies a place at the core of the viola concerto repertoire, along with the concertos by Walton and Bartók. It was composed in 1935 and premiered by the composer himself at a performance in Amsterdam on 14 November 1935.
Franz Liszt later transcribed the entire set for solo piano. While staying faithful to Schubert's original, he often changes the piano texture as a way of providing a personal commentary on the text and music. Liszt reordered the songs in the following way: 11, 10, 5, 12, 7, 6, 4, 9, 3, 1, 8, 13, 14 and 2.
Leonardo da Vinci also mentioned the legend in his notebooks: "The swan is white without spot, and it sings sweetly as it dies, that song ending its life." [15] In Shakespeare's The Merchant of Venice, Portia exclaims "Let music sound while he doth make his choice; / Then, if he lose, he makes a swan-like end, / Fading in music."