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The Wonder of the Star Orchestral Score and Parts
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Vous avez sélectionné:
The Wonder of the Star Orchestral Score and Parts
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The Wonder of the Star - Orchestral Score and Parts
The Wonder of the Star - Orchestral Score and Parts
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Orchestre
#
Thomas Fettke
#
The Wonder of the Star - Orche
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Exaltation Publications - Digital
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SheetMusicPlus
Full Orchestra - SKU: LX.30-2145L Composed by Thomas Fettke. Sacred Anthem, Christmas, Epiphany. Orchestral Score and Parts. 60 pages. Exaltation Public...
(+)
Full Orchestra - SKU: LX.30-2145L Composed by Thomas Fettke. Sacred Anthem, Christmas, Epiphany. Orchestral Score and Parts. 60 pages. Exaltation Publications - Digital #e30/2145L. Published by Exaltation Publications - Digital (LX.30-2145L). 2 Flutes, Oboe, 2 Clarinets, 3 Trumpets, 2 F Horns (substitute 2 Alto Sax), Trombone 1 & 2 (substitute Tenor Sax/Baritone T.C), Trombone 3/Tuba, Timpani, Percussion 1 & 2, Harp, Rhythm, Violin. 1 & 2, Viola (substitute Clarinet 3), Cello (substitute Bass Clarinet), Bass (string reduction included).
$49.95 ≈
$69.31
Debussy Inconnu: Album of works for the piano by Claude Debussy completed by Robert Orledge, Vol. 1
Debussy Inconnu: Album of works for the piano by Claude Debussy completed by Robert Orledge, Vol. 1
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Piano seul
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Claude Debussy/Robert Orledg
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Debussy Inconnu: Album of work
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Musik Fabrik Music Publishing
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SheetMusicPlus
Piano Solo - Advanced Intermediate - Digital Download Composed by Claude Debussy/Robert Orledge. 20th Century, Impressionistic, Repertoire, Recital. ...
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Piano Solo - Advanced Intermediate - Digital Download Composed by Claude Debussy/Robert Orledge. 20th Century, Impressionistic, Repertoire, Recital. Score. 71 pages. Published by Musik Fabrik Music Publishing
Contains A Night in the House of Usher Un Jour affreux avec Le Diable dans le beffroi, Les accords de septième regrettent!!!, Petite Valse,Fêtes galantes, and Prélude à ?L?Histoire de Tristan?
From Robert Orledge's notes:
My interest in the wonderful music of Claude Debussy began in the 1980s when I researched and published a book with Cambridge University Press entitled Debussy and the Theatre. During the course of my studies in Paris, I was amazed to discover that Debussy planned over 50 theatrical works but only finished two of these entirely by himself (the opera Pelléas et Mélisande in 1893?1902 and the ballet Jeux for Diaghilev?s Ballets Russes in 1912?13). Of the rest, many were never started musically (like Siddartha and Orphée-roi with the Oriental scholar Victor Segalen, 1907); some had a few tantalising sketches (like the Edgar Allan Poe opera Le Diable dans le beffroi, 1902?03); some were half-finished (like his other Poe opera La Chute de la Maison Usher, 1908?17); while others were musically complete but had their orchestrations completed by other composers (like Khamma, by Charles Koechlin, 1912?13; or Le Martyre de Saint Sébastien and La Boîte à joujoux by his ?angel of corrections? [?l?ange des Corrections?] André Caplet in 1911 and 1919 respectively).
For it has to be admitted that what some scholars call Debussy?s ?compulsive achievement? could equally well be viewed as laziness, especially as far as the minute detail required for calligraphing his orchestral scores was concerned. It was as if creating the music itself was of greater importance than controlling its final sound, even if Debussy was an imaginative orchestrator when he found the time and energy to do it. It also seems true that Debussy also preferred inventing ideas to turning them into complete pieces. However, despite the lack of detail in many of his sketches (missing clefs, key signatures, dynamics, phrasing, etc.) the notes themselves are surprisingly accurate, whether or not they can be compared with a later draft. Thus, a large number of sketches exist for his Chinese ballet No-ja-li ou Le Palais du Silence and it is not too difficult to see which parts of Georges de Feure?s 1913 scenario (see below) inspired which ideas. But Debussy hardly made any attempt to join them together after the first few bars.
It was usually up to his publisher, Jacques Durand, to find solutions when Debussy risked a breach of contract. Debussy was supposed to supervise the orchestrations completed by others, but this supervision was usually very light and restricted to quiet, sensitive moments in which problems were easier to spot. Far from jealously guarding every one of his created notes, as Ravel did, Debussy once even went as far as to ask Koechlin to ?write a ballet for him that he would sign? on 26 March 1914 when he was hard-pressed to fulfil his lucrative contract for No-ja-li with André Charlot at the Alhambra Theatre in London. In the end, Debussy (through Durand) sent Charlot the symphonic suite Printemps instead, whose orchestration had been completed by Henri Busser in the Spring of 1912.
So, when I was offered early retirement as Professor of Music at Liverpool University in 2004, I seized the opportunity it would give me to spend time trying to reconstruct some of Debussy?s lost potential masterpieces from his existing sketches and drafts?then orchestrating them in Debussy?s style when this was appropriate. I had begun this mission in 2001 with the most promising project, the missing parts of Scene 2 of La Chute de la Maison Usher and the sheer joy it gave me at every stage persuaded me to tackle other projects, especially when Debussy experts were unable to identify exactly where I took over from Debussy (and vice versa) in Usher.
$38.95 ≈
$54.05
Debussy Inconnu: Album of works for the piano by Claude Debussy completed by Robert Orledge, Vol. 2
Debussy Inconnu: Album of works for the piano by Claude Debussy completed by Robert Orledge, Vol. 2
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Piano seul
#
INTERMÉDIAIRE/AVANCÉ
#
Classique
#
Claude Debussy/Robert Orledg
#
Debussy Inconnu: Album of work
#
Musik Fabrik Music Publishing
#
SheetMusicPlus
Piano Solo - Advanced Intermediate - Digital Download Composed by Claude Debussy/Robert Orledge. 20th Century, Impressionistic, Repertoire. Score. 76...
(+)
Piano Solo - Advanced Intermediate - Digital Download Composed by Claude Debussy/Robert Orledge. 20th Century, Impressionistic, Repertoire. Score. 76 pages. Published by Musik Fabrik Music Publishing
Contains Le Roi Lear: Prélude,Première Fanfare, and La Mort de Cordélia,Toomai des éléphants, Rodrigue et Chimène: Prélude à l?acte 1p. Le Martyre de Saint Sébastien: La Passion , and No-ja-li ou Le Palais du Silence
From Robert Orledge's notes:
My interest in the wonderful music of Claude Debussy began in the 1980s when I researched and published a book with Cambridge University Press entitled Debussy and the Theatre. During the course of my studies in Paris, I was amazed to discover that Debussy planned over 50 theatrical works but only finished two of these entirely by himself (the opera Pelléas et Mélisande in 1893?1902 and the ballet Jeux for Diaghilev?s Ballets Russes in 1912?13). Of the rest, many were never started musically (like Siddartha and Orphée-roi with the Oriental scholar Victor Segalen, 1907); some had a few tantalising sketches (like the Edgar Allan Poe opera Le Diable dans le beffroi, 1902?03); some were half-finished (like his other Poe opera La Chute de la Maison Usher, 1908?17); while others were musically complete but had their orchestrations completed by other composers (like Khamma, by Charles Koechlin, 1912?13; or Le Martyre de Saint Sébastien and La Boîte à joujoux by his ?angel of corrections? [?l?ange des Corrections?] André Caplet in 1911 and 1919 respectively).
For it has to be admitted that what some scholars call Debussy?s ?compulsive achievement? could equally well be viewed as laziness, especially as far as the minute detail required for calligraphing his orchestral scores was concerned. It was as if creating the music itself was of greater importance than controlling its final sound, even if Debussy was an imaginative orchestrator when he found the time and energy to do it. It also seems true that Debussy also preferred inventing ideas to turning them into complete pieces. However, despite the lack of detail in many of his sketches (missing clefs, key signatures, dynamics, phrasing, etc.) the notes themselves are surprisingly accurate, whether or not they can be compared with a later draft. Thus, a large number of sketches exist for his Chinese ballet No-ja-li ou Le Palais du Silence and it is not too difficult to see which parts of Georges de Feure?s 1913 scenario (see below) inspired which ideas. But Debussy hardly made any attempt to join them together after the first few bars.
It was usually up to his publisher, Jacques Durand, to find solutions when Debussy risked a breach of contract. Debussy was supposed to supervise the orchestrations completed by others, but this supervision was usually very light and restricted to quiet, sensitive moments in which problems were easier to spot. Far from jealously guarding every one of his created notes, as Ravel did, Debussy once even went as far as to ask Koechlin to ?write a ballet for him that he would sign? on 26 March 1914 when he was hard-pressed to fulfil his lucrative contract for No-ja-li with André Charlot at the Alhambra Theatre in London. In the end, Debussy (through Durand) sent Charlot the symphonic suite Printemps instead, whose orchestration had been completed by Henri Busser in the Spring of 1912.
So, when I was offered early retirement as Professor of Music at Liverpool University in 2004, I seized the opportunity it would give me to spend time trying to reconstruct some of Debussy?s lost potential masterpieces from his existing sketches and drafts?then orchestrating them in Debussy?s style when this was appropriate. I had begun this mission in 2001 with the most promising project, the missing parts of Scene 2 of La Chute de la Maison Usher and the sheer joy it gave me at every stage persuaded me to tackle other projects, especially when Debussy experts were unable to identify exactly where I took over from Debussy (and vice versa) in Usher.
$38.95 ≈
$54.05
Start Wearing Purple
Start Wearing Purple
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Ensemble de cuivres
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FACILE
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Contemporain
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Eliot Ferguson, Eugene Hutz, O
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Andrea La Rose
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Start Wearing Purple
#
Andrea La Rose
#
SheetMusicPlus
Brass Ensemble - Level 2 - SKU: A0.510142 Composed by Eliot Ferguson, Eugene Hutz, Oren Kaplan, Sergey Ryabstev, and Uri Lemeshev. Arranged by Andrea La...
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Brass Ensemble - Level 2 - SKU: A0.510142 Composed by Eliot Ferguson, Eugene Hutz, Oren Kaplan, Sergey Ryabstev, and Uri Lemeshev. Arranged by Andrea La Rose. Contemporary. Score and parts. 44 pages. Andrea La Rose #6411627. Published by Andrea La Rose (A0.510142). • Melody and harmony parts for all standard band and orchestral instruments, plus drums.• Chords included in every part, to encourage use of song as a vehicle for improvisation.• In original key, so you can play along with the recording. As a young musician, I often had a hard time finding music for me and my friends to play together. Small wonder, when I was a flutist and my closest friends in band played trumpet, baritone sax, and clarinet. Who writes for that combination? Later, as a music teacher, I would either be approached by students in the same kind of situation or I would have an after-school ensemble consisting of something like 3 flutes, 2 alto saxes, 4 pianists, 5 drummers, a guitar, a viola, and an accordion. Now, really. Who writes for THAT combination?! Since I am also a composer (who often finds herself writing for similarly odd instrumentation), I would simply arrange music for that combination. But not every teacher or student is comfortable with doing that or has the time to. Finally, I am sharing with you all the fruits of my labor. Let friends play with friends! Let people pick parts that they are comfortable with! Let’s play some music we love!
$29.99 ≈
$41.62
Star of Wonder
Star of Wonder
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Chorale SATB
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Gordon Thornett
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or
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Star of Wonder
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Gordon John Thornett
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SheetMusicPlus
Choral Choir (SATB) - SKU: A0.821202 Composed by Gordon Thornett. Christian,Christmas,Sacred. Octavo. 13 pages. Gordon John Thornett #3863357. Published...
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Choral Choir (SATB) - SKU: A0.821202 Composed by Gordon Thornett. Christian,Christmas,Sacred. Octavo. 13 pages. Gordon John Thornett #3863357. Published by Gordon John Thornett (A0.821202). Forget the traditional setting of We thee kings of Orient are! This is a much more reflective version, for choir and orchestra, given its first performance by the Nidarosdomens Guttekor in the splendid setting of Trondheim Cathedral in December 2017. They also performed the piece on their pre-Christmas tour, using just organ for accompaniment.The setting may be performed effectively with piano or organ accompaniment, but the orchestral score and parts may be obtained from Swirly Music (ref. GTT-30B) or direct from the composer (gtbham@me.com). Note that there are subdivisions in places.There is also a video of the performance at Trondheim Cathedral, with orchestral accompaniment - please copy and paste the following link: https://youtu.be/m8cU2u9eBqo.
$2.50 ≈
$3.47
A Night With The Aristocrats
A Night With The Aristocrats
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Apostolos Paraskevas
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A Night With The Aristocrats
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Silver Sickle Publications
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SheetMusicPlus
Large Ensemble Cello,Clarinet,Double Bass,Guitar,Soprano Saxophone,Viola,Violin - Level 5 - SKU: A0.942105 Composed by Apostolos Paraskevas. 20th Centur...
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Large Ensemble Cello,Clarinet,Double Bass,Guitar,Soprano Saxophone,Viola,Violin - Level 5 - SKU: A0.942105 Composed by Apostolos Paraskevas. 20th Century,Contemporary,World. Score and parts. 122 pages. Silver Sickle Publications #6332819. Published by Silver Sickle Publications (A0.942105). A Night with The Aristocrats (a concertante work of plucking, blowing and bowing)Versions for Clarinet/SopranoSax/Violin with Guitar and Strings The guitar part came inspirational first to me as one of my 24 Studies that I wrote few years ago. For a while though I wondered if a melodic part should be added to this part and form eventually a duo. A request from my dear colleague Corey Whitehead, for a duo plus strings led me to orchestrate it in this version.The work starts with a meditative introduction before the main part unfolds a dance idea between the two instruments and the string orchestra, almost humoresque which hands over a pensive thought in the soprano sax/clarinet/solo violin that repeats itself almost as an unanswered question. Could please anyone answers? The Strings do play an important part in terms of balance and the one of an extra third corresponding force.My composition language is sometimes folklorist around my Greek heritage, sometimes around tonal centers, and sometimes simple within a few key notes, evolves around programmatic ideas that I get from every day living. Apostolos Paraskevas
$45.00 ≈
$62.44
Andante Con Moto from Piano Concerto No.4 in G Major Op.58 Arranged for Solo Piano
Andante Con Moto from Piano Concerto No.4 in G Major Op.58 Arranged for Solo Piano
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Piano seul
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Classique
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Dirk Chan
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Dirk Chan
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Andante Con Moto from Piano Co
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Dirk Chan Music Pty Ltd
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SheetMusicPlus
Piano Solo - SKU: A0.1185492 By Dirk Chan. By Ludwig van Beethoven. Arranged by Dirk Chan. Classical. Score. 3 pages. Dirk Chan Music Pty Ltd #785167. P...
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Piano Solo - SKU: A0.1185492 By Dirk Chan. By Ludwig van Beethoven. Arranged by Dirk Chan. Classical. Score. 3 pages. Dirk Chan Music Pty Ltd #785167. Published by Dirk Chan Music Pty Ltd (A0.1185492). Beethoven Piano Concerto No.4 2nd Movement Op.58 Andante Con Moto arranged for solo piano is a wonderful piece of music. It is dramatic and tender at the same time as the piano solo parts contrast evocatively with the orchestral parts to create one of the most atmospheric slow movements by Ludwig van Beethoven. The solo piano part starts in minor, and has a melancholy that is so poignant. The second phrase appears and it is in major for a just a moment before it returns to minor. This piece is a wonderful experience to play this piano and orchestral piece as a piano soloist. Enjoy.
$10.99 ≈
$15.25
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The Wonder of the Star Orchestral Score and Parts
