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15
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17
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Cor
15
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12
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10
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9
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2 Trompettes (duo)
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7
2 Trombones (duo)
6
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5
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4
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4
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4
Euphonium
4
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3
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3
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2
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2
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2
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1
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4 Euphoniums
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CORDES
Quatuor à cordes: 2 violons, alto, violoncelle
105
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87
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69
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45
Violon
29
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22
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21
Alto seul
19
2 Violons (duo)
14
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12
Trio à Cordes: violon, alto, violoncelle
9
Contrebasse, Piano (duo)
9
2 Violoncelles (duo)
9
Contre Basse
8
Harpe
7
Quintette à cordes: 2 violons, alto, violoncelle, basse
7
Violoncelle
5
2 Violons, Piano
4
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4
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4
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4
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3
2 Altos (duo)
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3
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3
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3
2 Altos, Piano
2
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2
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2
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2
Quatuor à cordes : 4 altos
2
Trio à cordes
2
2 Contrebasses (duo)
2
4 Violoncelles
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Trio à Cordes: 3 violoncelles
1
Violoncelle , Guitare (duo)
1
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1
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1
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PERCUSSIONS & ORCHESTRES
Orchestre
99
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66
Orchestre d'harmonie
44
Orchestre de chambre
22
Ensemble de cuivres
11
Quintette à Vent
4
Cloches
4
Ensemble de Percussions
3
Percussion
2
Vibraphone
2
Vibraphone (partie séparée)
2
Timbales (partie séparée)
1
Percussion (partie séparée)
1
Marimba, Piano (duo)
1
Marimba
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Orchestre, Violon
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AUTRES
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Claude Debussy
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Debussy Inconnu: Album of works for the piano by Claude Debussy completed by Robert Orledge, Vol. 2
Piano seul
Piano Solo - Advanced Intermediate - Digital Download Composed by Claude Debussy/Ro…
(+)
Piano Solo - Advanced Intermediate - Digital Download Composed by Claude Debussy/Robert Orledge. 20th Century, Impressionistic, Repertoire. Score. 76 pages. Published by Musik Fabrik Music Publishing
Contains Le Roi Lear: Prélude,Première Fanfare, and La Mort de Cordélia,Toomai des éléphants, Rodrigue et Chimène: Prélude à lacte 1p. Le Martyre de Saint Sébastien: La Passion , and No-ja-li ou Le Palais du Silence<br> <br> From Robert Orledge's notes:<br> <br> My interest in the wonderful music of Claude Debussy began in the 1980s when I researched and published a book with Cambridge University Press entitled Debussy and the Theatre. During the course of my studies in Paris, I was amazed to discover that Debussy planned over 50 theatrical works but only finished two of these entirely by himself (the opera Pelléas et Mélisande in 18931902 and the ballet Jeux for Diaghilevs Ballets Russes in 191213). Of the rest, many were never started musically (like Siddartha and Orphée-roi with the Oriental scholar Victor Segalen, 1907); some had a few tantalising sketches (like the Edgar Allan Poe opera Le Diable dans le beffroi, 190203); some were half-finished (like his other Poe opera La Chute de la Maison Usher, 190817); while others were musically complete but had their orchestrations completed by other composers (like Khamma, by Charles Koechlin, 191213; or Le Martyre de Saint Sébastien and La Boîte à joujoux by his angel of corrections [lange des Corrections] André Caplet in 1911 and 1919 respectively).<br> <br> For it has to be admitted that what some scholars call Debussys compulsive achievement could equally well be viewed as laziness, especially as far as the minute detail required for calligraphing his orchestral scores was concerned. It was as if creating the music itself was of greater importance than controlling its final sound, even if Debussy was an imaginative orchestrator when he found the time and energy to do it. It also seems true that Debussy also preferred inventing ideas to turning them into complete pieces. However, despite the lack of detail in many of his sketches (missing clefs, key signatures, dynamics, phrasing, etc.) the notes themselves are surprisingly accurate, whether or not they can be compared with a later draft. Thus, a large number of sketches exist for his Chinese ballet No-ja-li ou Le Palais du Silence and it is not too difficult to see which parts of Georges de Feures 1913 scenario (see below) inspired which ideas. But Debussy hardly made any attempt to join them together after the first few bars.<br> <br> It was usually up to his publisher, Jacques Durand, to find solutions when Debussy risked a breach of contract. Debussy was supposed to supervise the orchestrations completed by others, but this supervision was usually very light and restricted to quiet, sensitive moments in which problems were easier to spot. Far from jealously guarding every one of his created notes, as Ravel did, Debussy once even went as far as to ask Koechlin to write a ballet for him that he would sign on 26 March 1914 when he was hard-pressed to fulfil his lucrative contract for No-ja-li with André Charlot at the Alhambra Theatre in London. In the end, Debussy (through Durand) sent Charlot the symphonic suite Printemps instead, whose orchestration had been completed by Henri Busser in the Spring of 1912.<br> <br> So, when I was offered early retirement as Professor of Music at Liverpool University in 2004, I seized the opportunity it would give me to spend time trying to reconstruct some of Debussys lost potential masterpieces from his existing sketches and draftsthen orchestrating them in Debussys style when this was appropriate. I had begun this mission in 2001 with the most promising project, the missing parts of Scene 2 of La Chute de la Maison Usher and the sheer joy it gave me at every stage persuaded me to tackle other projects, especially when Debussy experts were unable to identify exactly where I took over from Debussy (and vice versa) in Usher.
$38.95
36.35 €
#
Piano seul
#
Claude Debussy/Robert Orledge
#
Debussy Inconnu: Album of works for the piano by Claude Debussy completed by Robert Orledge, Vol. 2
#
Musik Fabrik Music Publishing
#
SheetMusicPlus
Debussy Inconnu: Album of works for the piano by Claude Debussy completed by Robert Orledge, Vol. 1
Piano seul
Piano Solo - Advanced Intermediate - Digital Download Composed by Claude Debussy/Ro…
(+)
Piano Solo - Advanced Intermediate - Digital Download Composed by Claude Debussy/Robert Orledge. 20th Century, Impressionistic, Repertoire, Recital. Score. 71 pages. Published by Musik Fabrik Music Publishing
Contains A Night in the House of Usher Un Jour affreux avec Le Diable dans le beffroi, Les accords de septième regrettent!!!, Petite Valse,Fêtes galantes, and Prélude à LHistoire de Tristan<br> <br> From Robert Orledge's notes:<br> <br> My interest in the wonderful music of Claude Debussy began in the 1980s when I researched and published a book with Cambridge University Press entitled Debussy and the Theatre. During the course of my studies in Paris, I was amazed to discover that Debussy planned over 50 theatrical works but only finished two of these entirely by himself (the opera Pelléas et Mélisande in 18931902 and the ballet Jeux for Diaghilevs Ballets Russes in 191213). Of the rest, many were never started musically (like Siddartha and Orphée-roi with the Oriental scholar Victor Segalen, 1907); some had a few tantalising sketches (like the Edgar Allan Poe opera Le Diable dans le beffroi, 190203); some were half-finished (like his other Poe opera La Chute de la Maison Usher, 190817); while others were musically complete but had their orchestrations completed by other composers (like Khamma, by Charles Koechlin, 191213; or Le Martyre de Saint Sébastien and La Boîte à joujoux by his angel of corrections [lange des Corrections] André Caplet in 1911 and 1919 respectively).<br> <br> For it has to be admitted that what some scholars call Debussys compulsive achievement could equally well be viewed as laziness, especially as far as the minute detail required for calligraphing his orchestral scores was concerned. It was as if creating the music itself was of greater importance than controlling its final sound, even if Debussy was an imaginative orchestrator when he found the time and energy to do it. It also seems true that Debussy also preferred inventing ideas to turning them into complete pieces. However, despite the lack of detail in many of his sketches (missing clefs, key signatures, dynamics, phrasing, etc.) the notes themselves are surprisingly accurate, whether or not they can be compared with a later draft. Thus, a large number of sketches exist for his Chinese ballet No-ja-li ou Le Palais du Silence and it is not too difficult to see which parts of Georges de Feures 1913 scenario (see below) inspired which ideas. But Debussy hardly made any attempt to join them together after the first few bars.<br> <br> It was usually up to his publisher, Jacques Durand, to find solutions when Debussy risked a breach of contract. Debussy was supposed to supervise the orchestrations completed by others, but this supervision was usually very light and restricted to quiet, sensitive moments in which problems were easier to spot. Far from jealously guarding every one of his created notes, as Ravel did, Debussy once even went as far as to ask Koechlin to write a ballet for him that he would sign on 26 March 1914 when he was hard-pressed to fulfil his lucrative contract for No-ja-li with André Charlot at the Alhambra Theatre in London. In the end, Debussy (through Durand) sent Charlot the symphonic suite Printemps instead, whose orchestration had been completed by Henri Busser in the Spring of 1912.<br> <br> So, when I was offered early retirement as Professor of Music at Liverpool University in 2004, I seized the opportunity it would give me to spend time trying to reconstruct some of Debussys lost potential masterpieces from his existing sketches and draftsthen orchestrating them in Debussys style when this was appropriate. I had begun this mission in 2001 with the most promising project, the missing parts of Scene 2 of La Chute de la Maison Usher and the sheer joy it gave me at every stage persuaded me to tackle other projects, especially when Debussy experts were unable to identify exactly where I took over from Debussy (and vice versa) in Usher.
$38.95
36.35 €
#
Piano seul
#
Claude Debussy/Robert Orledge
#
Debussy Inconnu: Album of works for the piano by Claude Debussy completed by Robert Orledge, Vol. 1
#
Musik Fabrik Music Publishing
#
SheetMusicPlus
DOCTOR GRADUS AD PARNASSUM from 'Children's Corner Suite' by CLAUDE DEBUSSY. PIANO SOLO
Piano seul
Piano Solo - Advanced Intermediate - Digital Download Composed by Claude Debussy (1…
(+)
Piano Solo - Advanced Intermediate - Digital Download Composed by Claude Debussy (1862-1918). Impressionistic, Post-Romantic, Recital. 8 pages. Published by Diamond S Music
DOCTOR GRADUS AD PARNASSUM from Childrens Corner Suite by CLAUDE DEBUSSY for PIANO SOLO. The Latin phrase gradus ad Parnassum means "steps to Parnassus. Debussy composed Children's Corner between 1906 and 1908. This piece is actually a rather ingenious study in finger independence with a Twentieth Century vocabulary. In the middle, the pianist slows down and tries his material in other keys for exercise. Debussy's Doctor Gradus Ad Parnassum is of intermediate difficulty and requires experienced fingers. The pianist gets wilder toward the end and finishes the piece with a bang. Debussy told his publisher that the movement should be played "very early in the morning".This edition also includes a short biography of Debussy and some facts about the piece.<br> <br> Other similar arrangements and selections from DIAMOND S MUSIC available at:https://www.sheetmusicplus.com/publishers/diamond-s-music/6940
$4.99
4.66 €
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Piano seul
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Claude Debussy (1862-1918)
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DOCTOR GRADUS AD PARNASSUM from 'Children's Corner Suite' by CLAUDE DEBUSSY. PIANO SOLO
#
Diamond S Music
#
SheetMusicPlus
Clair de Lune (Claude Debussy)
2 Guitares (duo)
Guitar Duo - Advanced Intermediate - Digital Download Composed by Claude Debussy (1…
(+)
Guitar Duo - Advanced Intermediate - Digital Download Composed by Claude Debussy (1862-1918). Arranged by Bisdre Santos. Impressionistic, Repertoire, Classroom, Wedding, Recital. Individual Part, Lead Sheet, Set of Parts. 7 pages. Published by Bisdré Santos
Composed by Claude Debussy (1862-1918). Transcribed by Bisdré Santos from the recording of John Williams and Julian Bream. Impressionistic, Romantic, Post-Romantic, Repertoire, Classroom, Concert.
$5.00
4.67 €
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2 Guitares (duo)
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Claude Debussy (1862-1918)
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Bisdre Santos
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Santos
#
Clair de Lune
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Bisdré Santos
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SheetMusicPlus
Claude Debussy/Robert Orledge: Prélude à L'Histoire de Tristan for orchestra, score only
Orchestre
Full Orchestra - Advanced Intermediate - Digital Download Composed by Claude Debuss…
(+)
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.<br> <br> Debussys 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 Bédiers 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 Wagners 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.<br> <br> 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 Tristans death. Even if he thought that Moureys 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, Debussys 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 Debussys opennning, off-stage trumpet calls), leaving us with the ultimate tragedy of their ill-fated advice.<br> <br> Unforunately, Moureys actual libretto has been lost and the project eventually foundered because Bédiers 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 Moureys version. Debussy, it need hardly be said, would never have dreamed of collaborating with the author of the vaudeville hit La culotte (The pants)!<br>
$19.95
18.62 €
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Orchestre
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Claude Debussy/Robert Orledge
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Claude Debussy/Robert Orledge: Prélude à L'Histoire de Tristan for orchestra, score only
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Musik Fabrik Music Publishing
#
SheetMusicPlus
Claude Debussy: Prléude à L'Histoire de Tristan for solo piano, completed by Robert Orledge
Piano seul
Piano Solo - Advanced Intermediate - Digital Download Composed by Claude Debussy/Ro…
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Piano Solo - Advanced Intermediate - Digital Download Composed by Claude Debussy/Robert Orledge. Romantic Period, Impressionistic, Repertoire, Recital. Score. 6 pages. Published by Musik Fabrik Music Publishing
Recorded by Nicolas Horvath on Grand Piano records (GP822)<br> <br> Debussys 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 - Joseph Bédiers adaptation of a twelfth-century Breton romance by the Anglo-Norman poet known as Thomas - which had recently been published in Paris. Debussy enthusiastically outlined the four-act plot to Victor Segalen that October, and the main differences from Wagners Tristan und Isolde are that none of the action takes place in Cornwall 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 him when he goes mad at the end.<br> <br> The idea of a Tristan that restored its legendary character and had no connections with Wagner, appealed to Debussy, who was extremely moved by the circumstances of Tristans death. Even if he thought that Moureys 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 publisher, 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, Debussys dance-like theme (which is definitely not a leitmotif) gradually gains momentum and after it reaches its ecstatic climax, representing the transient happiness of the lovers, it dissolves into an expressive coda and an elegiac close (all growing from Debussys opening, off-stage trumpet calls), leaving us with the ultimate tragedy of their ill-fated affair.<br> <br> Unfortunately, Moureys actual libretto has been lost and the project eventually foundered because Bédiers cousin, Louis Artus, wanted Debussy to use the scenario he had prepared and copyrighted for the stage, and would not allow him to proceed with Moureys version. Debussy, it need hardly be said, would never have dreamed of collaborating with the author of the vaudeville hit La culotte (The pants)!<br> <br> Robert Orledge
$10.35
9.66 €
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Piano seul
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Claude Debussy/Robert Orledge
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Claude Debussy: Prléude à L'Histoire de Tristan for solo piano, completed by Robert Orledge
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Musik Fabrik Music Publishing
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SheetMusicPlus
Claude Debussy â Estampes, Orchestra Suite, Orchestrated by Arkady Leytush, No. 2 La soirée dans
Orchestre
Full Orchestra - Digital Download SKU: A0.1008374 Composed by Claude Debussy. Arran…
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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 Debussyâs death, when they were printed as Images (oubliées). Estampes marks an expansion of Debussyâs keyboard style: he was apparently spurred to fuse neo-Lisztian technique with a sensitive, impressionistic pictorial impulse under the impact of discovering Ravelâs Jeux dâeau, published in 1902. The opening movement, âPagodesâ, is Debussyâs 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 Debussyâs 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 âPagodesâ was his first Oriental piece, so âLa soirée dans Grenadeâ was the first of Debussyâs evocations of Spain-that preternatural embodiment of an âimaginary Andalusiaâ 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. Debussyâs 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 Ravelâs Habanera. Yet he wrote of this piece (to his friend Pierre Louÿs, to whom it was dedicated), âif this isnât the music they play in Granada, so much the worse for Granada!â-and there is no debate about the absolute authenticity of Debussyâs use of Spanish idioms here. Falla himself pronounced it âcharacteristically Spanish in every detailâ. âLa soirée dans Grenadeâ 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. âJardins sous la pluieâ is based on the childrenâs song âNous nârons plus au boisâ (We shanât go to the woods): its original 1894 form was in fact entitled Quelques aspects de âNous nârons plus au boisâ. The two versions are really two distinct treatments of the same set of ideas, but in âJardins sous la pluieâ 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 childrenâs song for treatment, âDo, do, lâenfant doâ) more elusive and tinged sometimes with melancholy or nostalgia. The ending of the piece is entirely new. What it loses, perha.
$25.00
23.33 €
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Orchestre
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Claude Debussy
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Arkady Leytush
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Claude Debussy â Estampes, Orchestra Suite, Orchestrated by Arkady Leytush, No. 2 La soirée dans
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Arkady Leytush
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SheetMusicPlus
Claude Debussy â Estampes, Orchestra Suite, Orchestrated by Arkady Leytush No. 1 Pagodes (Pagodas
Orchestre
Full Orchestra - Digital Download SKU: A0.1008372 Composed by Claude Debussy. Arran…
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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 Debussyâs death, when they were printed as Images (oubliées). Estampes marks an expansion of Debussyâs keyboard style: he was apparently spurred to fuse neo-Lisztian technique with a sensitive, impressionistic pictorial impulse under the impact of discovering Ravelâs Jeux dâeau, published in 1902. The opening movement, âPagodesâ, is Debussyâs 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 Debussyâs 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 âPagodesâ was his first Oriental piece, so âLa soirée dans Grenadeâ was the first of Debussyâs evocations of Spain-that preternatural embodiment of an âimaginary Andalusiaâ 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. Debussyâs 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 Ravelâs Habanera. Yet he wrote of this piece (to his friend Pierre Louÿs, to whom it was dedicated), âif this isnât the music they play in Granada, so much the worse for Granada!â-and there is no debate about the absolute authenticity of Debussyâs use of Spanish idioms here. Falla himself pronounced it âcharacteristically Spanish in every detailâ. âLa soirée dans Grenadeâ 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. âJardins sous la pluieâ is based on the childrenâs song âNous nârons plus au boisâ (We shanât go to the woods): its original 1894 form was in fact entitled Quelques aspects de âNous nârons plus au boisâ. The two versions are really two distinct treatments of the same set of ideas, but in âJardins sous la pluieâ 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 childrenâs song for treatment, âDo, do, lâenfant doâ) more elusive and tinged sometimes with melancholy or nostalgia. Th.
$25.00
23.33 €
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Orchestre
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Claude Debussy
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Arkady Leytush
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Claude Debussy â Estampes, Orchestra Suite, Orchestrated by Arkady Leytush No. 1 Pagodes
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Arkady Leytush
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SheetMusicPlus
Claude Debussy â Estampes, Orchestra Suite, Orchestrated by Arkady Leytush, No. 3 Jardins sous la
Orchestre
Full Orchestra - Digital Download SKU: A0.1008375 Composed by Claude Debussy. Arran…
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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 Debussyâs death, when they were printed as Images (oubliées). Estampes marks an expansion of Debussyâs keyboard style: he was apparently spurred to fuse neo-Lisztian technique with a sensitive, impressionistic pictorial impulse under the impact of discovering Ravelâs Jeux dâeau, published in 1902. The opening movement, âPagodesâ, is Debussyâs 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 Debussyâs 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 âPagodesâ was his first Oriental piece, so âLa soirée dans Grenadeâ was the first of Debussyâs evocations of Spain-that preternatural embodiment of an âimaginary Andalusiaâ 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. Debussyâs 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 Ravelâs Habanera. Yet he wrote of this piece (to his friend Pierre Louÿs, to whom it was dedicated), âif this isnât the music they play in Granada, so much the worse for Granada!â-and there is no debate about the absolute authenticity of Debussyâs use of Spanish idioms here. Falla himself pronounced it âcharacteristically Spanish in every detailâ. âLa soirée dans Grenadeâ 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. âJardins sous la pluieâ is based on the childrenâs song âNous nârons plus au boisâ (We shanât go to the woods): its original 1894 form was in fact entitled Quelques aspects de âNous nârons plus au boisâ. The two versions are really two distinct treatments of the same set of ideas, but in âJardins sous la pluieâ 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 childrenâs song for treatment, âDo, do, lâenfant doâ) more elusive and tinged sometimes with melancholy or nostalgia. The ending of the piece is entirely new. What it loses, perha.
$25.00
23.33 €
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Orchestre
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Claude Debussy
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Arkady Leytush
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Claude Debussy â Estampes, Orchestra Suite, Orchestrated by Arkady Leytush, No. 3 Jardins sous la
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Arkady Leytush
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SheetMusicPlus
Claude Debussy: Fêtes Galantes for solo piano, completed by Robert Orledge
Piano seul
Piano Solo - Level 4 - Digital Download SKU: A0.534653 Composed by Claude Debussy/R…
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Piano Solo - Level 4 - Digital Download SKU: A0.534653 Composed by Claude Debussy/Robert Orledge. 20th Century,Concert,Romantic Period,Standards. Score. 16 pages. Musik Fabrik Music Publishing #5726995. Published by Musik Fabrik Music Publishing (A0.534653). Recorded for Grand Piano (GP822) by Nicolas Horvath.IFêtes galantes was actually planned as a hybrid opera-ballet to a libretto by Debussyâs friend Louis Laloy. For this, Laloy arranged selected poetry by Paul Verlaine into three tableaux, replacing an earlier (unstarted) Debussyan project with Charles Morice entitled Crimen amoris. During his last productive summer of 1915, Debussy set a sequence from the start of the first tableau, âLes Masquesâ, involving stanzas 1 and 3 of the opening song for Mezzetin in Verlaineâs comedy Les Uns et les autres. 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 LâIsle Joyeuse (1904). Following Laloyâs scenario, the mas-queraders then sing extracts from Verlaineâs âA la promenadeâ (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.
$12.95
12.09 €
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Piano seul
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Claude Debussy/Robert Orledge
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Claude Debussy: Fêtes Galantes for solo piano, completed by Robert Orledge
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Musik Fabrik Music Publishing
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SheetMusicPlus
Claude Debussy: Sonata in G minor (NEW EDITION) instantly for violin & piano
Violon et Piano
Instantly downloadable sheet music by Claude Debussy for violin & piano of HIGH skill …
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Instantly downloadable sheet music by Claude Debussy for violin & piano of HIGH skill level. / classical,french
$7.99
7.46 €
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Violon et Piano
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Claude Debussy
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Virtualsheetmusic
Claude Debussy: Ballade for piano solo
Piano seul
Instantly downloadable sheet music by Claude Debussy for piano solo of MEDIUM skill level.…
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Instantly downloadable sheet music by Claude Debussy for piano solo of MEDIUM skill level. / classical,french
$3.75
3.5 €
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Piano seul
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Claude Debussy
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Virtualsheetmusic
Claude Debussy: Sérénade for violin and piano
Violon et Piano
Piano,Violin - Level 4 - Digital Download SKU: A0.534583 Composed by Claude Debussy…
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Piano,Violin - Level 4 - Digital Download SKU: A0.534583 Composed by Claude Debussy/Robert Orledge. 20th Century,Concert,Romantic Period,Standards. 21 pages. Musik Fabrik Music Publishing #4727479. Published by Musik Fabrik Music Publishing (A0.534583). Preface: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 Debussyâs 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 violinâs 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 Debussyâs 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 Debussyâs 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 KÅchlin 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 KÅchlin 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 Debussyâs unfinished works, and especially his theatre projects. His completion of Debussyâs 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 other completions include La Saulaie and the Nocturne and Poème for violin and orchestra as well as Debussyâs other Poe opera Le Diable dans le Beffroi.Préface en français : Au debut des années 1890, Debussy a composé le debut dâune pièce lyrique en Mi majeur pour violon et piano, peut-être pour accompagner la Nocturne pour violon que Debussy a destinée pour le violoniste belge Eugène Ysaÿe. Après la morte de Debussy en 1918, sa deuxième femme Emma avait lâhabitude dâoffrir ses pages dâesquisses aux intérpètes et compositeurs en souvenir de son regreté mari. Cette page dâesquisse a été offerte aux compositeur et pianiste cubain Joaquin Nin (1879-1949). Cette page a été mise en vente dans la catalogue de lâantiquaire britannique Lisa Cox en 2010 et malgré que cette esquisse est peut-être le début dâune mélodie pour contralto et piano, lâidée dynamique dans la douzième mesure suggère la violon, surtout quâelle commence sur la.
$12.95
12.09 €
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Violon et Piano
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Claude Debussy/Robert Orledge
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Claude Debussy: Sérénade for violin and piano
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Musik Fabrik Music Publishing
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SheetMusicPlus
Claude Debussy: Sérénade for violin and 17 instrments, full score and solo part only (parts on ren
Orchestre de chambre
Chamber Orchestra - Level 4 - Digital Download SKU: A0.1080705 Composed by Claude D…
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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 quâune 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 Debussyâs 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 violinâs 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 Debussyâs 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 Debussyâs 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 KÅchlin 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 KÅchlin 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 Debussyâs unfinished works, and especially his theatre projects. His completion of Debussyâs 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
15.82 €
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Orchestre de chambre
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Claude Debussy/Robert Orledge
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Claude Debussy: Sérénade for violin and 17 instrments, full score and solo part only
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Musik Fabrik Music Publishing
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SheetMusicPlus
ARABESQUE No.2 (from Deux Arabesques) by CLAUDE DEBUSSY for PIANO SOLO
Piano seul
Piano Solo - Level 4 - Digital Download SKU: A0.790109 Composed by Claude Debussy. …
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Piano Solo - Level 4 - Digital Download SKU: A0.790109 Composed by Claude Debussy. Arranged by Diamond S Music. 20th Century. Score. 9 pages. Diamond S Music #3622501. Published by Diamond S Music (A0.790109). ARABESQUE No.2 (from Deux Arabesques) by CLAUDE DEBUSSY for PIANO SOLO. This contains ONLY Arabesque No.1. The Two Arabesques, L. 66, is a pair of arabesques composed for piano by Claude Debussy when he was still in his twenties, between the years 1888 and 1891. These are a favorite of intermediate and advanced pianist alike. No.1 in E major begins with the familiar impressionistic cascading arpeggios. No. 2 in G major being with lively right hand trills in a style more closely resembles some of Debussy's later works. Arabesques No.1 & No. 2 can also be purchased separately or Both together in the set. Other similar arrangements and selections from DIAMOND S MUSIC available at:https://www.sheetmusicplus.com/publishers/diamond-s-music/6940
$4.50
4.2 €
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Piano seul
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Claude Debussy
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Diamond S Music
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No
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ARABESQUE No.2
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Diamond S Music
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SheetMusicPlus
ARABESQUE No.1 in E Major (from Deux Arabesques) by CLAUDE DEBUSSY for PIANO SOLO
Piano seul
Piano Solo - Level 4 - Digital Download SKU: A0.790108 Composed by Claude Debussy. …
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Piano Solo - Level 4 - Digital Download SKU: A0.790108 Composed by Claude Debussy. Arranged by Diamond S Music. 20th Century,Concert. Score. 9 pages. Diamond S Music #3622487. Published by Diamond S Music (A0.790108). ARABESQUE No.1 in E Major (from Deux Arabesques) by CLAUDE DEBUSSY for PIANO SOLO. This contains ONLY Arabesque No.1. The Two Arabesques, L. 66, is a pair of arabesques composed for piano by Claude Debussy when he was still in his twenties, between the years 1888 and 1891. These are a favorite of intermediate and advanced pianist alike. No.1 in E major begins with the familiar impressionistic cascading arpeggios. No. 2 in G major being with lively right hand trills in a style more closely resembles some of Debussy's later works. Arabesques No.1 & No. 2 can also be purchased separately or Both together in the set. Other similar arrangements and selections from DIAMOND S MUSIC available at:https://www.sheetmusicplus.com/publishers/diamond-s-music/6940
$4.50
4.2 €
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Piano seul
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Claude Debussy
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Diamond S Music
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No
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ARABESQUE No.1 in E Major
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Diamond S Music
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SheetMusicPlus
DEUX ARABESQUES (2 Arabesques) by CLAUDE DEBUSSY for PIANO SOLO
Piano seul
Piano Solo - Digital Download SKU: A0.790107 Composed by Claude Debussy. Arranged b…
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Piano Solo - Digital Download SKU: A0.790107 Composed by Claude Debussy. Arranged by Diamond S Music. 20th Century,Concert. Score. 16 pages. Diamond S Music #3622481. Published by Diamond S Music (A0.790107). DEUX ARABESQUES (2 Arabesques) by CLAUDE DEBUSSY for PIANO SOLO. This contains both Arabesque No.1 & No.2 as a set. The Two Arabesques, L. 66, is a pair of arabesques composed for piano by Claude Debussy when he was still in his twenties, between the years 1888 and 1891. These are a favorite of intermediate and advanced pianist alike. No.1 in E major begins with the familiar impressionistic cascading arpeggios. No. 2 in G major being with lively right hand trills in a style more closely resembles some of Debussy's later works. Arabesques No.1 & No. 2 can also be purchased separately. Other similar arrangements and selections from DIAMOND S MUSIC available at:https://www.sheetmusicplus.com/publishers/diamond-s-music/6940
$8.50
7.93 €
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Piano seul
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Claude Debussy
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Diamond S Music
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No
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DEUX ARABESQUES
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Diamond S Music
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SheetMusicPlus
REVERIE by Claude Debussy - PIANO SOLO
Piano seul
Piano Solo - Digital Download SKU: A0.790106 Composed by Claude Debussy. Arranged b…
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Piano Solo - Digital Download SKU: A0.790106 Composed by Claude Debussy. Arranged by Diamond S Music. 20th Century,Concert. Score. 8 pages. Diamond S Music #3621591. Published by Diamond S Music (A0.790106). RÃVERIE by CLAUDE DEBUSSY for PIANO SOLO. Rêverie is one of the most popular pieces of Debussy. Debussy's genius shines throughout this piece. The stillness and meditative calm of these lines are evoked with great beauty at the opening of the piece. That simplicity, even sparseness of texture, surrounds a central section of gently undulating passages. Rêverie is treasured for its ethereal beauty and sense of mystery. This edition also includes a short biography of Debussy and some facts about the piece. $4.95 Other similar arrangements and selections from DIAMOND S MUSIC available at:https://www.sheetmusicplus.com/publishers/diamond-s-music/6940
$4.99
4.66 €
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Piano seul
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Claude Debussy
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Diamond S Music
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REVERIE by Claude Debussy - PIANO SOLO
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Diamond S Music
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SheetMusicPlus
Claude Debussy - Clair de lune (Moonlight) - lead sheet
Instruments en Do
C Instrument - Digital Download SKU: A0.720923 Composed by Claude Debussy. Arranged…
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C Instrument - Digital Download SKU: A0.720923 Composed by Claude Debussy. Arranged by Andre Maaker. 20th Century,Classical,Romantic Period,Wedding. Lead Sheet / Fake Book. 2 pages. SheetMusicHub #329286. Published by SheetMusicHub (A0.720923). This is a lead sheet style (melody, chords, form) notation of Clair de lune (Moonlight) by Claude Debussy. Lead sheet by Andre Maaker. From Wikipedia: Suite bergamasque (L. 75) is a piano suite by Claude Debussy. He began composing it around 1890, at the age of 28, but significantly revised it just before its 1905 publication. The popularity of the 3rd movement, Clair de lune, has made it one of the composer's most famous works for piano. The third movement of Suite bergamasque is Clair de lune, in Dâ major. It is written in 9/8 meter and marked andante très expressif. Its title, which means moonlight in French, is taken from Verlaine's poem Clair de lune.
$4.00
3.73 €
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Instruments en Do
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Claude Debussy
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Andre Maaker
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Claude Debussy - Clair de lune
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SheetMusicHub
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SheetMusicPlus
Clair de Lune by Claude Debussy for 'cello quartet
Violoncelle (partie séparée)
Cello Solo - Level 3 - Digital Download SKU: A0.800217 Composed by Claude Debussy. …
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Cello Solo - Level 3 - Digital Download SKU: A0.800217 Composed by Claude Debussy. Arranged by Samantha J Bramley - stringspirational@gmail.com. Romantic Period. Individual part. 9 pages. Samantha Bramley #6009483. Published by Samantha Bramley (A0.800217). âClair de Luneâ by Claude Debussy This is a four âcello version of the famous piano solo piece by Claude Debussy. The duration of the arrangement is approximately 5 minutes, making it a nice encore or perfect for inclusion in a varied program. Only the first âcello part is written in tenor clef and goes above 4th position (B), making it ideal for a student ensemble of mixed ability. Keep Calm & Play Cello! Note from the arranger: All my arrangements for âcello quartet, quintet and sextet are conceived specifically with the range and technical capabilities of the âcello in mind â no simple transpositions or re-orchestrations of string quartet scores. They are therefore both easily playable and enjoyable by any intermediate to advanced âcello ensemble. Most parts do not go beyond 4th position, making them equally suitable for student, mixed ability groups or âcello choirs. A complete score and set of parts is included. Enjoy and feel free to email comments or request for other works to stringspirational@gmail.com or visit my website www.stringspirational.com to find out more.
$12.99
12.12 €
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Violoncelle (partie séparée)
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Claude Debussy
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Clair de Lune by Claude Debussy for 'cello quartet
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Samantha Bramley
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SheetMusicPlus
Rêverie - Claude Debussy, for Bb Clarinet and Piano
Clarinette et Piano
Clarinet,Piano - Level 5 - Digital Download SKU: A0.1237203 By Len Rhodes. By Claud…
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Clarinet,Piano - Level 5 - Digital Download SKU: A0.1237203 By Len Rhodes. By Claude Debussy. Arranged by Len Rhodes. 20th Century,Wedding. Score and part. 9 pages. Len Rhodes Music #832726. Published by Len Rhodes Music (A0.1237203). In 1890, Debussy sold five piano pieces of which some may have been composed much earlier. These pieces were: âRêverieâ, âBallade Slaveâ, âTarentelle Styrienneâ, âValse Romantiqueâ and âNocturneâ. The actual publication of âRêverieâ did not occur until April 1905 at which time, Debussy wrote to the publisher Fromont: âIt was a mistake to bring out the âRêverieâ. It is an unimportant work which was written in a hurryâ¦It is a work of no consequence and I absolutely consider it no good.â To this day, many listenerâs first âencounterâ with the music of Claude Debussy has been through the hearing of his âRêverieâ!In this arrangement for Bb clarinet and piano, Len Rhodes brings out the beauty of the melody of âRêverieâ, assigned to the clarinet; whilst the piano reveals the composerâs unusual harmonies.Download contains piano score and separate clarinet part.
$5.99
5.59 €
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Clarinette et Piano
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Len Rhodes
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Len Rhodes
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Rêverie - Claude Debussy, for Bb Clarinet and Piano
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Len Rhodes Music
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SheetMusicPlus
CLAIR DE LUNE from 'Suite Bergamasque' by CLAUDE DEBUSSY. PIANO SOLO
Piano seul
Piano Solo - Level 4 - Digital Download SKU: A0.790099 Composed by Claude Debussy. …
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Piano Solo - Level 4 - Digital Download SKU: A0.790099 Composed by Claude Debussy. Arranged by Diamond S Music. 20th Century,Concert. Score. 9 pages. Diamond S Music #3618867. Published by Diamond S Music (A0.790099). CLAIR DE LUNE from SUITE BERGAMASQUE by CLAUDE DEBUSSY for PIANO SOLO. Clair de Lune is considered one of the most beautiful pieces of music ever written. Debussy's genius shines throughout this piece. Clair de Lune is French for light of the moon, or moonlight. The stillness and meditative calm of these lines are evoked with great beauty at the opening of the piece. That simplicity, even sparseness of texture, surrounds a central section of gently undulating passages. Clair de Lune is treasured for its ethereal beauty and sense of mystery. This edition also includes a short biography of Debussy and some facts about the piece.Other similar arrangements and selections from DIAMOND S MUSIC available at:https://www.sheetmusicplus.com/publishers/diamond-s-music/6940
$4.95
4.62 €
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Piano seul
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Claude Debussy
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Diamond S Music
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CLAIR DE LUNE from 'Suite Bergamasque' by CLAUDE DEBUSSY. PIANO SOLO
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Diamond S Music
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SheetMusicPlus
Rêverie - Claude Debussy, for Cello and Piano
Violoncelle, Piano
Cello,Piano - Level 5 - Digital Download SKU: A0.1238542 By Len Rhodes. By Claude D…
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Cello,Piano - Level 5 - Digital Download SKU: A0.1238542 By Len Rhodes. By Claude Debussy. Arranged by Len Rhodes. 20th Century,Wedding. Score and part. 9 pages. Len Rhodes Music #833977. Published by Len Rhodes Music (A0.1238542). In 1890, Debussy sold five piano pieces of which some may have been composed much earlier. These pieces were: âRêverieâ, âBallade Slaveâ, âTarentelle Styrienneâ, âValse Romantiqueâ and âNocturneâ. The actual publication of âRêverieâ did not occur until April 1905 at which time, Debussy wrote to the publisher Fromont: âIt was a mistake to bring out the âRêverieâ. It is an unimportant work which was written in a hurryâ¦It is a work of no consequence and I absolutely consider it no good.â To this day, many listenerâs first âencounterâ with the music of Claude Debussy has been through the hearing of his âRêverieâ!In this new arrangement for cello and piano, Len Rhodes brings out the beauty of the melody of âRêverieâ, assigned to the cello; whilst the piano reveals the composerâs unusual harmonies.Download contains piano score and separate cello part.
$5.99
5.59 €
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Violoncelle, Piano
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Len Rhodes
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Len Rhodes
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Rêverie - Claude Debussy, for Cello and Piano
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Len Rhodes Music
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SheetMusicPlus
The Girl with the Flaxen Hair, Prelude 8, Book 1 by Claude Debussy (Brass Septet + 2 Flutes)
C Trumpet,Euphonium,Flute,Horn,Tuba - Digital Download SKU: A0.830692 Composed by C…
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C Trumpet,Euphonium,Flute,Horn,Tuba - Digital Download SKU: A0.830692 Composed by Claude Debussy. Arranged by Richard Byrnes. 20th Century. 19 pages. Richard Byrnes #3435181. Published by Richard Byrnes (A0.830692). 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 many works by J.S. Bach, we offer works by Brahms, Debussy, Dvorák, Fauré, Glazounov, Glinka, Gottschalk, Granados, Griffes, Lotti, Mendelssohn, Mozart, Ravel, Richard Strauss, Turina, & Vierne.
$19.99
18.66 €
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Claude Debussy
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Richard Byrnes
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Vierne.
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The Girl with the Flaxen Hair, Prelude 8, Book 1 by Claude Debussy
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Richard Byrnes
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SheetMusicPlus
The Girl with the Flaxen Hair, Prelude 8, Book 1 by Claude Debussy (Saxophone Octet + Flute)
Woodwind Ensemble Alto Saxophone,Baritone Saxophone,Bass Saxophone,Flute,Soprano Saxophone…
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Woodwind Ensemble Alto Saxophone,Baritone Saxophone,Bass Saxophone,Flute,Soprano Saxophone - Digital Download SKU: A0.830696 Composed by Claude Debussy. Arranged by Richard Byrnes. 20th Century. 19 pages. Richard Byrnes #3435937. Published by Richard Byrnes (A0.830696).  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.  This is an arrangement by Richard Byrnes for Flute, 3 Soprano Saxes, 2 Alto Saxes, 2 Baritone Saxes, & Bass Sax.  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
$19.99
18.66 €
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Claude Debussy
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Richard Byrnes
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Bass Sax
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The Girl with the Flaxen Hair, Prelude 8, Book 1 by Claude Debussy
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Richard Byrnes
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SheetMusicPlus
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