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You've selected:
Jacques de Saint-Luc
Sheetmusic to print
11 sheet music found
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1
Jacques de Saint Luc: Bouree - guitar solo
Guitar
Instantly printable sheet music by Jacques de Saint Luc for guitar solo of MEDIUM skill le…
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Instantly printable sheet music by Jacques de Saint Luc for guitar solo of MEDIUM skill level. / classical,classical
$5.97
5.57 €
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Guitar
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Jacques de Saint Luc
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Virtualsheetmusic
Bourrée in F Major
Guitar notes and tablatures
Guitar - Level 3 - Digital Download SKU: A0.691132 Composed by Jacques de Saint-Luc…
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Guitar - Level 3 - Digital Download SKU: A0.691132 Composed by Jacques de Saint-Luc. Arranged by Mark Phillips. Baroque. Guitar Tab. 2 pages. A. J. Cornell Publications #2941837. Published by A. J. Cornell Publications (A0.691132). Bourrée in F Major by Jacques de Saint-Luc for solo classical guitar (in standard notation and tab).
$3.99
3.72 €
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Guitar notes and tablatures
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Jacques de Saint-Luc
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Bourrée in F Major
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A. J. Cornell Publications
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SheetMusicPlus
Sarabande
Guitar notes and tablatures
Guitar - Level 2 - Digital Download SKU: A0.692133 Composed by Jacques de Saint-Luc…
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Guitar - Level 2 - Digital Download SKU: A0.692133 Composed by Jacques de Saint-Luc. Arranged by Mark Phillips. Baroque. Guitar Tab. 1 pages. A. J. Cornell Publications #6207935. Published by A. J. Cornell Publications (A0.692133). Jacques de Saint-Luc’s Sarabande for easy classical guitar solo.
$1.99
1.86 €
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Guitar notes and tablatures
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Jacques de Saint-Luc
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Sarabande
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A. J. Cornell Publications
#
SheetMusicPlus
Sarabande in C Minor (from Pieces for Lute with Violin and Bass: “The Queen of Prussia”)
2 Flutes (duet)
Flute Duet Flute - Level 2 - Digital Download SKU: A0.692847 Composed by Jacques de…
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Flute Duet Flute - Level 2 - Digital Download SKU: A0.692847 Composed by Jacques de Saint-Luc. Arranged by Mark Phillips. Baroque. Score. 1 pages. A. J. Cornell Publications #6713667. Published by A. J. Cornell Publications (A0.692847). de Saint-Luc’s Sarabande in C Minor (from Pieces for Lute with Violin and Bass: The Queen of Prussia) for flute duet
$1.99
1.86 €
#
2 Flutes (duet)
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Jacques de Saint-Luc
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Sarabande in C Minor
#
A. J. Cornell Publications
#
SheetMusicPlus
Sarabande in C Minor (from Pieces for Lute with Violin and Bass: “The Queen of Prussia”)
2 Clarinets (duet)
Clarinet Duet Clarinet - Level 2 - Digital Download SKU: A0.692874 Composed by Jacq…
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Clarinet Duet Clarinet - Level 2 - Digital Download SKU: A0.692874 Composed by Jacques de Saint-Luc. Arranged by Mark Phillips. Baroque. 2 scores. 1 pages. A. J. Cornell Publications #6718179. Published by A. J. Cornell Publications (A0.692874). de Saint-Luc’s Sarabande in C Minor (from Pieces for Lute with Violin and Bass: The Queen of Prussia) for clarinet duet
$1.99
1.86 €
#
2 Clarinets (duet)
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Jacques de Saint-Luc
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Sarabande in C Minor
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A. J. Cornell Publications
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SheetMusicPlus
Sarabande in C Minor (from Pieces for Lute with Violin and Bass: “The Queen of Prussia”)
2 Trumpets (duet)
Trumpet Duet Trumpet - Level 2 - Digital Download SKU: A0.692904 Composed by Jacque…
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Trumpet Duet Trumpet - Level 2 - Digital Download SKU: A0.692904 Composed by Jacques de Saint-Luc. Arranged by Mark Phillips. Baroque. Score. 1 pages. A. J. Cornell Publications #6732805. Published by A. J. Cornell Publications (A0.692904). de Saint-Luc’s Sarabande in C Minor (from Pieces for Lute with Violin and Bass: The Queen of Prussia) for trumpet duet
$1.99
1.86 €
#
2 Trumpets (duet)
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Jacques de Saint-Luc
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Sarabande in C Minor
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A. J. Cornell Publications
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SheetMusicPlus
Sarabande in C Minor (from Pieces for Lute with Violin and Bass: “The Queen of Prussia”)
2 Violins (duet)
Violin Duet Violin - Level 2 - Digital Download SKU: A0.692960 Composed by Jacques …
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Violin Duet Violin - Level 2 - Digital Download SKU: A0.692960 Composed by Jacques de Saint-Luc. Arranged by Mark Phillips. Baroque. 1 pages. A. J. Cornell Publications #6745441. Published by A. J. Cornell Publications (A0.692960). de Saint-Luc’s Sarabande in C Minor (from Pieces for Lute with Violin and Bass: The Queen of Prussia) for violin duet
$1.99
1.86 €
#
2 Violins (duet)
#
Jacques de Saint-Luc
#
Sarabande in C Minor
#
A. J. Cornell Publications
#
SheetMusicPlus
Sarabande in C Minor (from Pieces for Lute with Violin and Bass: “The Queen of Prussia”)
2 Saxophones (duet)
Alto Saxophone Duet Alto Saxophone - Level 2 - Digital Download SKU: A0.692933 Comp…
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Alto Saxophone Duet Alto Saxophone - Level 2 - Digital Download SKU: A0.692933 Composed by Jacques de Saint-Luc. Arranged by Mark Phillips. Baroque. 2 scores. 1 pages. A. J. Cornell Publications #6744367. Published by A. J. Cornell Publications (A0.692933). de Saint-Luc’s Sarabande in C Minor (from Pieces for Lute with Violin and Bass: The Queen of Prussia) for alto sax duet
$1.99
1.86 €
#
2 Saxophones (duet)
#
Jacques de Saint-Luc
#
Sarabande in C Minor
#
A. J. Cornell Publications
#
SheetMusicPlus
Jacques de Saint Luc : Bourrée
Guitar notes and tablatures
Téléchargez les tablatures et la partition Guitare Bourrée de De Sain…
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Téléchargez les tablatures et la partition Guitare Bourrée de De Saint-Luc. Tablatures et partition pour Duo -- Classique
3.99 €
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Guitar notes and tablatures
#
Tomplay
Debussy Inconnu: Album of works for the piano by Claude Debussy completed by Robert Orledge, Vol. 2
Piano solo
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. 20th Century, Impressionistic, Repertoire. Score. 76 pages. Published by Musik Fabrik Music Publishing
Contains Le Roi Lear: Prélude,Première Fanfare, and La Mort de Cordélia,Toomai des éléphants, Rodrigue et Chimène: Prélude à l?acte 1p. Le Martyre de Saint Sébastien: La Passion , and No-ja-li ou Le Palais du Silence
From Robert Orledge's notes:
My interest in the wonderful music of Claude Debussy began in the 1980s when I researched and published a book with Cambridge University Press entitled Debussy and the Theatre. During the course of my studies in Paris, I was amazed to discover that Debussy planned over 50 theatrical works but only finished two of these entirely by himself (the opera Pelléas et Mélisande in 1893?1902 and the ballet Jeux for Diaghilev?s Ballets Russes in 1912?13). Of the rest, many were never started musically (like Siddartha and Orphée-roi with the Oriental scholar Victor Segalen, 1907); some had a few tantalising sketches (like the Edgar Allan Poe opera Le Diable dans le beffroi, 1902?03); some were half-finished (like his other Poe opera La Chute de la Maison Usher, 1908?17); while others were musically complete but had their orchestrations completed by other composers (like Khamma, by Charles Koechlin, 1912?13; or Le Martyre de Saint Sébastien and La Boîte à joujoux by his ?angel of corrections? [?l?ange des Corrections?] André Caplet in 1911 and 1919 respectively).
For it has to be admitted that what some scholars call Debussy?s ?compulsive achievement? could equally well be viewed as laziness, especially as far as the minute detail required for calligraphing his orchestral scores was concerned. It was as if creating the music itself was of greater importance than controlling its final sound, even if Debussy was an imaginative orchestrator when he found the time and energy to do it. It also seems true that Debussy also preferred inventing ideas to turning them into complete pieces. However, despite the lack of detail in many of his sketches (missing clefs, key signatures, dynamics, phrasing, etc.) the notes themselves are surprisingly accurate, whether or not they can be compared with a later draft. Thus, a large number of sketches exist for his Chinese ballet No-ja-li ou Le Palais du Silence and it is not too difficult to see which parts of Georges de Feure?s 1913 scenario (see below) inspired which ideas. But Debussy hardly made any attempt to join them together after the first few bars.
It was usually up to his publisher, Jacques Durand, to find solutions when Debussy risked a breach of contract. Debussy was supposed to supervise the orchestrations completed by others, but this supervision was usually very light and restricted to quiet, sensitive moments in which problems were easier to spot. Far from jealously guarding every one of his created notes, as Ravel did, Debussy once even went as far as to ask Koechlin to ?write a ballet for him that he would sign? on 26 March 1914 when he was hard-pressed to fulfil his lucrative contract for No-ja-li with André Charlot at the Alhambra Theatre in London. In the end, Debussy (through Durand) sent Charlot the symphonic suite Printemps instead, whose orchestration had been completed by Henri Busser in the Spring of 1912.
So, when I was offered early retirement as Professor of Music at Liverpool University in 2004, I seized the opportunity it would give me to spend time trying to reconstruct some of Debussy?s lost potential masterpieces from his existing sketches and drafts?then orchestrating them in Debussy?s style when this was appropriate. I had begun this mission in 2001 with the most promising project, the missing parts of Scene 2 of La Chute de la Maison Usher and the sheer joy it gave me at every stage persuaded me to tackle other projects, especially when Debussy experts were unable to identify exactly where I took over from Debussy (and vice versa) in Usher.
$38.95
36.35 €
#
Piano solo
#
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 solo
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 ?L?Histoire de Tristan?
From Robert Orledge's notes:
My interest in the wonderful music of Claude Debussy began in the 1980s when I researched and published a book with Cambridge University Press entitled Debussy and the Theatre. During the course of my studies in Paris, I was amazed to discover that Debussy planned over 50 theatrical works but only finished two of these entirely by himself (the opera Pelléas et Mélisande in 1893?1902 and the ballet Jeux for Diaghilev?s Ballets Russes in 1912?13). Of the rest, many were never started musically (like Siddartha and Orphée-roi with the Oriental scholar Victor Segalen, 1907); some had a few tantalising sketches (like the Edgar Allan Poe opera Le Diable dans le beffroi, 1902?03); some were half-finished (like his other Poe opera La Chute de la Maison Usher, 1908?17); while others were musically complete but had their orchestrations completed by other composers (like Khamma, by Charles Koechlin, 1912?13; or Le Martyre de Saint Sébastien and La Boîte à joujoux by his ?angel of corrections? [?l?ange des Corrections?] André Caplet in 1911 and 1919 respectively).
For it has to be admitted that what some scholars call Debussy?s ?compulsive achievement? could equally well be viewed as laziness, especially as far as the minute detail required for calligraphing his orchestral scores was concerned. It was as if creating the music itself was of greater importance than controlling its final sound, even if Debussy was an imaginative orchestrator when he found the time and energy to do it. It also seems true that Debussy also preferred inventing ideas to turning them into complete pieces. However, despite the lack of detail in many of his sketches (missing clefs, key signatures, dynamics, phrasing, etc.) the notes themselves are surprisingly accurate, whether or not they can be compared with a later draft. Thus, a large number of sketches exist for his Chinese ballet No-ja-li ou Le Palais du Silence and it is not too difficult to see which parts of Georges de Feure?s 1913 scenario (see below) inspired which ideas. But Debussy hardly made any attempt to join them together after the first few bars.
It was usually up to his publisher, Jacques Durand, to find solutions when Debussy risked a breach of contract. Debussy was supposed to supervise the orchestrations completed by others, but this supervision was usually very light and restricted to quiet, sensitive moments in which problems were easier to spot. Far from jealously guarding every one of his created notes, as Ravel did, Debussy once even went as far as to ask Koechlin to ?write a ballet for him that he would sign? on 26 March 1914 when he was hard-pressed to fulfil his lucrative contract for No-ja-li with André Charlot at the Alhambra Theatre in London. In the end, Debussy (through Durand) sent Charlot the symphonic suite Printemps instead, whose orchestration had been completed by Henri Busser in the Spring of 1912.
So, when I was offered early retirement as Professor of Music at Liverpool University in 2004, I seized the opportunity it would give me to spend time trying to reconstruct some of Debussy?s lost potential masterpieces from his existing sketches and drafts?then orchestrating them in Debussy?s style when this was appropriate. I had begun this mission in 2001 with the most promising project, the missing parts of Scene 2 of La Chute de la Maison Usher and the sheer joy it gave me at every stage persuaded me to tackle other projects, especially when Debussy experts were unable to identify exactly where I took over from Debussy (and vice versa) in Usher.
$38.95
36.35 €
#
Piano solo
#
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
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