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French Horn in F part of "Je veux vivre" Aria from "Romeo and Juliet" by Charles Gounod. Arrangement for Woodwind Quintet by Francesco Leone (Flute, Oboe, Bb Clarinet, Horn and Bassoon) intermediate level, duration 3.30 min (+-). Score & Parts available in series. Scan Qr-code (in cover) for audio demo or visit www.glissato.it product code: EG0859. Roméo et Juliette is an opera in five acts by Charles Gounod to a French libretto by Jules Barbier and Michel Carré, based on Romeo and Juliet by William Shakespeare. It was first performed at the Théâtre Lyrique (Théâtre-Lyrique Impérial du Châtelet), Paris on 27 April 1867. This opera is notable for the series of four duets for the main characters and the waltz song "Je veux vivre" for the soprano.
French Horn in Eb part (instead F Horn) of "Je veux vivre" Aria from "Romeo and Juliet" by Charles Gounod. Arrangement for Woodwind Quintet by Francesco Leone (Flute, Oboe, Bb Clarinet, Horn and Bassoon) intermediate level, duration 3.30 min (+-). Score & Parts available in series. Scan Qr-code (in cover) for audio demo or visit www.glissato.it product code: EG0859. Roméo et Juliette is an opera in five acts by Charles Gounod to a French libretto by Jules Barbier and Michel Carré, based on Romeo and Juliet by William Shakespeare. It was first performed at the Théâtre Lyrique (Théâtre-Lyrique Impérial du Châtelet), Paris on 27 April 1867. This opera is notable for the series of four duets for the main characters and the waltz song "Je veux vivre" for the soprano.
(Vocal Collection). Contents: Handel: V'adoro pupille (Giulio Cesare) Mozart: Porgi, amor (Le Nozze di Figaro) * Dove sono (Le Nozze Figaro) * Deh vieni, non tardar (Le Nozze di Figaro) * Bester Jungling (Der Schauspieldirektor) * Batti, batti, bel Masetto (Don Giovanni) * Vedrai carino (Don Giovanni) * Ach, ich fuhl's (Die Zauberflote) Beethoven: O war' ich schon mit dir vereint (Fidelio) C.M. von Weber: Kommt ein schlanker Bursch gegangen (Der Freischutz) Verdi: Caro nome (Rigoletto) * Saper vorreste (Un Ballo in Maschera) * Sul fil d'un soffio etesio (Falstaff) Gounod: The Jewel Song (Faust) * Ah! Je veux vivre (Romeo et Juliette) Bizet: Je dis que rien ne m 'epouvante (Carmen) Offenbach: Elle a fui, la tourterelle! (Les Contes d'Hoffmann) Massenet: Adieu, notre petite table (Manon) Leoncavallo: Ballatella (I Pagliacci) Puccini: Mi chiamano Mimi (La Boheme) * Donde lieta (La Boheme) * Quando men vo (La Boheme) * Un bel di (Madama Butterfly) * O mio babbino caro (Gianni Schicchi) * Signore, ascolta (Turandot) * Tu che di gel sei cinta (Turandot) Menotti: The Black Swan (The Medium) * Monica's Waltz (The Medium) Moore: Willow Song (The Ballad of Baby Doe) * The Silver Aria (The Ballad of Baby Doe) Mechem: Fair Robin, I love (Tartuffe).
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Jody Blake demonstrates in this book that although the impact of African-American music and dance in France was constant from 1900 to 1930, it was not unchanging. This was due in part to the stylistic development and diversity of African-American music and dance, from the prewar cakewalk and ragtime to the postwar Charleston and jazz. Successive groups of modernists, beginning with the Matisse and Picasso circle in the 1900s and concluding with the Surrealists and Purists in the 1920s, constructed different versions of la musique and la danse negre. Manifested in creative and critical works, these responses to African-American music and dance reflected the modernists' varying artistic agendas and historical climates.