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104 sheet music found Claude Debussy/Robert Orledge: Prélude à L'Histoire de Tristan for orchestra, score only
Claude Debussy/Robert Orledge: Prélude à L'Histoire de Tristan for orchestra, score only # Orchestra # INTERMEDIATE/ADVANCED # Classical # Claude
Debussy/Robert Orledg # Claude Debussy/Robert Orledge: # Musik Fabrik Music Publishing # SheetMusicPlus
Full Orchestra - Advanced
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Composed by Claude
Debussy/Robert Orledge. 20th
Century, Impressionistic.
Score. 19 pages. ...(+)
Full Orchestra - Advanced
Intermediate - Digital
Download
Composed by Claude
Debussy/Robert Orledge. 20th
Century, Impressionistic.
Score. 19 pages. Published by
Musik Fabrik Music Publishing Scored for 21EH22/2200/timp/1perc/hp/strings Parts on rental.
Debussy’s friendship with the versatile poet and playwright Gabriel Mourey began in 1899, and in July 1907, Mourey offered Debussy a libretto based on Le roman de Tristan - Joesph Bédier’s adaptation of a twelfth-century Breton romance by the Anglo-Norman poet known as Tomas - which had recently been published in Paris. Debussy enthusiastically outline the four-act plot to Victor Segalen that October, and the main differences from Wagner’s Tristan und Isolde are that none of the action takes place in Cornwal and that “Isolde of the white hands” is found guilty of cuckolding King Marc with Tristan, who has to rescue her from the leper colony in which she is abandoned in Act 1. She also betrays hi when he goes mad at the end.
The idea of a Tristan that restorced its ‘legendary character’ and had no connections with Wagner, appealed to Debussy, who was extremely moved by the circumstances of Tristan’s death. Even if he thought that Mourey’s poetry was “not very lyrical and many passages do not exactly “invite” music”, he did work on the libretto and the music that summer and sent his pubisher Jacques Durand, ‘one of the 363 themes for the “Roman de Tristan”’ in a letter sent from Pourville on 23 August, 1907. The present prelude grows from this theme, together with the poignant Breton folksong “Le Faucon”. After a short atmospheric introduction, Debussy’s dance-like theme (which is definitely not a leitmotif) gradually gains momentum and after it reaches it ecstatic climas, representing the transient happiness of the lovers, it dissolves into an expressive coda and an elegiac close (all growing from Debussy’s opennning, off-stage trumpet calls), leaving us with the ultimate tragedy of their ill-fated advice.
Unforunately, Mourey’s actual libretto has been lost and the project eventually foundered because Bédier’s cousin, Louis Artus, wanted Debussy to use the scenario he had prepared and copyrights for the stage, and would not allow him to proceed with Mourey’s version. Debussy, it need hardly be said, would never have dreamed of collaborating with the author of the vaudeville hit La culotte (The pants)!
Claude Debussy ‒ Estampes, Orchestra Suite, Orchestrated by Arkady Leytush, No. 2 La soirée dans
Claude Debussy ‒ Estampes, Orchestra Suite, Orchestrated by Arkady Leytush, No. 2 La soirée dans # Orchestra # Classical # Claude Debussy # Arkady Leytush # Claude Debussy ‒ Estamp # Arkady Leytush # SheetMusicPlus
Full Orchestra - Digital Download SKU: A0.1008374 Composed by Claude Debussy. Arranged by Arkady Leytush. 20th Century. Score and parts. 24 pages. Arkady...(+)
Full Orchestra - Digital Download SKU: A0.1008374 Composed by Claude Debussy. Arranged by Arkady Leytush. 20th Century. Score and parts. 24 pages. Arkady Leytush #4849775. Published by Arkady Leytush (A0.1008374). Estampes (Engravings) is the title of the triptych of three pieces which Debussy put together in 1903. The first complete performance was given on 9 January 1904 in the Salle Erard, Paris, by the young Spanish pianist Ricardo Viñes, who was already emerging as the prime interpreter of the new French music of Debussy and Ravel. The first two pieces were completed in 1903, but the third derives from an earlier group of pieces from 1894, collectively titled Images, which remained unpublished until 60 years after Debussy’s death, when they were printed as Images (oubliées). Estampes marks an expansion of Debussy’s keyboard style: he was apparently spurred to fuse neo-Lisztian technique with a sensitive, impressionistic pictorial impulse under the impact of discovering Ravel’s Jeux d’eau, published in 1902. The opening movement, ‘Pagodes’, is Debussy’s first pianistic evocation of the Orient and is essentially a fixed contemplation of its object, as in a Chinese print. This static impression is partly caused by Debussy’s use of long pedal-points, partly by his almost constant preoccupation with pentatonic melodies which subvert the sense of harmonic movement. He uses such pentatonic fragments in many different ways: in delicate arabesques, in two-part counterpoint, in canon, harmonized in fourths and fifths and as an underpinning for pattering, gamelan-like ostinato writing. Altogether the piece reflects the decisive impression made on him by hearing Javanese and Cambodian musicians at the 1889 Paris Exposition, which he had striven for years to incorporate effectively in music. In its final bars the music begins to dissolve into elaborate filigree.Just as ‘Pagodes’ was his first Oriental piece, so ‘La soirée dans Grenade’ was the first of Debussy’s evocations of Spain-that preternatural embodiment of an ‘imaginary Andalusia’ which would inspire Manuel de Falla, the native Spaniard, to go back to his country and create a true modern Spanish music based on Debussyan principles. Debussy’s personal acquaintance with Spain was virtually non-existent (he had spent a day just over the border at San Sebastian) and it is possible that one model for the piece was Ravel’s Habanera. Yet he wrote of this piece (to his friend Pierre Louÿs, to whom it was dedicated), ‘if this isn’t the music they play in Granada, so much the worse for Granada!’-and there is no debate about the absolute authenticity of Debussy’s use of Spanish idioms here. Falla himself pronounced it ‘characteristically Spanish in every detail’. ‘La soirée dans Grenade’ is founded on an ostinato that echoes the rhythm of the habanera and is present almost throughout. Beginning and ending in almost complete silence, this dark nocturne of warm summer nights builds powerfully to its climaxes. The melodic material ranges from a doleful Moorish chant with a distinctly oriental character to a stamping, vivacious dance-measure, taking in brief suggestions of guitar strumming and perfumed Impressionist haze. There is even a hint of castanets near the end. The piece fades out in a coda that seems to distil all the melancholy of the Moorish theme and a last few distant chords of the guitar. ‘Jardins sous la pluie’ is based on the children’s song ‘Nous n’rons plus au bois’ (We shan’t go to the woods): its original 1894 form was in fact entitled Quelques aspects de ‘Nous n’rons plus au bois’. The two versions are really two distinct treatments of the same set of ideas, but in ‘Jardins sous la pluie’ Estampes the earlier piece has been entirely rethought. The whole conception is more impressionistic, and subtilized. The teeming semiquaver motion is more all-pervasive, the tunes (for Debussy has added a second children’s song for treatment, ‘Do, do, l’enfant do’) more elusive and tinged sometimes with melancholy or nostalgia. The ending of the piece is entirely new. What it loses, perha. Claude Debussy ‒ Estampes, Orchestra Suite, Orchestrated by Arkady Leytush No. 1 Pagodes (Pagodas
Claude Debussy ‒ Estampes, Orchestra Suite, Orchestrated by Arkady Leytush No. 1 Pagodes (Pagodas # Orchestra # Classical # Claude Debussy # Arkady Leytush # Claude Debussy ‒ Estamp # Arkady Leytush # SheetMusicPlus
Full Orchestra - Digital Download SKU: A0.1008372 Composed by Claude Debussy. Arranged by Arkady Leytush. 20th Century. Score and parts. 24 pages. Arkady...(+)
Full Orchestra - Digital Download SKU: A0.1008372 Composed by Claude Debussy. Arranged by Arkady Leytush. 20th Century. Score and parts. 24 pages. Arkady Leytush #4849769. Published by Arkady Leytush (A0.1008372). Estampes (Engravings) is the title of the triptych of three pieces which Debussy put together in 1903. The first complete performance was given on 9 January 1904 in the Salle Erard, Paris, by the young Spanish pianist Ricardo Viñes, who was already emerging as the prime interpreter of the new French music of Debussy and Ravel. The first two pieces were completed in 1903, but the third derives from an earlier group of pieces from 1894, collectively titled Images, which remained unpublished until 60 years after Debussy’s death, when they were printed as Images (oubliées). Estampes marks an expansion of Debussy’s keyboard style: he was apparently spurred to fuse neo-Lisztian technique with a sensitive, impressionistic pictorial impulse under the impact of discovering Ravel’s Jeux d’eau, published in 1902. The opening movement, ‘Pagodes’, is Debussy’s first pianistic evocation of the Orient and is essentially a fixed contemplation of its object, as in a Chinese print. This static impression is partly caused by Debussy’s use of long pedal-points, partly by his almost constant preoccupation with pentatonic melodies which subvert the sense of harmonic movement. He uses such pentatonic fragments in many different ways: in delicate arabesques, in two-part counterpoint, in canon, harmonized in fourths and fifths and as an underpinning for pattering, gamelan-like ostinato writing. Altogether the piece reflects the decisive impression made on him by hearing Javanese and Cambodian musicians at the 1889 Paris Exposition, which he had striven for years to incorporate effectively in music. In its final bars the music begins to dissolve into elaborate filigree. Just as ‘Pagodes’ was his first Oriental piece, so ‘La soirée dans Grenade’ was the first of Debussy’s evocations of Spain-that preternatural embodiment of an ‘imaginary Andalusia’ which would inspire Manuel de Falla, the native Spaniard, to go back to his country and create a true modern Spanish music based on Debussyan principles. Debussy’s personal acquaintance with Spain was virtually non-existent (he had spent a day just over the border at San Sebastian) and it is possible that one model for the piece was Ravel’s Habanera. Yet he wrote of this piece (to his friend Pierre Louÿs, to whom it was dedicated), ‘if this isn’t the music they play in Granada, so much the worse for Granada!’-and there is no debate about the absolute authenticity of Debussy’s use of Spanish idioms here. Falla himself pronounced it ‘characteristically Spanish in every detail’. ‘La soirée dans Grenade’ is founded on an ostinato that echoes the rhythm of the habanera and is present almost throughout. Beginning and ending in almost complete silence, this dark nocturne of warm summer nights builds powerfully to its climaxes. The melodic material ranges from a doleful Moorish chant with a distinctly oriental character to a stamping, vivacious dance-measure, taking in brief suggestions of guitar strumming and perfumed Impressionist haze. There is even a hint of castanets near the end. The piece fades out in a coda that seems to distil all the melancholy of the Moorish theme and a last few distant chords of the guitar. ‘Jardins sous la pluie’ is based on the children’s song ‘Nous n’rons plus au bois’ (We shan’t go to the woods): its original 1894 form was in fact entitled Quelques aspects de ‘Nous n’rons plus au bois’. The two versions are really two distinct treatments of the same set of ideas, but in ‘Jardins sous la pluie’ Estampes the earlier piece has been entirely rethought. The whole conception is more impressionistic, and subtilized. The teeming semiquaver motion is more all-pervasive, the tunes (for Debussy has added a second children’s song for treatment, ‘Do, do, l’enfant do’) more elusive and tinged sometimes with melancholy or nostalgia. Th. Claude Debussy ‒ Estampes, Orchestra Suite, Orchestrated by Arkady Leytush, No. 3 Jardins sous la
Claude Debussy ‒ Estampes, Orchestra Suite, Orchestrated by Arkady Leytush, No. 3 Jardins sous la # Orchestra # Classical # Claude Debussy # Arkady Leytush # Claude Debussy ‒ Estamp # Arkady Leytush # SheetMusicPlus
Full Orchestra - Digital Download SKU: A0.1008375 Composed by Claude Debussy. Arranged by Arkady Leytush. 20th Century. Score and parts. 39 pages. Arkady...(+)
Full Orchestra - Digital Download SKU: A0.1008375 Composed by Claude Debussy. Arranged by Arkady Leytush. 20th Century. Score and parts. 39 pages. Arkady Leytush #4885449. Published by Arkady Leytush (A0.1008375). Estampes (Engravings) is the title of the triptych of three pieces which Debussy put together in 1903. The first complete performance was given on 9 January 1904 in the Salle Erard, Paris, by the young Spanish pianist Ricardo Viñes, who was already emerging as the prime interpreter of the new French music of Debussy and Ravel. The first two pieces were completed in 1903, but the third derives from an earlier group of pieces from 1894, collectively titled Images, which remained unpublished until 60 years after Debussy’s death, when they were printed as Images (oubliées). Estampes marks an expansion of Debussy’s keyboard style: he was apparently spurred to fuse neo-Lisztian technique with a sensitive, impressionistic pictorial impulse under the impact of discovering Ravel’s Jeux d’eau, published in 1902. The opening movement, ‘Pagodes’, is Debussy’s first pianistic evocation of the Orient and is essentially a fixed contemplation of its object, as in a Chinese print. This static impression is partly caused by Debussy’s use of long pedal-points, partly by his almost constant preoccupation with pentatonic melodies which subvert the sense of harmonic movement. He uses such pentatonic fragments in many different ways: in delicate arabesques, in two-part counterpoint, in canon, harmonized in fourths and fifths and as an underpinning for pattering, gamelan-like ostinato writing. Altogether the piece reflects the decisive impression made on him by hearing Javanese and Cambodian musicians at the 1889 Paris Exposition, which he had striven for years to incorporate effectively in music. In its final bars the music begins to dissolve into elaborate filigree.Just as ‘Pagodes’ was his first Oriental piece, so ‘La soirée dans Grenade’ was the first of Debussy’s evocations of Spain-that preternatural embodiment of an ‘imaginary Andalusia’ which would inspire Manuel de Falla, the native Spaniard, to go back to his country and create a true modern Spanish music based on Debussyan principles. Debussy’s personal acquaintance with Spain was virtually non-existent (he had spent a day just over the border at San Sebastian) and it is possible that one model for the piece was Ravel’s Habanera. Yet he wrote of this piece (to his friend Pierre Louÿs, to whom it was dedicated), ‘if this isn’t the music they play in Granada, so much the worse for Granada!’-and there is no debate about the absolute authenticity of Debussy’s use of Spanish idioms here. Falla himself pronounced it ‘characteristically Spanish in every detail’. ‘La soirée dans Grenade’ is founded on an ostinato that echoes the rhythm of the habanera and is present almost throughout. Beginning and ending in almost complete silence, this dark nocturne of warm summer nights builds powerfully to its climaxes. The melodic material ranges from a doleful Moorish chant with a distinctly oriental character to a stamping, vivacious dance-measure, taking in brief suggestions of guitar strumming and perfumed Impressionist haze. There is even a hint of castanets near the end. The piece fades out in a coda that seems to distil all the melancholy of the Moorish theme and a last few distant chords of the guitar. ‘Jardins sous la pluie’ is based on the children’s song ‘Nous n’rons plus au bois’ (We shan’t go to the woods): its original 1894 form was in fact entitled Quelques aspects de ‘Nous n’rons plus au bois’. The two versions are really two distinct treatments of the same set of ideas, but in ‘Jardins sous la pluie’ Estampes the earlier piece has been entirely rethought. The whole conception is more impressionistic, and subtilized. The teeming semiquaver motion is more all-pervasive, the tunes (for Debussy has added a second children’s song for treatment, ‘Do, do, l’enfant do’) more elusive and tinged sometimes with melancholy or nostalgia. The ending of the piece is entirely new. What it loses, perha. Four Impressions on Debussy (4 Piano Preludes arranged for Full Orchestra) ? Score and Parts
Four Impressions on Debussy (4 Piano Preludes - Full Orchestra) ? Score and Parts # Orchestra # INTERMEDIATE/ADVANCED # Classical # Claude Debussy # Ben Trigg # Four Impressions on Debussy # OlivePress Music # SheetMusicPlus
Full Orchestra - Level 4 - Digital Download SKU: A0.1370381 Composed by Claude Debussy. Arranged by Ben Trigg. 19th Century,Romantic Period. 221 pages. O...(+)
Full Orchestra - Level 4 - Digital Download SKU: A0.1370381 Composed by Claude Debussy. Arranged by Ben Trigg. 19th Century,Romantic Period. 221 pages. OlivePress Music #954757. Published by OlivePress Music (A0.1370381). From Debussyâ??s Préludes, Book I:I: The Wind Over The PlainsII: The Girl With The Flaxen HairIII: Puckâ??s DanceIV: The Sunken CathedralDebussyâ??s piano music is filled with colour, texture, vibrancy, sonority. To play it is to be taken inside a sound world greater than the instrument itself. In other words, it seems to demand orchestration. Whether the fanfare call of Puckâ??s Dance, the sotto voce flurries evoking The Wind Over The Plains, or the deepest and highest reaches of the musical spectrum explored in the under-water world of The Sunken Cathedral, Debussyâ??s music seems to drop hints at obvious orchestral manoeuvres. His great skill, of course, was condensing these musical ideas to the piano. But the fruit is there fo the taking, and indeed other orchestrations exist of the complete suite of piano preludes â?? Books I and II. So, why another?This particular suite cherry-picks some of my own favourite movements from the suite, and arranges them in a â??symphonicâ?? structure to present an opening, expository movement (The Wind Over The Plains), a romantic Adagio (The Girl With The Flaxen Hair), a sprightly â??scherzoâ?? (Puckâ??s Dance), concluding with an epic finale (The Sunken Cathedral). This condensed suite may make the music more approachable for some orchestras, and offers something shorter to concert programmes wishing to feature other major works alongside, instead of performing all 24 preludes.I hope you enjoy performing this suite as much as I enjoyed arranging it.Instrumentation: Piccolo 2 Flutes 2 Oboes Cor Anglais 2 Clarinets in Bâ? Bass Clarinet in Bâ? 2 Bassoons Contrabassoon 4 Horns in F 3 Trumpets in Bâ? 2 Trombones Bass Trombone Tuba Timpani Percussion (3/4 players): Triangle, Crash Cymbals, Suspended Cymbal, Bass Drum, Tam-Tam, Glockenspiel, Tubular Bells Celesta Harp Violin 1 (divisi à 4) Violin 2 (divisi à 4) Viola (divisi à 4) Violoncello (divisi à 4) Contrabass (B extension where possible) (divisi à 4) C. Debussy - 3 Preludes,
C. Debussy - 3 Preludes, # Orchestra # Classical # means of the orchestra, as in # Claude Debussy # A # C. Debussy - 3 Preludes, # Arkady Leytush # SheetMusicPlus
Full Orchestra - Digital Download SKU: A0.1008416 Composed by Claude Debussy. Arranged by A. Leytush. 20th Century. Score and Parts. 60 pages. Arkady Ley...(+)
Full Orchestra - Digital Download SKU: A0.1008416 Composed by Claude Debussy. Arranged by A. Leytush. 20th Century. Score and Parts. 60 pages. Arkady Leytush #6417961. Published by Arkady Leytush (A0.1008416). “La Sérénade Interrompueâ€,#9(I)Sometimes an orchestral transcription of a program piece like this “Interrupted Serenade†turns into a kind of theatrical performance on the stage of the theater. By means of the orchestra, as in painting, you can try to reproduce the whole mysterious picture of such an episode full of passion, nocturnal rustles, fear of being discovered by the family of your beloved and even the sudden opening of the window, but in the end, a hasty escape by flight, without finishing the serenade to the end.La puerta del Vino,#3(II)While creating the orchestral version of this Debussy prelude, two things stood before my eyes -the seductive Habanera performed by an oriental beauty and the unforgettable beauty of Alhambra. General Lavine - eccentric,#6(II)Debussy creates the effect of three hands playing. Lavine’s clown acts were accompanied by trumpets and drums, often backstage. “Strident,†“spiritual and discreetâ€: tongue-in-cheek. â€Sec,†a dry sound for staccato chords. Debussy’s transformation of the American popular tune, “Camp town Races.†Sudden dynamic changes suggest the juggling act of “General†Lavine, tossing large and small items at the same time. C. Debussy - "En Blanc et Noir", Orchestra Suite, orchestrated by A. Leytush, Full Score only
C. Debussy - "En Blanc et Noir", Orchestra Suite, orchestrated by A. Leytush, Full Score only # Orchestra # Classical # Claude Debussy # A # C. Debussy - "En Blanc et Noir # Arkady Leytush # SheetMusicPlus
Full Orchestra - Digital Download SKU: A0.1008393 Composed by Claude Debussy. Arranged by A. Leytush. 20th Century. Score and parts. 111 pages. Arkady Le...(+)
Full Orchestra - Digital Download SKU: A0.1008393 Composed by Claude Debussy. Arranged by A. Leytush. 20th Century. Score and parts. 111 pages. Arkady Leytush #6207109. Published by Arkady Leytush (A0.1008393). This virtuoso piano work has been expanded using the full orchestra palette to exploit the beautiful colors of Debussy's Impressionistic style.Full Orchestra: Piccolo, 2 Flutes, 2 Oboes, English Horn, 2 Clarinets in B, Bass Clarinet, 2 Bassoons, Contrabassoon, 4 Horns in F, 2 Trumpets in C, 2 Trombones, Bass Trombone, Tuba, Timpani, Xylophone, Triangle, Cymbals, Gong, Tam-Tam, Snare Drum, Bass Drum, Harp, Piano/Celesta, Violins I, Violins 2, Violas, Cellos, D. Basses C. Debussy - IMAGES, Book I, #3. Mouvement, Orchestra Suite, Orchestrated by A. Leytush
C. Debussy - IMAGES, Book I, #3. Mouvement, Orchestra Suite, Orchestrated by A. Leytush # Orchestra # Classical # Claude Debussy # A # C. Debussy - IMAGES, Book I, # # Arkady Leytush # SheetMusicPlus
Full Orchestra - Digital Download SKU: A0.1008373 Composed by Claude Debussy. Arranged by A. Leytush. 20th Century. Score and parts. 30 pages. Arkady Ley...(+)
Full Orchestra - Digital Download SKU: A0.1008373 Composed by Claude Debussy. Arranged by A. Leytush. 20th Century. Score and parts. 30 pages. Arkady Leytush #4847875. Published by Arkady Leytush (A0.1008373). After completing his orchestral work La Mer, Debussy returned to the piano with Images Book 1. His fresh, orchestral perspective gleaned from the massive symphonic work guided his hand in composing Images, and this piano work showcases his creative and unique com-positional style. Each individual movement uses subtlety in melody, harmony, and rhythm to create an expressive sound world.Images Book 1 consists of three movements: Reflets dans l’eau, Hommage à Rameau, and Mouvement. As it known, Images Book 1, was originally composed for the piano and never got orchestrated by the composer. This gave me an idea to do the transcription for the orchestra to make the full version of this spectacular piece, along with Book II and Book III, complete. C. Debussy - IMAGES, Book I, #2. Hommage à Rameau, Orchestra Suite, Orchestrated by A. Leytush
C. Debussy - IMAGES, Book I, #2. Hommage à Rameau, Orchestra Suite, Orchestrated by A. Leytush # Orchestra # Classical # Claude Debussy # A # C. Debussy - IMAGES, Book I, # # Arkady Leytush # SheetMusicPlus
Full Orchestra - Digital Download SKU: A0.1008371 Composed by Claude Debussy. Arranged by A. Leytush. 20th Century. Score and parts. 20 pages. Arkady Ley...(+)
Full Orchestra - Digital Download SKU: A0.1008371 Composed by Claude Debussy. Arranged by A. Leytush. 20th Century. Score and parts. 20 pages. Arkady Leytush #4847873. Published by Arkady Leytush (A0.1008371). After completing his orchestral work La Mer, Debussy returned to the piano with Images Book 1. His fresh, orchestral perspective gleaned from the massive symphonic work guided his hand in composing Images, and this piano work showcases his creative and unique com-positional style. Each individual movement uses subtlety in melody, harmony, and rhythm to create an expressive sound world.Images Book 1 consists of three movements: Reflets dans l’eau, Hommage à Rameau, and Mouvement. As it known, Images Book 1, was originally composed for the piano and never got orchestrated by the composer. This gave me an idea to do the transcription for the orchestra to make the full version of this spectacular piece, along with Book II and Book III, complete. C. Debussy - IMAGES, Book I, #1.Reflets dans l'eau, Orchestra Suite, Orchestrated by A. Leytush
C. Debussy - IMAGES, Book I, #1.Reflets dans l'eau, Orchestra Suite, Orchestrated by A. Leytush # Orchestra # Classical # Claude Debussy # A # C. Debussy - IMAGES, Book I, # # Arkady Leytush # SheetMusicPlus
Full Orchestra - Digital Download SKU: A0.1008370 Composed by Claude Debussy. Arranged by A. Leytush. 20th Century. Score and parts. 29 pages. Arkady Ley...(+)
Full Orchestra - Digital Download SKU: A0.1008370 Composed by Claude Debussy. Arranged by A. Leytush. 20th Century. Score and parts. 29 pages. Arkady Leytush #4847871. Published by Arkady Leytush (A0.1008370). After completing his orchestral work La Mer, Debussy returned to the piano with Images Book 1. His fresh, orchestral perspective gleaned from the massive symphonic work guided his hand in composing Images, and this piano work showcases his creative and unique com-positional style. Each individual movement uses subtlety in melody, harmony, and rhythm to create an expressive sound world.Images Book 1 consists of three movements: Reflets dans l’eau, Hommage à Rameau, and Mouvement. As it known, Images Book 1, was originally composed for the piano and never got orchestrated by the composer. This gave me an idea to do the transcription for the orchestra to make the full version of this spectacular piece, along with Book II and Book III, complete.