Piano Sheets > Andrew Lloyd Webber Sheet Music > Le Fantme De L'Opra (ver. 1) Piano Sheet

Le Fantme De L'Opra (ver. 1) by Andrew Lloyd Webber - Piano Sheets and Free Sheet Music

  
About the Song
The Phantom of the Opera (in French, Le Fantme de l'Opra) is a French novel by Gaston Leroux. It was first published as a serialization in Le Gaulois from September 23, 1909 to January 8, 1910. Initially, the novel sold very poorly and was even out of print several times during the twentieth century. Today, it is considered to be a classic of French literature, though it is overshadowed by its many subsequent adaptations.[citation needed] The novel was translated into English in 1911. It has since been adapted many times into film and stage productions, the most notable of which were the 1925 film depiction and Andrew Lloyd Webber's 1986 musical. The Phantom of the Opera musical is now the longest running Broadway show in history, and the most lucrative entertainment enterprise of all time, its worldwide box office over the past 20 years has outgrossed even the former highest grossing film in.    Download this sheet!
About the Artist
Andrew Lloyd Webber, Baron Lloyd-Webber (born 22 March 1948) is an English composer of musical theatre, the elder son of William Lloyd Webber and also the brother of the renowned cellist Julian Lloyd Webber. Lloyd Webber started composing at the age of six and published his first piece at the age of nine. Lord Lloyd-Webber has achieved great popular success, with several musicals that have run for more than a decade both in the West End and on Broadway. He has composed 13 musicals, a song cycle, a set of variations, two film scores, and a Latin Requiem Mass. He has also gained a number of honours, including a knighthood in 1992, followed by a peerage, seven Tony Awards, three Grammy Awards, an Academy Award, an Emmy Award, seven Olivier Awards, a Golden Globe, and the Kennedy Center Honors in 2006. Several of his songs, notably "I Don't Know How to Love Him" from Jesus Christ Superstar, "Don't Cry for Me, Argentina" from Evita, "Memory" from Cats, and "The Music of the Night" from The Phantom of the Opera have been widely recorded and were hits outside of their parent musicals. His company, the Really Useful Group, is one of the largest theatre.
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Sheet Music - Purpose and use Sheet music can be used as a record of, a guide to, or a means to perform, a piece of music. Although it does not take the place of the sound of a performed work, sheet music can be studied to create a performance and to elucidate aspects of the music that may not be obvious from mere listening. Authoritative musical information about a piece can be gained by studying the written sketches and early versions of compositions that the composer might have retained, as well as the final autograph score and personal markings on proofs and printed scores. Comprehending sheet music requires a special form of literacy: the ability to read musical notation. Nevertheless, an ability to read or write music is not a requirement to compose music. Many composers have been capable of producing music in printed form without the capacity themselves to read or write in musical notation—as long as an amanuensis of some sort is available. Examples include the blind 18th-century composer John Stanley and the 20th-century composers and lyricists Lionel Bart, Irving Berlin and Paul McCartney. The skill of sight reading is the ability of a musician to perform an unfamiliar work of music upon viewing the sheet music for the first time. Sight reading ability is expected of professional musicians and serious amateurs who play classical music and related forms. An even more refined skill is the ability to look at a new piece of music and hear most or all of the sounds (melodies, harmonies, timbres, etc.) in one's head without having to play the piece. With the exception of solo performances, where memorization is expected, classical musicians ordinarily have the sheet music at hand when performing. In jazz music, which is mostly improvised, sheet music—called a lead sheet in this context—is used to give basic indications of melodies, chord changes, and arrangements. Handwritten or printed music is less important in other traditions of musical practice, however. Although much popular music is published in notation of some sort, it is quite common for people to learn a piece by ear. This is also the case in most forms of western folk music, where songs and dances are passed down by oral—and aural—tradition. Music of other cultures, both folk and classical, is often transmitted orally, though some non-western cultures developed their own forms of musical notation and sheet music as well. Although sheet music is often thought of as being a platform for new music and an aid to composition (i.e., the composer writes the music down), it can also serve as a visual record of music that already exists. Scholars and others have made transcriptions of western and non-western musics so as to render them in readable form for study, analysis, and re-creative performance. This has been done not only with folk or traditional music (e.g., Bartók's volumes of Magyar and Romanian folk music), but also with sound recordings of improvisations by musicians (e.g., jazz piano) and performances that may only partially be based on notation. An exhaustive example of the latter in recent times is the collection The Beatles: Complete Scores (London: Wise Publications, c1993), which seeks to transcribe into staves and tablature all the songs as recorded by the Beatles in instrumental and vocal detail. (More...)