Música clásica romántica para orquesta

Friedrich Zehm, pupil of Harald Genzmer, combines stylistic elements from classicism and pop in his three-movement rhythmophony.

Friedrich Zehm, pupil of Harald Genzmer, combines stylistic elements from classicism and pop in his three-movement rhythmophony.

Friedrich Zehm, pupil of Harald Genzmer, combines stylistic elements from classicism and pop in his three-movement rhythmophony.

Friedrich Zehm, pupil of Harald Genzmer, combines stylistic elements from classicism and pop in his three-movement rhythmophony.

Friedrich Zehm, pupil of Harald Genzmer, combines stylistic elements from classicism and pop in his three-movement rhythmophony.

Friedrich Zehm, pupil of Harald Genzmer, combines stylistic elements from classicism and pop in his three-movement rhythmophony.

Friedrich Zehm, pupil of Harald Genzmer, combines stylistic elements from classicism and pop in his three-movement rhythmophony.

Friedrich Zehm, pupil of Harald Genzmer, combines stylistic elements from classicism and pop in his three-movement rhythmophony.

Friedrich Zehm, pupil of Harald Genzmer, combines stylistic elements from classicism and pop in his three-movement rhythmophony.

Friedrich Zehm, pupil of Harald Genzmer, combines stylistic elements from classicism and pop in his three-movement rhythmophony.

Friedrich Zehm, pupil of Harald Genzmer, combines stylistic elements from classicism and pop in his three-movement rhythmophony.

Friedrich Zehm, pupil of Harald Genzmer, combines stylistic elements from classicism and pop in his three-movement rhythmophony.

Friedrich Zehm, pupil of Harald Genzmer, who lives in Wiesbaden combines stylistic elements from classicism and pop in his three-movement rhythmophony.

Friedrich Zehm, pupil of Harald Genzmer, combines stylistic elements from classicism and pop in his three-movement rhythmophony.

El «Boléro» de Maurice Ravel (1875-1937), M. 81/IMR 4, es una obra que surgió de un ejercicio de orquestación basado en un ritmo habitual en la danza española del mismo nombre. Hoy en día, se interpre...

Flauta/Piccolo, Clarinete en La, Fagot, Trompa en Fa, Trompeta en Sib, Trombón 1/2, Trombón 3, Platillos, Gran Cassa, Cajón, Congas, Celesta, Guitarra eléctrica, Piano, Bandoneón, Violín I, Violín II,...

Flauto 1/Ottavino, Flauto 2, Clarinetto 1 in Sib, Fagotto, Corno 1 in FA, Corno 2 in Fa, Troma 1 in Sib, Tromba 2 in Sib, Trombone 1/2, Trombone 3, Slide Whisle, Cabasa, Güiro, Woodblock, Cajon, Piatt...

Flauto 1/Ottavino, Flauto 2, Clarinetto 1 in Sib, Fagotto, Corno 1 in FA, Corno 2 in Fa, Troma 1 in Sib, Tromba 2 in Sib, Trombone 1/2, Trombone 3, Slide Whisle, Cabasa, Güiro, Woodblock, Cajon, Piatt...

Flauto 1/Ottavino, Flauto 2, Clarinetto 1 in Sib, Fagotto, Corno 1 in FA, Corno 2 in Fa, Troma 1 in Sib, Tromba 2 in Sib, Trombone 1/2, Trombone 3, Slide Whisle, Cabasa, Güiro, Woodblock, Cajon, Piatt...

Flauto 1/Ottavino, Flauto 2, Clarinetto 1 in Sib, Fagotto, Corno 1 in FA, Corno 2 in Fa, Troma 1 in Sib, Tromba 2 in Sib, Trombone 1/2, Trombone 3, Slide Whisle, Cabasa, Güiro, Woodblock, Cajon, Piatt...

Piano, Bandoneón, Guitarra eléctrica, Percusión, Violín I, Violín II, Viola, Violonchelo, Contrabajo

Violín solo, Violín I, Violín II, Viola, Violonchelo, Contrabajo

This arrangement of what is probably the best known piece taken from Vaughan Williams' opera 'Sir John in Love', may be played just by strings with piano (or harp).