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claude debussy Orchestra
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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
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Orchestra
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INTERMEDIATE/ADVANCED
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Classical
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Claude Debussy/Robert Orledg
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Claude Debussy/Robert Orledge:
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Musik Fabrik Music Publishing
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SheetMusicPlus
Full Orchestra - Advanced Intermediate - Digital Download Composed by Claude Debussy/Robert Orledge. 20th Century, Impressionistic. Score. 19 pages. ...
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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)!
$19.95 ≈
18.07€
Nocturne for violin and orchestra
Nocturne for violin and orchestra
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Orchestra, Violin
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Classical
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Nocturne for violin and orches
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Schott Music - Digital
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SheetMusicPlus
Violin and orchestra - Digital Download Completed and orchestrated after the sketches of Debussy by Robert Orledge. Composed by Robert Orledge and Clau...
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Violin and orchestra - Digital Download Completed and orchestrated after the sketches of Debussy by Robert Orledge. Composed by Robert Orledge and Claude Debussy (1862-1918). Arranged by Robert Orledge. This edition: vocal/piano score. Violin Library. Downloadable. Duration 10 minutes. Schott Music - Digital #Q46518. Published by Schott Music - Digital
The Belgian violinist, Eugene Ysaye (1858-1931), with his impressive blend of virtuosity and poetry, was a great admirer of the young Debussy's music who led the Paris premiere of his only string quartet in December 1893. In September 1892, Debussy was planning an American tour with the financial support of Prince Andre Poniatowski that was to include his 'nearly completed three Scenes au crepuscule', inspired by the Symbolist poetry of his friend Henri de Regnier. He made 'extensive revisions' to them in 1893, even if all that seems to have survived is a series of sketches in Bibliotheque Nationale de France, MS 20632(2), most of which appear to be for violin and orchestra in E or B major. Another related, and more virtuosic, theme emerged in a Parisian sale in June 2006, which opens the main part of the present Nocturne (after a slow introduction).
We also learn from Ernest Chausson in April 1893 that Debussy was composing a work for Ysaye's first American tour in 1894-95, which at one stage was described as a 'concerto'. Then, as Debussy was putting the finishing touches to L'Apres-midi d'un faune in 1894, he told Ysaye he was now working on 'three Nocturnes for solo violin and orchestra which are destined for you', and which undoubtedly derived from his earlier 'Twilight scenes'. The first was to be 'for strings only'. the second for three flutes, four horns, three trumpets and two harps. the third combines all these instruments'. He also informed Ysaye, perhaps with Whistler's Nocturnes in mind, that they were to be like 'a study in grey in painting'. Debussy only abandoned this project in November 1896 after Ysaye told him he would not be able to premiere the Nocturnes in Brussels 'for financial reasons'.
My completion comes closest to the third Nocturne Debussy planned and to being a rondo with related episodes. The dynamic idea that emerged in 2006, which was scored by Debussy, leads naturally into the 'twilight' theme in B major beginning on solo cello and doublebasses, with the high, haunting three-note idea first heard at the outset floating above on solo violin, exactly as Debussy conceived it. All five of Debussy's themes are harmonized and they vary in length between three and thirteen bars: none of them relate to the orchestral Nocturnes of 1897-99. Rather than develop any of these themes, they are presented in changing harmonic backgrounds in the contemporary manner of L'Apres-midi d'un faune, and the whole work centres on an expansive scalar which joins the various aspects of Debussy's 'twilight' themes together in a new perspective.
$19.99 ≈
18.10€
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
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Orchestra
#
Classical
#
Claude Debussy
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Arkady Leytush
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Claude Debussy ‒ Estamp
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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...
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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.
$25.00 ≈
22.64€
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
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Orchestra
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Classical
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Claude Debussy
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Arkady Leytush
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Claude Debussy ‒ Estamp
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Arkady Leytush
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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.
$25.00 ≈
22.64€
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
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Orchestra
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Classical
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Claude Debussy
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Arkady Leytush
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Claude Debussy ‒ Estamp
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Arkady Leytush
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SheetMusicPlus
Full Orchestra - Digital Download SKU: A0.1008375 Composed by Claude Debussy. Arranged by Arkady Leytush. 20th Century. Score and parts. 39 pages. Arkady...
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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.
$25.00 ≈
22.64€
Claude Debussy: Sérénade for violin and 17 instrments, full score and solo part only (parts on ren
Claude Debussy: Sérénade for violin and 17 instrments, full score and solo part only (parts on ren
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Chamber Orchestra
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INTERMEDIATE/ADVANCED
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Classical
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Claude Debussy/Robert Orledge
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Claude Debussy: Sérénade for
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Musik Fabrik Music Publishing
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SheetMusicPlus
Chamber Orchestra - Level 4 - Digital Download SKU: A0.1080705 Composed by Claude Debussy/Robert Orledge. 20th Century,Romantic Period,Standards. Score a...
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Chamber Orchestra - Level 4 - Digital Download SKU: A0.1080705 Composed by Claude Debussy/Robert Orledge. 20th Century,Romantic Period,Standards. Score and parts. 30 pages. Musik Fabrik Music Publishing #4727447. Published by Musik Fabrik Music Publishing (A0.1080705). Instrumentation2 flûtes/2 flutescor anglais (doublant hautbois/doubling oboe)clarinette en La/clarinet in Abasson/bassooncor en Fa/horn in Fpercission (1 éxecutant - timbales (3)/cymbale suspendue, tambour de basque)/percussion (1 performer - timpani (3)/suspended cymbal, tambourine)harpe/harp9 cordes/9 strings (2.2.2.2.1)durée/duration: 5 minutes 30 secconds (environ/approx.) Une versions pour violon et piano ainsi qu’une version pour violon et orchestre (31CA(hb)23/2100/timb/perc/hpe/cordes)est également disponibile/A version for violin and piano as well as a version for violin and orchestra (31EH(ob)23/2100/timp/perc/strings) is also available.______________________Prmière: Edmond Agapian, violin with the Calagray (CA) Youth orchestra, cond. Gareth Jones, University of Calgary, 28 Janaury, 2011Première of the version for violin and 17 instruments: Frédéric Moisan, violin Orchestre 21 cond. Paolo Bellomio, Unveristy of Montreal, Canada, 2 March 2012Preface:In the early 1890s, Debussy composed the opening of a lyrical piece in E major for violin and piano, perhaps as a shorter companion piece for the violin Nocturne he was planning for the Belgian violinist Eugène Ysaÿe. After Debussy’s death in 1918, his second wife Emma often gave away sketch pages to performers or composers as memorials to her beloved husband , and this particular page was given to the Cuban born pianist and composer Joaquin Nin (1879-1949). It came up for sale in the catalogue of the British antiquarian dealer Lisa Cox in 2010 and although it might possibly be an early song for contralto and piano, the more dynamic idea in bar 12 strongly suggests the violin, especially as it begins on an open D string. Moreover, there is no text and in pieces of this length, Debussy usually wrote at least one word in, if only to remind himself where he had got to in any song. So my starting point was a complete 12-bar melody gently undulating in the violin’s lowest register over a sensual accompaniment, rising to a climax in bar 12 and giving me a contrasting idea that I could use as a link between sections and in the cadenza. As the B section (bars 14-26) derives directly from Debussy’s opening theme by metamorphosis, my own additions were restricted to the central section (bars 27-57) - comprising a new scherzando idea (C) and the more lyrical D (bars 36-46). C returns at bar 47, followed by the opening sections in reverse order, so that the Sérénade begins and ends with Debussy’s material and is cast in arch form (ABCDCBA). Robert OrledgeBrighton, 19 June 2019Robert Orledge was born in Bath in 1948 and educated at Clare College, Cambridge, where he gained his doctorate for his study of the composer Charles Kœchlin in 1973. Between 1971 and 1991 He rose from Lecturer to Professor in the Music Department of the University of Liverpool, publishing books on Gabriel Fauré, Claude Debussy, Charles Kœchlin and Erik Satie, as well as numerous articles, editions and reviews. As a historical musicologist, Professor Orledge specialized in the way composers composed, ,and since taking early retirement in 2004, he has concentrated on completing and orchestrating Debussy’s unfinished works, and especially his theatre projects. His completion of Debussy’s opera The Fall of the House of Usher (1908-17) was successfully premiered at the Bregenz Opera Festival in Austria in August 2006 and has since been performed in America, Portugal Germany and Holland, as well as being broadcast throughout Europe. A DVD of the Bregenz premier is available on Capriccio 93517, produced by Phylida Lloyd and conducted by Lawrence Foster. His completion of the Chinese ballet No-ja-li ou Le Palais du Silence (1914) was also premiered in 2006 in Los Angeles and ot.
$16.95 ≈
15.35€
Debussy: Sarabande (Pour le piano) (For the piano), L. 95- wind dectet
Debussy: Sarabande (Pour le piano) (For the piano), L. 95- wind dectet
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Orchestra
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Classical
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Claude Debussy
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Ray Thompson
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Debussy: Sarabande
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RayThompsonMusic
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SheetMusicPlus
Large Ensemble - Digital Download Composed by Claude Debussy (1862-1918). Arranged by Ray Thompson. 20th Century. Score and parts. 17 pages. RayThomp...
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Large Ensemble - Digital Download Composed by Claude Debussy (1862-1918). Arranged by Ray Thompson. 20th Century. Score and parts. 17 pages. RayThompsonMusic #6109107. Published by RayThompsonMusic
Pour le piano (For the piano), L. 95, is a suite for solo piano by Claude Debussy. It consists of three individually composed movements, Prélude, Sarabande and Toccata. The suite was completed and published in 1901. It was premiered on 11 January 1902 at the Salle Érard, played by Ricardo Viñes. Maurice Ravel orchestrated the middle movement.
This is my arrangement of that movement.based on Ravel's orchestration.
Regarded as Debussy's first mature piano composition, the suite has frequently been recorded.Arranged double wind quintet/double bass
Clarinet parts are for clarinets in A
Oboe 2 is for cor anglais
$14.95 ≈
13.54€
Debussy (arr. Lee): Prélude à l'après-midi d'un faune, Full Score
Debussy (arr. Lee): Prélude à l'après-midi d'un faune, Full Score
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Chamber Orchestra
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ADVANCED
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Classical
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Claude Debussy
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Yoon Jae Lee
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Debussy
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Ondine Press
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SheetMusicPlus
Chamber Orchestra - Level 5 - Digital Download SKU: A0.866060 Composed by Claude Debussy. Arranged by Yoon Jae Lee. 20th Century,Romantic Period. Score a...
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Chamber Orchestra - Level 5 - Digital Download SKU: A0.866060 Composed by Claude Debussy. Arranged by Yoon Jae Lee. 20th Century,Romantic Period. Score and parts. 33 pages. Ondine Press #1911907. Published by Ondine Press (A0.866060). Instrumentation: 1. 1. 2. 1 - 2. 0. 0. 0 - 1 perc. 1 hrp – str This arrangement of Debussy's ground-breaking masterwork is a welcome addition to the repertoire for chamber orchestras everywhere. Emphasizing the work’s intimate character, it remains faithful to the original without any loss of Debussy's use of instrumental colors. This arrangement is ideal for professional chamber orchestras, academic conducting programs, student conductor concerts, or whenever the full orchestral forces required for the original are not present. Can be per performed with approximately 23 to 29 players. View perusal score: http://issuu.com/ondinepress/docs/debussy_prelude Performance material available for hire. Please email ondinepress@gmail.com for all rental inquiries.
$30.00 ≈
27.17€
Fêtes Galantes : 1er Tableau - Les Masques for solo/mixed chorus and orchestra - Score Only
Fêtes Galantes : 1er Tableau - Les Masques for solo/mixed chorus and orchestra - Score Only
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Orchestra
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INTERMEDIATE/ADVANCED
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Classical
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Claude Debussy/Robert Orledge
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Fêtes Galantes : 1er Tableau
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Musik Fabrik Music Publishing
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SheetMusicPlus
Full Orchestra - Level 4 - Digital Download SKU: A0.1086971 Composed by Claude Debussy/Robert Orledge. Classical,Contemporary,Opera. Score and parts. 32 ...
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Full Orchestra - Level 4 - Digital Download SKU: A0.1086971 Composed by Claude Debussy/Robert Orledge. Classical,Contemporary,Opera. Score and parts. 32 pages. Musik Fabrik Music Publishing #691161. Published by Musik Fabrik Music Publishing (A0.1086971). Scored for baritone (or counter-tenor) soloist, mixed chorus and orchestra (2222/2200/timp/2perc/hp/cel/mand/strings). Fêtes galantes was actually planned as a hybrid opera-ballet to a libretto by Debussy’s friend Louis Laloy in November, 1913. For this, Laloy arranged selected poetry by Paul Verlaine into three tableaux, replacing an earlier (unstarted) Debussyan project with Charles Morice of 1912 entitled Crimen amoris. During his last productive summer of 1915, Debussy set a sequence from the start of the first tableau, ‘Les Masques’, involving stanzas 1 and 3 of the opening song for Mezzetin in Verlaine’s comedy Les Uns et les autres (1884). The action is set in a park à la Watteau late one summer afternoon as Mezzetin attempts to entertain a group of nonchalant masqueraders with only the aid of his voice and a mandolin.. This appears to have been prefaced by a slower, elegiac introduction reminiscent of the opening of the comtemporary Cello Sonata and it leads to a danced minuet by the masqued dancers which has clear echoes of the piano piece L’Isle joyeuse (1904). Following Laloy’s scenario, the masqueraders then sing extracts from Verlaine’s ‘A la promenade’ (from Fêtes galantes itself). The minuet returns at greater length before being cut short by a chilly gust of wind, after which the park returns to its orginal state (and music) as though nothing had really happened.
$24.95 ≈
22.59€
Debussy: Berceuse heroique for String Orchestra - Score Only
Debussy: Berceuse heroique for String Orchestra - Score Only
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String Orchestra
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INTERMEDIATE
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Classical
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Claude Debussy
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James M
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Debussy: Berceuse heroique for
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jmsgu3
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SheetMusicPlus
String Orchestra - Level 3 - Digital Download SKU: A0.1300358 Composed by Claude Debussy. Arranged by James M. Guthrie. 20th Century,Contest,Festival,His...
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String Orchestra - Level 3 - Digital Download SKU: A0.1300358 Composed by Claude Debussy. Arranged by James M. Guthrie. 20th Century,Contest,Festival,Historic. 7 pages. Jmsgu3 #890084. Published by jmsgu3 (A0.1300358). Berceuse Heroique is a musical composition by Claude Debussy, composed in 1914 as a homage to King Albert I from Belgium and his soldiers. The piece was written for King Albert's Book, a collection of music sponsored by The Telegraph and put together by Hall Caine to raise funds for Belgian war relief. The work opens very dark and somber, with a sense of mourning and loss. The anthem is quoted in the middle of the piece, surrounded by music of gloom and despair. The quote from the Belgian national anthem that is squeezed into Debussy's Berceuse heroique is the first phrase of La Brabançonne by François van Campenhout.The composition expresses the misery of feeling powerless in events, combined with everyday unhappy shortages of necessities, which was a common experience during World War I. The life of French composer Claude Debussy was full of agony and challenges, from surviving in the 1st World War to his battle with cancer.Berceuse heroique is a significant piece in music history for its reflection of the somber and melancholic mood of the time, its tribute to the soldiers and their suffering, and its representation of Debussy's work during the war. The piece is still performed and recorded today, and is considered a significant work in Debussy's oeuvre.
$32.95 ≈
29.84€
Debussy: Berceuse heroique for String Orchestra
Debussy: Berceuse heroique for String Orchestra
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String Orchestra
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INTERMEDIATE
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Classical
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Claude Debussy
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James M
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Debussy: Berceuse heroique for
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jmsgu3
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SheetMusicPlus
String Orchestra - Level 3 - Digital Download SKU: A0.1300432 Composed by Claude Debussy. Arranged by James M. Guthrie. 20th Century,Contest,Festival,Fil...
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String Orchestra - Level 3 - Digital Download SKU: A0.1300432 Composed by Claude Debussy. Arranged by James M. Guthrie. 20th Century,Contest,Festival,Film/TV,Multicultural,Standards,World. Score and Parts. 17 pages. Jmsgu3 #890087. Published by jmsgu3 (A0.1300432). Berceuse Heroique is a musical composition by Claude Debussy, composed in 1914 as a homage to King Albert I from Belgium and his soldiers. The piece was written for King Albert's Book, a collection of music sponsored by The Telegraph and put together by Hall Caine to raise funds for Belgian war relief. The work opens very dark and somber, with a sense of mourning and loss. The anthem is quoted in the middle of the piece, surrounded by music of gloom and despair. The quote from the Belgian national anthem that is squeezed into Debussy's Berceuse heroique is the first phrase of La Brabançonne by François van Campenhout. The composition expresses the misery of feeling powerless in events, combined with everyday unhappy shortages of necessities, which was a common experience during World War I. The life of French composer Claude Debussy was full of agony and challenges, from surviving in the 1st World War to his battle with cancer.Berceuse heroique is a significant piece in music history for its reflection of the somber and melancholic mood of the time, its tribute to the soldiers and their suffering, and its representation of Debussy's work during the war. The piece is still performed and recorded today, and is considered a significant work in Debussy's oeuvre.
$38.95 ≈
35.27€
Claude Debussy: Poème for violin and orchestra, full score and solo part
Claude Debussy: Poème for violin and orchestra, full score and solo part
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Orchestra
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ADVANCED
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Classical
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Claude Debussy/Robert Orledge
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Claude Debussy: Poème for vio
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Musik Fabrik Music Publishing
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SheetMusicPlus
Full Orchestra - Level 5 - Digital Download SKU: A0.534580 Composed by Claude Debussy/Robert Orledge. 20th Century,Standards. Score and parts. 59 pages. ...
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Full Orchestra - Level 5 - Digital Download SKU: A0.534580 Composed by Claude Debussy/Robert Orledge. 20th Century,Standards. Score and parts. 59 pages. Musik Fabrik Music Publishing #4347323. Published by Musik Fabrik Music Publishing (A0.534580). This is the work that Debussy intended to write for the American violinist Arthur Hartmann for a projected tour of the US that never happened. Dr. Robert Orledge found five sketches that Debussy wrote between 1910 and 1914 and was able to complete this work using those sketches. The orchestration is for 21EH22/4200/timp/1perc/hp/strings (minimum 12.10.8.6.4). The work lasts aproximately ten minutesThis version the full score and solo part The piano reduction is available for sale as a seperate item. The parts are on rental from the publisher. Hear this work on Soundcloud: https://soundcloud.com/dylan-lindo/poeme-for-violin-and-orchestraPremiere (original form): Friday 5 February 2010 by Edmond Agopian (vln) with the Calgary University and Calgary Youth Orchestra, conducted by Daniel Bartholomew. Rosza Theatre, University of Calgary, Canada.
$29.95 ≈
27.12€
Claude Debussy – La plus que lent (String Orchestra)
Claude Debussy – La plus que lent (String Orchestra)
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String Orchestra
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Classical
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Richard Byrnes
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Richard Byrnes
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Claude Debussy – La plus que
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Richard Byrnes
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SheetMusicPlus
String Orchestra - Digital Download SKU: A0.1111895 By Richard Byrnes. By Claude Debussy. Arranged by Richard Byrnes. 20th Century. Score and parts. 64 p...
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String Orchestra - Digital Download SKU: A0.1111895 By Richard Byrnes. By Claude Debussy. Arranged by Richard Byrnes. 20th Century. Score and parts. 64 pages. Richard Byrnes #714097. Published by Richard Byrnes (A0.1111895). Composed in 1910, “La plus que lent†is originally a waltz for solo piano. The “valse lent†(slow waltz) was the vogue in French society during the time of its composition. This piece was Debussy’s version of that style. As with so many of his works, Debussy has drawn on his ability as a melodist to create another delightfully beautiful piece.In addition to works by Debussy, we offer works by J.S. Bach, Brahms, Fauré, Glinka, Gottschalk, Granados, Griffes, Lotti, Mozart, Ravel, Richard Strauss, and Turina.
$54.99 ≈
49.80€
Claude Debussy: Rhapsodie Mauresque for alto saxophone and orchestra, revised by Robert Orledge, sco
Claude Debussy: Rhapsodie Mauresque for alto saxophone and orchestra, revised by Robert Orledge, sco
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Orchestra
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ADVANCED
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Classical
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Claude Debussy/Robert Orledge
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Includes complete notes
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Claude Debussy: Rhapsodie Maur
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Musik Fabrik Music Publishing
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SheetMusicPlus
Full Orchestra - Level 5 - Digital Download SKU: A0.534688 Composed by Claude Debussy/Robert Orledge. 20th Century. Score and parts. 75 pages. Musik Fabr...
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Full Orchestra - Level 5 - Digital Download SKU: A0.534688 Composed by Claude Debussy/Robert Orledge. 20th Century. Score and parts. 75 pages. Musik Fabrik Music Publishing #6215671. Published by Musik Fabrik Music Publishing (A0.534688). This new version of the Debussy Saxophone Rapsodie goes back to the two original autograph sources. Dr. Robert Orledge is one of the World's leading Debussy scholars and this new reworking represents his long years of work on Debussy's incomplete scores. Scored for 3(pic)2(EH)22/4331/timb/2perc/cel/hp/strings This is the orchestral score. The piano reduction with the solo part is also available for sale. Parts are on rental from the publisher. Includes complete notes.
$29.95 ≈
27.12€
Prelude Nº 1 - Danseuses de Delphes (For Wind Orchestra)
Prelude Nº 1 - Danseuses de Delphes (For Wind Orchestra)
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Orchestra
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Classical
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Claude Debussy
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Levy Nunes
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Prelude Nº 1 - Danseuses de D
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Cambiata
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SheetMusicPlus
Full Orchestra - Digital Download SKU: A0.487660 Composed by Claude Debussy (1892-1918). Arranged by Levy Nunes. 20th Century,Baroque,Classical,Contempor...
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Full Orchestra - Digital Download SKU: A0.487660 Composed by Claude Debussy (1892-1918). Arranged by Levy Nunes. 20th Century,Baroque,Classical,Contemporary,Instructional. Score and parts. 39 pages. Published by Cambiata (A0.487660). Danseuses de Delphes is a musical composition for piano by the French composer Claude Debussy. It is the piece that opens the first book of the Preludes, written between the end of 1909 and the beginning of 1910. The work is inspired by the “Dancers of Delphiâ€, a sculpture fragment from the temple of Apollo in Delphi, whose photo the musician had seen at the Louvre in Paris. The transcription was requested by the conductor of the UFRJ Wind Orchestra for the concert commemorating the 100th anniversary of the death of composer Claude Debussy. Wind Orchestra: Piccolo, Flute 1-2, Oboe 1-2, English Horn, Clarinet in Eb, Clarinet in Bb 1-3, Bass Clarinet, Alto Sax 1-2, Tenor Sax, Baritone Sax, Bassoon 1-2, Contrabassoon, Horn 1-4, Trumpet in Bb 1-3, Trombone 1-2, Bass Trombone, Euphonium, Tuba, Timpani, Bass Drum, Tamtam. Score - A3 Parts - A4.
$20.00 ≈
18.11€
Ballet (Mvt. 4 from Debussy's Petite Suite) for String Orchestra
Ballet (Mvt. 4 from Debussy's Petite Suite) for String Orchestra
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String Orchestra
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Classical
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Claude Debussy
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Richard Byrnes
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Bass)
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Ballet
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Richard Byrnes
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SheetMusicPlus
String Orchestra - Digital Download SKU: A0.830690 Composed by Claude Debussy. Arranged by Richard Byrnes. 20th Century. 63 pages. Richard Byrnes #341465...
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String Orchestra - Digital Download SKU: A0.830690 Composed by Claude Debussy. Arranged by Richard Byrnes. 20th Century. 63 pages. Richard Byrnes #3414651. Published by Richard Byrnes (A0.830690).  Ballet is movement 4 from the Petite Suite by Claude Debussy. This delightful finale displays Debussy's talent in creating dramatic intensity necessary for a finale movement.  This arrangement is for string orchestra (6 Violins, 2 Violas, 2 Celli, & Bass).  Please peruse the pages and listen to the recording of the score that is offered to determine whether this arrangement can work for your ensemble.  In addition to works by Debussy, we offer works by J.S. Bach, Brahms, Dvorák, Fauré, Glazounov, Glinka, Gottschalk, Granados, Griffes, Lotti, Mendelssohn, Mozart, Ravel, Richard Strauss, Turina, & Vierne. Â
$59.99 ≈
54.32€
The Girl with the Flaxen Hair, Prelude 8, Book 1 by Claude Debussy (String Nonet)
The Girl with the Flaxen Hair, Prelude 8, Book 1 by Claude Debussy (String Nonet)
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String Orchestra
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Classical
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Claude Debussy
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Richard Byrnes
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The Girl with the Flaxen Hair,
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Richard Byrnes
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SheetMusicPlus
String Orchestra - Digital Download SKU: A0.830709 Composed by Claude Debussy. Arranged by Richard Byrnes. 20th Century. Score and parts. 19 pages. Richa...
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String Orchestra - Digital Download SKU: A0.830709 Composed by Claude Debussy. Arranged by Richard Byrnes. 20th Century. Score and parts. 19 pages. Richard Byrnes #3493431. Published by Richard Byrnes (A0.830709). The Girl with the Flaxen Hair (La fille aux cheveux de lin), the 8th Prelude in Debussy's Preludes, Book 1 is one of the most famous pieces by Claude Debussy. It's tender melodic and harmonic beauty is unrivaled.Please peruse the pages and listen to the recording of the score that is offered to determine whether this arrangement can work for your ensemble.In addition to works by Debussy, we offer works by J.S. Bach, Fauré, Glinka, Gottschalk, Granados, Lotti, Mozart, Ravel, Richard Strauss, and Turina.
$19.99 ≈
18.10€
Claude Debussy/Robert Orledge : Sérénade for alto saxophone and orchestra - Score Only
Claude Debussy/Robert Orledge : Sérénade for alto saxophone and orchestra - Score Only
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Orchestra
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INTERMEDIATE/ADVANCED
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Classical
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Asya Fateyeva
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Claude Debussy/Robert Orledge
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Musik Fabrik Music Publishing
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SheetMusicPlus
Full Orchestra - Level 4 - Digital Download SKU: A0.1152389 By Asya Fateyeva. By Claude Debussy/Robert Orledge. 19th Century,Classical,Romantic Period. 3...
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Full Orchestra - Level 4 - Digital Download SKU: A0.1152389 By Asya Fateyeva. By Claude Debussy/Robert Orledge. 19th Century,Classical,Romantic Period. 34 pages. Musik Fabrik Music Publishing #752612. Published by Musik Fabrik Music Publishing (A0.1152389). Taken from a sketch given by Debussy's wife to Joachim Nin, the work was complete and orchestred for 32(EH)23/2100/timp/1perc/hp/strings by the Debussy Scholar Robert Orledge for the saxophonist Asya Fateyeva. This item is the score plus the solo part. A version for saxophone and piano a the score of the version for saxophone and 17 instruments are available for sale. The parts are on rental from the publishe.
$18.95 ≈
17.16€
Claude Debussy/Robert Orledge : Sérénade for alto saxophone and 17 instruments - Score Only
Claude Debussy/Robert Orledge : Sérénade for alto saxophone and 17 instruments - Score Only
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Chamber Orchestra
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INTERMEDIATE/ADVANCED
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Classical
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Asya Fateyeva
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Claude Debussy/Robert Orledge
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Musik Fabrik Music Publishing
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SheetMusicPlus
Chamber Orchestra - Level 4 - Digital Download SKU: A0.1152395 By Asya Fateyeva. By Claude Debussy/Robert Orledge. 19th Century,Classical,Romantic Period...
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Chamber Orchestra - Level 4 - Digital Download SKU: A0.1152395 By Asya Fateyeva. By Claude Debussy/Robert Orledge. 19th Century,Classical,Romantic Period. 31 pages. Musik Fabrik Music Publishing #752619. Published by Musik Fabrik Music Publishing (A0.1152395). Taken from a sketch given by Debussy's wife to Joachim Nin, the work was completed and orchestrated by the Debussy Scholar Robert Orledge. The chamber version is scored for 21(EH)11/1000/1perc/hp/strings(22221) This item is the full score and the solo part. A version for saxophone and piano and the full score of the full orchestra version are available for sale. The parts are on rental from the publisher.
$15.95 ≈
14.44€
Menuet (Mvt. 3 from Debussy's Petite Suite for String Orchestra
Menuet (Mvt. 3 from Debussy's Petite Suite for String Orchestra
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String Orchestra
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Classical
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Claude Debussy
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Richard Byrnes
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Menuet
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Richard Byrnes
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SheetMusicPlus
String Orchestra - Digital Download SKU: A0.830683 Composed by Claude Debussy. Arranged by Richard Byrnes. 20th Century. 40 pages. Richard Byrnes #341458...
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String Orchestra - Digital Download SKU: A0.830683 Composed by Claude Debussy. Arranged by Richard Byrnes. 20th Century. 40 pages. Richard Byrnes #3414587. Published by Richard Byrnes (A0.830683). This Menuet is movement 3 from the Petite Suite by Claude Debussy. The exquisite melody of this piece is not to be missed and it serves well to substantiate Debussy as a gifted melodist. This arrangement is for string orchestra (5Vn,2Va,2Vc,Cb).
$34.99 ≈
31.69€
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