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Tzigane
Orchestre d'harmonie
Barenreiter
In 1922 Maurice Ravel heard the young Hungarian violin virtuoso and niece of Jos...
(+)
In 1922 Maurice Ravel heard the young Hungarian violin virtuoso and niece of Joseph Joachim, Jelly D'Aranyi, in concert in London. Following the performance, Ravel spent the remainder of the evening requesting D'Aranyi to play numerous gypsy tunes on her violin, probing her on the technical limits of the instrument. The result of this encounter is Ravel's virtuoso classic 'Tzigane?. Written originally for violin and piano or luthéal (a mechanism invented in 1919 that attaches to a piano, producing a sound similar to the rich overtones of the Cimbalon), the premiere took place in London in April 1924. The composer had finished the work only days beforehand. Ravel later orchestrated 'Tzigane? and both versions remain a 'must? for music-lovers and aspiring violinists today. Jelly D'Aranyi performed both versions regularly throughout her long career. This Urtext edition presents the first scholarly-critical edition of Ravel's masterpiece. It is published both in the orchestral version, complete with full score and performance material, as well as in the composer's earlier version for violin and piano. All known sources, including letters, have been drawn on for the new edition - one of the available sources, consulted for the first time, was a copy of 'Tzigane? from the estate of Jelly D'Aranyi, which is today part of a private collection. The version for piano and violin contains, besides the Urtext part, a second violin part as a facsimile with performance instructions by Jelly D'Aranyi. D'Aranyi's alterations and fingering reflect how Ravel must have heard the work in rehearsals and performance and as such are a document of early 20th century performance practice. The cooperation between Ravel and D'Aranyi is comparable to that of Brahms and Joachim working on the Brahms violin concerto.- First scholarly-critical Urtext edition of the work - Presented are both versions: for violin and orchestra and for violin and piano- Includes Jelly D'Aranyi's fingering / Harmonie
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Tzigane
25.46
Tzigane
Violon et Piano
Barenreiter
In 1922 Maurice Ravel heard the young Hungarian violin virtuoso and niece of Jos...
(+)
In 1922 Maurice Ravel heard the young Hungarian violin virtuoso and niece of Joseph Joachim, Jelly D'Aranyi, in concert in London. Following the performance, Ravel spent the remainder of the evening requesting D'Aranyi to play numerous gypsy tunes on her violin, probing her on the technical limits of the instrument. The result of this encounter is Ravel's virtuoso classic 'Tzigane?. Written originally for violin and piano or luthéal (a mechanism invented in 1919 that attaches to a piano, producing a sound similar to the rich overtones of the Cimbalon), the premiere took place in London in April 1924. The composer had finished the work only days beforehand. Ravel later orchestrated 'Tzigane? and both versions remain a 'must? for music-lovers and aspiring violinists today. Jelly D'Aranyi performed both versions regularly throughout her long career. This Urtext edition presents the first scholarly-critical edition of Ravel's masterpiece. It is published both in the orchestral version, complete with full score and performance material, as well as in the composer's earlier version for violin and piano. All known sources, including letters, have been drawn on for the new edition - one of the available sources, consulted for the first time, was a copy of 'Tzigane? from the estate of Jelly D'Aranyi, which is today part of a private collection. The version for piano and violin contains, besides the Urtext part, a second violin part as a facsimile with performance instructions by Jelly D'Aranyi. D'Aranyi's alterations and fingering reflect how Ravel must have heard the work in rehearsals and performance and as such are a document of early 20th century performance practice. The cooperation between Ravel and D'Aranyi is comparable to that of Brahms and Joachim working on the Brahms violin concerto.- First scholarly-critical Urtext edition of the work - Presented are both versions: for violin and orchestra and for violin and piano- Includes Jelly D'Aranyi's fingering / Violon Et Piano
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Tzigane
10.15
Tzigane
Alto seul
Barenreiter
In 1922 Maurice Ravel heard the young Hungarian violin virtuoso and niece of Jos...
(+)
In 1922 Maurice Ravel heard the young Hungarian violin virtuoso and niece of Joseph Joachim, Jelly D'Aranyi, in concert in London. Following the performance, Ravel spent the remainder of the evening requesting D'Aranyi to play numerous gypsy tunes on her violin, probing her on the technical limits of the instrument. The result of this encounter is Ravel's virtuoso classic 'Tzigane?. Written originally for violin and piano or luthéal (a mechanism invented in 1919 that attaches to a piano, producing a sound similar to the rich overtones of the Cimbalon), the premiere took place in London in April 1924. The composer had finished the work only days beforehand. Ravel later orchestrated 'Tzigane? and both versions remain a 'must? for music-lovers and aspiring violinists today. Jelly D'Aranyi performed both versions regularly throughout her long career. This Urtext edition presents the first scholarly-critical edition of Ravel's masterpiece. It is published both in the orchestral version, complete with full score and performance material, as well as in the composer's earlier version for violin and piano. All known sources, including letters, have been drawn on for the new edition - one of the available sources, consulted for the first time, was a copy of 'Tzigane? from the estate of Jelly D'Aranyi, which is today part of a private collection. The version for piano and violin contains, besides the Urtext part, a second violin part as a facsimile with performance instructions by Jelly D'Aranyi. D'Aranyi's alterations and fingering reflect how Ravel must have heard the work in rehearsals and performance and as such are a document of early 20th century performance practice. The cooperation between Ravel and D'Aranyi is comparable to that of Brahms and Joachim working on the Brahms violin concerto.- First scholarly-critical Urtext edition of the work - Presented are both versions: for violin and orchestra and for violin and piano- Includes Jelly D'Aranyi's fingering / Alto
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Maurice Ravel: Concerto: Piano: Score
46.50
Maurice Ravel: Concerto: Piano: Score
Piano et Orchestre
Barenreiter
for the Left Hand for Piano and Orchestra-In 1929 Paul Wittgenstein a pianist a...
(+)
for the Left Hand for Piano and Orchestra-In 1929 Paul Wittgenstein a pianist and war veteran who lost his right arm in the Great War commissioned Maurice Ravel to write a concerto for him to perform. The result was one of Ravel’s most thrilling compositions and for Wittgenstein the most important of the many works he commissioned over the course of his career. This scholarly-critical edition of Ravel’s Piano Concerto For The Left Hand is based on previously inaccessible and unknown sources. The editor Douglas Woodfull-Harris was able to consult manuscripts in the private library of the Paul Wittgenstein Estate which allowed him to retrace thework’s evolution from Ravel’s autograph working copy to the first printed edition. A source of key importance to our new edition is a handwritten French copy of Ravel’s own Piano reduction (the autograph is inaccessible) that he gave to Wittgenstein to facilitate rehearsing the work. This copy is the sole source reflecting Wittgenstein’s own interpretation and containing his changes to the final cadenza. It also helps us to understand omissions in the first edition of the score as well as the Piano reduction and enabled the editor amongst other things to correct a great many notes which could be found in previous editions including the solo Piano part. The Piano reduction in our edition contains both Ravel’s and Wittgenstein’s fingering. Also included is a solo part without fingering thereby giving pianists the opportunity to enter their own fingering after having studied those of Ravel and Wittgenstein. Score and orchestral parts in large format (25.5 x 32.5 cm) Includes source descriptions and a Critical Commentary with alternative readings (Eng) Informative Introduction on the work’s history and genesis (Ger/Eng/Fr) With facsimile pages Piano reduction with separate Urtext solo part enclosed Full score & parts (BA7881) and two-Piano reduction (BA7881-90) available for sale.
46.50 GBP - vendu par Musicroom GB
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Tzigane
Violon 2
Barenreiter
In 1922 Maurice Ravel heard the young Hungarian violin virtuoso and niece of Jos...
(+)
In 1922 Maurice Ravel heard the young Hungarian violin virtuoso and niece of Joseph Joachim, Jelly D'Aranyi, in concert in London. Following the performance, Ravel spent the remainder of the evening requesting D'Aranyi to play numerous gypsy tunes on her violin, probing her on the technical limits of the instrument. The result of this encounter is Ravel's virtuoso classic 'Tzigane?. Written originally for violin and piano or luthéal (a mechanism invented in 1919 that attaches to a piano, producing a sound similar to the rich overtones of the Cimbalon), the premiere took place in London in April 1924. The composer had finished the work only days beforehand. Ravel later orchestrated 'Tzigane? and both versions remain a 'must? for music-lovers and aspiring violinists today. Jelly D'Aranyi performed both versions regularly throughout her long career. This Urtext edition presents the first scholarly-critical edition of Ravel's masterpiece. It is published both in the orchestral version, complete with full score and performance material, as well as in the composer's earlier version for violin and piano. All known sources, including letters, have been drawn on for the new edition - one of the available sources, consulted for the first time, was a copy of 'Tzigane? from the estate of Jelly D'Aranyi, which is today part of a private collection. The version for piano and violin contains, besides the Urtext part, a second violin part as a facsimile with performance instructions by Jelly D'Aranyi. D'Aranyi's alterations and fingering reflect how Ravel must have heard the work in rehearsals and performance and as such are a document of early 20th century performance practice. The cooperation between Ravel and D'Aranyi is comparable to that of Brahms and Joachim working on the Brahms violin concerto.- First scholarly-critical Urtext edition of the work - Presented are both versions: for violin and orchestra and for violin and piano- Includes Jelly D'Aranyi's fingering / Violon 2
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Maurice Ravel: Concerto: Piano: Instrumental Work
35.50
Maurice Ravel: Concerto: Piano: Instrumental Work
2 Pianos, 4 mains
[Reduction]
Barenreiter
for the Left Hand for Piano and Orchestra Piano reduction and solo part-In 1929...
(+)
for the Left Hand for Piano and Orchestra Piano reduction and solo part-In 1929 Paul Wittgenstein a pianist and war veteran who lost his right arm in the Great War commissioned Maurice Ravel to write a concerto for him to perform. The result was one of Ravel’s most thrilling compositions and for Wittgenstein the most important of the many works he commissioned over the course of his career.This scholarly-critical edition of Ravel’s Piano Concerto For The Left Hand is based on previously inaccessible and unknown sources. The editor Douglas Woodfull-Harris was able to consult manuscripts in the private library of the Paul Wittgenstein Estate which allowed him to retrace the work’s evolutionfrom Ravel’s autograph working copy to the first printed edition.A source of key importance to our new edition is a handwritten French copy of Ravel’s own Piano reduction (the autograph is inaccessible) that he gave to Wittgenstein to facilitate rehearsing the work. This copy is the sole source reflecting Wittgenstein’s own interpretation and containing his changes to the final cadenza. It also helps us to understand omissions in the first edition of the score as well as the Piano reduction and enabled the editor amongst other things to correct a great many notes which could be found in previous editions including the solo Piano part.The Piano reduction in our edition contains both Ravel’s and Wittgenstein’s fingering. Also included is a solo part without fingering thereby giving pianists the opportunity to enter their own fingering after having studied those of Ravel and Wittgenstein.Score and orchestral parts in large format (25.5 x 32.5 cm)Includes source descriptions and a Critical Commentary with alternative readings (Eng)Informative Introduction on the work’s history and genesis (Ger/Eng/Fr)With facsimile pagesPiano reduction with separate Urtext solo part enclosedFull score & parts (BA7881) and two-Piano reduction (BA7881-90) available for sale
35.50 GBP - vendu par Musicroom GB
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Maurice Ravel: Concerto: Piano: Part
28.00
Maurice Ravel: Concerto: Piano: Part
Klavier und Orchester
Barenreiter
for the Left Hand for Piano and Orchestra-In 1929 Paul Wittgenstein a pianist a...
(+)
for the Left Hand for Piano and Orchestra-In 1929 Paul Wittgenstein a pianist and war veteran who lost his right arm in the Great War commissioned Maurice Ravel to write a concerto for him to perform. The result was one of Ravel’s most thrilling compositions and for Wittgenstein the most important of the many works he commissioned over the course of his career.This scholarly-critical edition of Ravel’s Piano Concerto For The Left Hand is based on previously inaccessible and unknown sources. The editor Douglas Woodfull-Harris was able to consult manuscripts in the private library of the Paul Wittgenstein Estate which allowed him to retrace the work’s evolutionfrom Ravel’s autograph working copy to the first printed edition.A source of key importance to our new edition is a handwritten French copy of Ravel’s own Piano reduction (the autograph is inaccessible) that he gave to Wittgenstein to facilitate rehearsing the work. This copy is the sole source reflecting Wittgenstein’s own interpretation and containing his changes to the final cadenza. It also helps us to understand omissions in the first edition of the score as well as the Piano reduction and enabled the editor amongst other things to correct a great many notes which could be found in previous editions including the solo Piano part.The Piano reduction in our edition contains both Ravel’s and Wittgenstein’s fingering. Also included is a solo part without fingering thereby giving pianists the opportunity to enter their own fingering after having studied those of Ravel and Wittgenstein.Score and orchestral parts in large format (25.5 x 32.5 cm)Includes source descriptions and a Critical Commentary with alternative readings (Eng)Informative Introduction on the work’s history and genesis (Ger/Eng/Fr)With facsimile pagesPiano reduction with separate Urtext solo part enclosedFull score & parts (BA7881) and two-Piano reduction (BA7881-90) available for sale
28.00 GBP - vendu par Musicroom GB
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Maurice Ravel: Concerto: Piano: Parts
123.50
Maurice Ravel: Concerto: Piano: Parts
Klavier und Orchester
Barenreiter
for the Left Hand for Piano and Orchestra-In 1929 Paul Wittgenstein a pianist a...
(+)
for the Left Hand for Piano and Orchestra-In 1929 Paul Wittgenstein a pianist and war veteran who lost his right arm in the Great War commissioned Maurice Ravel to write a concerto for him to perform. The result was one of Ravel’s most thrilling compositions and for Wittgenstein the most important of the many works he commissioned over the course of his career.This scholarly-critical edition of Ravel’s Piano Concerto For The Left Hand is based on previously inaccessible and unknown sources. The editor Douglas Woodfull-Harris was able to consult manuscripts in the private library of the Paul Wittgenstein Estate which allowed him to retrace the work’s evolutionfrom Ravel’s autograph working copy to the first printed edition.A source of key importance to our new edition is a handwritten French copy of Ravel’s own Piano reduction (the autograph is inaccessible) that he gave to Wittgenstein to facilitate rehearsing the work. This copy is the sole source reflecting Wittgenstein’s own interpretation and containing his changes to the final cadenza. It also helps us to understand omissions in the first edition of the score as well as the Piano reduction and enabled the editor amongst other things to correct a great many notes which could be found in previous editions including the solo Piano part.The Piano reduction in our edition contains both Ravel’s and Wittgenstein’s fingering. Also included is a solo part without fingering thereby giving pianists the opportunity to enter their own fingering after having studied those of Ravel and Wittgenstein.Score and orchestral parts in large format (25.5 x 32.5 cm)Includes source descriptions and a Critical Commentary with alternative readings (Eng)Informative Introduction on the work’s history and genesis (Ger/Eng/Fr)With facsimile pagesPiano reduction with separate Urtext solo part enclosedFull score & parts (BA7881) and two-Piano reduction (BA7881-90) available for sale
123.50 GBP - vendu par Musicroom GB
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Tzigane
10.15
Tzigane
Violon 1
Barenreiter
In 1922 Maurice Ravel heard the young Hungarian violin virtuoso and niece of Jos...
(+)
In 1922 Maurice Ravel heard the young Hungarian violin virtuoso and niece of Joseph Joachim, Jelly D'Aranyi, in concert in London. Following the performance, Ravel spent the remainder of the evening requesting D'Aranyi to play numerous gypsy tunes on her violin, probing her on the technical limits of the instrument. The result of this encounter is Ravel's virtuoso classic 'Tzigane?. Written originally for violin and piano or luthéal (a mechanism invented in 1919 that attaches to a piano, producing a sound similar to the rich overtones of the Cimbalon), the premiere took place in London in April 1924. The composer had finished the work only days beforehand. Ravel later orchestrated 'Tzigane? and both versions remain a 'must? for music-lovers and aspiring violinists today. Jelly D'Aranyi performed both versions regularly throughout her long career. This Urtext edition presents the first scholarly-critical edition of Ravel's masterpiece. It is published both in the orchestral version, complete with full score and performance material, as well as in the composer's earlier version for violin and piano. All known sources, including letters, have been drawn on for the new edition - one of the available sources, consulted for the first time, was a copy of 'Tzigane? from the estate of Jelly D'Aranyi, which is today part of a private collection. The version for piano and violin contains, besides the Urtext part, a second violin part as a facsimile with performance instructions by Jelly D'Aranyi. D'Aranyi's alterations and fingering reflect how Ravel must have heard the work in rehearsals and performance and as such are a document of early 20th century performance practice. The cooperation between Ravel and D'Aranyi is comparable to that of Brahms and Joachim working on the Brahms violin concerto.- First scholarly-critical Urtext edition of the work - Presented are both versions: for violin and orchestra and for violin and piano- Includes Jelly D'Aranyi's fingering / Violon 1
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Tzigane
10.15
Tzigane
Violoncelle
Barenreiter
In 1922 Maurice Ravel heard the young Hungarian violin virtuoso and niece of Jos...
(+)
In 1922 Maurice Ravel heard the young Hungarian violin virtuoso and niece of Joseph Joachim, Jelly D'Aranyi, in concert in London. Following the performance, Ravel spent the remainder of the evening requesting D'Aranyi to play numerous gypsy tunes on her violin, probing her on the technical limits of the instrument. The result of this encounter is Ravel's virtuoso classic 'Tzigane?. Written originally for violin and piano or luthéal (a mechanism invented in 1919 that attaches to a piano, producing a sound similar to the rich overtones of the Cimbalon), the premiere took place in London in April 1924. The composer had finished the work only days beforehand. Ravel later orchestrated 'Tzigane? and both versions remain a 'must? for music-lovers and aspiring violinists today. Jelly D'Aranyi performed both versions regularly throughout her long career. This Urtext edition presents the first scholarly-critical edition of Ravel's masterpiece. It is published both in the orchestral version, complete with full score and performance material, as well as in the composer's earlier version for violin and piano. All known sources, including letters, have been drawn on for the new edition - one of the available sources, consulted for the first time, was a copy of 'Tzigane? from the estate of Jelly D'Aranyi, which is today part of a private collection. The version for piano and violin contains, besides the Urtext part, a second violin part as a facsimile with performance instructions by Jelly D'Aranyi. D'Aranyi's alterations and fingering reflect how Ravel must have heard the work in rehearsals and performance and as such are a document of early 20th century performance practice. The cooperation between Ravel and D'Aranyi is comparable to that of Brahms and Joachim working on the Brahms violin concerto.- First scholarly-critical Urtext edition of the work - Presented are both versions: for violin and orchestra and for violin and piano- Includes Jelly D'Aranyi's fingering / Violoncelle
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Maurice Ravel: Gaspard De La Nuit - 3 Poemes: Piano: Instrumental Album
17.99
Maurice Ravel: Gaspard De La Nuit - 3 Poemes: Piano: Instrumental Album
Piano seul
Wiener Urtext
Maurice Ravel's Gaspard De La Nuit is one of the most important Piano works of t...
(+)
Maurice Ravel's Gaspard De La Nuit is one of the most important Piano works of the 20th century and constitutes the height of the extension of the pianistic playing techniques and tonal possibilites which was already begun by Chopin and Liszt in the 19th century. The three movements Ondine Le Gibet and Scarbo are based on poems by Aloysius Bertrand which Ravel put in front of each of the three pieces. Thus too the work is in a tradition represented by composers such as Schumann and Liszt in the 19th century that combines instrumental music with literary models. For the new edition published by the Wiener Urtext Edition the editorsconsulted not only the first edition used almost exclusively up to now but also Ravel's autograph as well as his personal copy of the first edition on the basis of which numerous passages in the musical text could be corrected and brought closer to Ravel's original intention. In addition the editors included corrections from personal copies of various students of Ravel. Entries of the composer going well beyond mere text corrections and practical performance tips handed down by his students are analysed in the Notes of Interpretation. The reader-friendly large-format Wiener Urtext edition is completed by a trilingual glossary of the French performance instructions used by Ravel as well as English and German translations of Bertrand's three poems.
17.99 GBP - vendu par Musicroom GB
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Maurice Ravel: Sonata For Violin And Violoncello: Violin & Cello: Score and
25.50
Maurice Ravel: Sonata For Violin And Violoncello: Violin & Cello: Score and
Violon, Violoncelle (duo)
Barenreiter
In 1920 Maurice Ravel was asked by his publisher Durand to contribute to an issu...
(+)
In 1920 Maurice Ravel was asked by his publisher Durand to contribute to an issue of La Revue Musicale dedicated to Claude Debussy. A supplement included the first movement of Ravel?s Sonata as well as works contributed by Debussy?s friends Stravinsky Satie Dukas Bartok and de Falla to name only a few. This 1st movement of Ravel?s Sonata of which the autograph is lost then developed into a large scale four movement chamber music work utilizing a more modern music vocabulary than found in almost any other Ravel composition. Bärenreiter?s scholarly-critical edition the first ever of this masterpiece presents the work in two performing scores. It contains anintroduction on the history of the work reflecting Ravel?s work and rehearsals with violinist Hélène Jourdan-Morhange and cellist Maurice Maréchal. Sources for this new edition include the engraved copy the personal autograph scores (with earlier versions of some passages) which were used to rehearse the work and the first edition scores with emendations by Jourdan-Morhange and Maréchal. Included in the appendix are the original fingerings by the performers which are not found in the first edition. They reflect how Ravel must have heard the work in rehearsals and as such are a document of early 20th century performance practice. First Urtext edition of this workTwo performing scores (format 25 5 x 32 5 cm)The violoncello part does not allow for page turns in the first movement; therefore the edition includes an additional violoncello part in small print presenting the entire first movement on a double page without a page turnInformative introduction to the genesis of the work (Ger/Eng/Fr)Critical commentary with facsimiles and appendices
25.50 GBP - vendu par Musicroom GB
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Greif O. - Francois-sappey B. - Le Tombeau De Ravel, Pour Piano à Quatre Mains - Piano
48.75
Greif O. - Francois-sappey B. - Le Tombeau De Ravel, Pour Piano à Quatre Mains - Piano
Symetrie
Pour piano à quatre mains, d'une durée de 15 minutes, Le Tombeau de Ravel rés...
(+)
Pour piano à quatre mains, d'une durée de 15 minutes, Le Tombeau de Ravel résulte d'une commande du Festival de Montfort-L'Amaury à l'occasion du centenaire de la naissance de Maurice Ravel, célébré les 23, 24 et 25 mai 1975. Olivier Greif et Henri Barda en assurent la première exécution le 24 mai au Centre des loisirs. Sous la responsabilité de Siao Ping Fan, ancienne condisciple d'Olivier Greif au Conservatoire de Paris, la séquence Ravel et les compositeurs d'aujourd'hui regroupe Le Tombeau de Ravel d'Olivier Greif et Un paysage serein, Cloches d'Orient d'Alain Kremski. (auteur) Extraits sonores Un enregistrement sur disque compact du Tombeau de Ravel est disponible sous le label Saphir productions. extrait n° 1 extrait n° 2
48.75 EUR - vendu par Woodbrass
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Ravel Maurice - Bolero
62.00
Ravel Maurice - Bolero
En Français
Orchestre
Le premier volume de la Ravel Edition est consacré à Bolero. Cette édition s...
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Le premier volume de la Ravel Edition est consacré à Bolero. Cette édition scientifique introduit un travail inédit d'après le manuscrit orchestral complet de 1928 conservé à la Morgan Library (New York), les manuscrits préparatoires (Bibliothèque nationale de France, British Library et Archives du Palais de Monaco) et de nombreuses sources présentées pour la première fois en ce volume de collection (partitions « historiques » de Maurice Ravel, Piero Coppola, Arturo Toscanini, correspondances, etc.). Maurice Ravel, Bolero pour orchestre (1928) : 16' 1ère édition monumentale française réalisée par une équipe de musicologues et chefs d'orchestre tricolores. Un volume 24,5x34 cm de 212 pages. Ouvrage cousu, papier 120 grammes de collection. Iconographie : 22 photos (pour la plupart inédites). Reproduction fac-simile d'une page du manuscrit de 1928, lettres de Maurice Ravel, partitions issues des premiers tirages (Maurice Ravel, Piero Coppola et Arturo Toscanini) et photos (Ballets Ida Rubinstein, séance d'enregistrement...). 104 pages de partitions. Texte d'introduction générale de 25 pages sur l'histoire de l''uvre et sa réception par Manuel Cornejo. Texte d'Alain Pâris comparant les premiers enregistrements de Bolero et leur impact sur la lecture de la partition. Discographie complète de Bolero de 1930 à 1939 par Jean Touzelet. Appareil critique de 27 pages présentant tout le support documentaire ayant servi à l'établissement de cette édition avec analyses inédites du manuscrit de 1928 conservé à la Morgan Library ainsi que des esquisses orchestrales - Bibliothèque nationale de France. Les Corrections et notes (sur 10 pages) recensent les problèmes éditoriaux, omissions et erreurs des premières éditions de l''uvre. Traduction anglaise des textes ainsi que de l'appareil critique. 2 partitions dans le volume : VERSION BALLET 1928 (inédite), éditeurs : Francois Dru et Quentin Hindley / VERSION CONCERT 1929, éditeur : Quentin Hindley.
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Bolero (RAVEL MAURICE)
54.22
Bolero (RAVEL MAURICE)
Orchestre d'harmonie
[Conducteur]
-
Intermédiaire/avancé
Anglo Music
Arr. Philip Sparke. Par RAVEL MAURICE. Le dernier ballet de Ravel, Boléro, fut ...
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Arr. Philip Sparke. Par RAVEL MAURICE. Le dernier ballet de Ravel, Boléro, fut écrit et créé en 1928. Aujourd’hui, le ballet est rarement représenté, et, bien que Ravel ait craint que les orchestres refusent d’interpréter son oeuvre, celle-ci est devenue l’une des plus populaires dans les salles de concert. Le Boléro est peut-être unique en son genre, dans le sens où l’orchestration géniale de Ravel est encore plus importante que les éléments mélodiques, rythmiques et harmoniques de l’oeuvre ; c’est pourquoi Philip Sparke n’a pas vu l’utilité d’en produire une version simplifiée ou „réduite“ mais a essayé de respecter au mieux la partition de Ravel. Laissez-vous séduire ! / Niveau : 5 / Classique / Répertoire / Concert Band ou Harmonie
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Maurice Ravel: Trois Chansons: SATB: Vocal Score
5.50
Maurice Ravel: Trois Chansons: SATB: Vocal Score
Chorale SATB
[Vocal Score]
Novello & Co Ltd.
This title is taken from the compilation French Songs And Choruses For Mixed-Voi...
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This title is taken from the compilation French Songs And Choruses For Mixed-Voice Choir (NOV165198) These songs for unaccompanied chorus were written between December 1914 and February 1915 while Ravel was waiting to be enlisted in the army. The songs were published in 1916 but did not receive their first performance until October 1917 with a chorus assembled by Jane Bathori and her husband.The songs mark a rare foray into choral writing for Ravel the first since his ill-fated entries for the Prix de Rome (apart from the wordless choruses in Daphnis et Chloé). Part of the special interest of Trois chansons is that Ravel himselfwrote the texts for them. The first and last of the poems have an ironic humour and he clearly revelled in the use of language; the second makes repeated reference to going away to war as its dedicatee Painlevé had already done and as Ravel was then preoccupied with doing. The only other work in which Ravel set his own text to music was Noël des jouets (1905).
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Mussorgski, Modeste : Pictures at an Exhibition
30.98
Mussorgski, Modeste : Pictures at an Exhibition
Orchestre
[Partition]
Schott
This new large-size paperback full score, based on the original printed score of...
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This new large-size paperback full score, based on the original printed score of 1929, provides a clearer and more authentic edition for conductors and students.
The original engraving has been graphically enhanced and edited with reference to the amended 1953 Edition Russe de Musique edition, the original engraved orchestral parts, and Ravel?s autograph manuscript.
This smart edition also features newly published editorial notes in English, French and German, plus facsimile pages from Ravel's original manuscript, containing markings made by the work?s commissioner Serge Koussevitsky.
Published as part of BandH?s prestigious Masterworks Library, full-size format (229 mm x 305 mm), this is the essential edition for conductors and students. / Arrangement : Maurice Ravel / Partition /
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Maurice Ravel: Piano Trio Mallarmé Poems And Other Chamber Works: Piano Trio:
15.20
Maurice Ravel: Piano Trio Mallarmé Poems And Other Chamber Works: Piano Trio:
Piano Trio: piano, violon, violoncelle
Dover Publications
Ravel was not only a master craftsman of exquisitely constructed chamber works ...
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Ravel was not only a master craftsman of exquisitely constructed chamber works but he was also a key innovator inspired by the tonal/atonal experiments of Schoenberg Stravinsky and the Second Viennese School. This is most closely reflected in the remarkable Mallarmé Poems Ravel's closest approach to the modernist innovations. Elsewhere his Piano Trio presents a perfect example of the delicacy and intricacy of Ravel's chamber music. Joined by several other full chamber pieces this is music that presents Ravel at his most musically ambitious brought together for the first time in one large-format attractively-priced volume.
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Piece En Forme De Habanera (RAVEL MAURICE / HAMELIN)
14.80
Piece En Forme De Habanera (RAVEL MAURICE / HAMELIN)
En Français
Clarinette et Piano
Leduc, Alphonse
Arrangeur: Gaston Hamelin. Par RAVEL MAURICE / HAMELIN. Initially composed in 19...
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Arrangeur: Gaston Hamelin. Par RAVEL MAURICE / HAMELIN. Initially composed in 1907 for Bass Voice and Piano, Habanera by Maurice Ravel was transcribed for Bb Clarinet and Piano for this edition. Based on a Cuban Contradanza, it features a special habanera rhythm and is generally performed with sung lyrics. In this edition, the Clarinet is a substitute for the Voice. While composing this piece, Maurice Ravel was also working on two pieces with Spanish influence: 'The Spanish Rhapsody' and 'The Spanish Hour'. This edition, which can be used for recitals and exams, will enlighten Clarinet players. Maurice Ravel (1875-1937) isa French composer is famous for his Impressionist contributions. He wrote numerous pieces, including 'Daphnis and Chloe' and the famous 'Bollero'./ Répertoire / Clarinette en Sib et Piano
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Le Tombeau de Couperin (RAVEL MAURICE)
37.74
Le Tombeau de Couperin (RAVEL MAURICE)
Trio avec Piano
[Conducteur et Parties séparées]
Schott
Par RAVEL MAURICE. Created during the First World War, Maurice Ravel's compositi...
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Par RAVEL MAURICE. Created during the First World War, Maurice Ravel's composition 'Le Tombeau de Couperin' casts a longing look at the past while at the same time being full to the brim with traces of modern music. Each of the six movements is dedicated to friends who died in battle. In 1919 Ravel arranged four of these movements for large orchestra by skilfully borrowing melodic lines and colours from the piano setting. In the present new arrangement written for the Stella Piano Trio, these elements were adjusted to the instrumentation and their relationship within the ensemble. As in Ravel's orchestration, each note is taken into account, even if the cello is sometimes given a melody which is an octave lower than the original./ Répertoire / Trio avec Piano
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Pavane Pour Une Infante Défunte (RAVEL MAURICE)
8.00
Pavane Pour Une Infante Défunte (RAVEL MAURICE)
Piano seul
[Partition]
-
Intermédiaire
G. Henle
Par RAVEL MAURICE. Selon les propres dires de Ravel, il ne faut pas faire trop g...
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Par RAVEL MAURICE. Selon les propres dires de Ravel, il ne faut pas faire trop grand cas du titre étrange apposé à cette petite pièce pour piano composée en 1899, 'Pavane pour une infante défunte'. Il fut choisi par Ravel avant tout pour le 'plaisir de faire une allitération' en 'assemblant les mots' qui le composent. Il reconnut toutefois également que cette musique évoque 'une pavane qu'aurait pu danser telle petite princesse jadis, à la cour d'Espagne'. Cette pièce facile, mais d'un effet prodigieux, connut une popularité hors du commun après sa création en 1902, dont témoignent les nombreux arrangements de l'oeuvre, et la version pour petit orchestre de la plume du compositeur. Nous proposons l'oeuvre dans sa version d'origine, en parfait complément à notre programme Ravel. / Niveau : Intermédiaire / Répertoire / Piano
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Pavane Pour Une Infante Défunte
16.60
Pavane Pour Une Infante Défunte
Quatuor de Saxophones: 4 saxophones
Advance Music
The Pavane for a Dead Princess is considered to be one of Ravel's most popular w...
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The Pavane for a Dead Princess is considered to be one of Ravel's most popular works. The solemn and stately court dance strutting along in an even pulse turns into a melancholic, yet not sombre dirge.This Pavane is dedicated to the Princess of Polignac. Trying to put a stop to rampant poetic interpretations of the composition's title, Ravel made a point of stating that ?When I phrased the title, I was merely interested in having the fun of creating a pun. Pavane pour une Infante Défunte - the alliterations can hardly be ignored.' The arrangement on hand is in line with the orchestral version written by Ravel himself in 1910 and constitutes part of the series Ravel for Saxophone Quartet including publications of, among others, Ma Mère L'Oye (Mother Goose), Trois Chansons (Three Songs) and Le Tombeau de Couperin. / 4 Saxophones (SATBar)
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Maurice Ravel: 46 Mélodies - 46 Songs (High Voice): High Voice
17.99
Maurice Ravel: 46 Mélodies - 46 Songs (High Voice): High Voice
Voix haute, Piano
Durand
pour voix élevée-The melodies of Maurice Ravel (1875-1937) span the entire chr...
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pour voix élevée-The melodies of Maurice Ravel (1875-1937) span the entire chronology of his creative output from his earliest song BALLADE DE LA REINE MORTE DAIMER (1893) written during his student years at the Paris Conservatory to the cycle DON QUICHOTTE ÀDULCINÉE (1932-33) his last compositions in any genre. In his songs Ravel?s text settings display a meticulous attention to detail. Ravel´s melodies are elegant and refined classical in their phrase structure.In his treatment of rhythm Ravel finds subtlety within traditional meters and dance forms-minuet waltz folk dances (especially Spanish dances)-also shape the rhythm in many of his songs.
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