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--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
COR
COR ANGLAIS
CORNEMUSE
CORNET
DEEJAY
DIDGERIDOO
DULCIMER
EUPHONIUM
FANFARE - BAND…
FLUTE A BEC
FLUTE DE PAN
FLUTE TRAVERSI…
FORMATION MUSI…
GUITARE
GUITARE LAP ST…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH
MANDOLINE
MARIMBA
OCARINA
ORCHESTRE
ORGUE
PERCUSSION
PIANO
SAXOPHONE
SYNTHETISEUR
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIOLON
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XYLOPHONE
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225
Piano & claviers
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378
Piano seul
134
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44
Piano Facile
36
Instruments en Do
19
Orgue
7
2 Pianos, 4 mains
2
1 Piano, 4 mains
2
Piano Trio: piano, violon, violoncelle
2
Piano Quatuor: piano, violon, alto, violoncelle
1
+ 5 instrumentations
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Guitare notes et tablatures
34
Guitare
33
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3
Ukulele
3
Basse electrique
2
Ligne De Mélodie, (Paroles) et Accords
1
Piano, Guitare (duo)
1
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64
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15
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15
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14
Voix Tenor, Piano
14
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13
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12
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7
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6
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4
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3
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1
Voix Soprano
1
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58
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49
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12
Quatuor de Saxophones: 4 saxophones
11
Hautbois (partie séparée)
10
Ensemble de Clarinettes
9
Flûte traversière et Piano
8
Ensemble de Flûtes
7
Saxophone Alto
6
Flute (partie séparée)
6
Clarinette
6
Hautbois, Piano (duo)
5
Flûte traversière
4
Saxophone Alto et Piano
4
Saxophone Tenor
4
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4
Flûte irlandaise
3
Trio de Flûtes: 3 flûtes
3
Quatuor de Clarinettes: 4 clarinettes
3
Ensemble de saxophones
3
2 Flûtes traversières (duo)
3
Saxophone Tenor et Piano
3
Quintette de Flûte : 5 flûtes
3
Clarinette Basse, Piano
2
Saxophone Soprano
2
3 Saxophones (trio)
2
3 Clarinettes (trio)
2
Clarinette et Piano
2
Flûte, Violon et Violoncelle
1
Saxophone
1
Saxophone Soprano et Piano
1
Saxophone (partie séparée)
1
2 Flûtes traversières, Piano
1
Saxophone et Orgue
1
2 Saxophones (duo)
1
Hautbois, Guitare (duo)
1
Cor Anglais
1
Cor anglais, Piano
1
Quatuor de Flûtes à bec
1
Quintette de Clarinettes: 5 clarinettes
1
2 Clarinettes (duo)
1
Clarinette, Basson (duo)
1
Quintette de Clarinette: Clarinette, Quatuor à Cordes
1
+ 38 instrumentations
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Quatuor de Cuivres : 2 trompettes, trombone, tuba
25
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
23
Cor
9
Trompette
7
Trompette (partie séparée)
4
Trompette, Piano
4
Trombone
4
Ensemble de Trombones
4
Cor et Piano
3
2 Tubas (duo)
2
Trombone et Piano
2
Quatuor de Cuivres
2
Ensemble de Trompettes
2
Quatuor de Cuivres: 2 trompettes, Cor, trombone
1
Bass Clef Instruments
1
2 Trombones (duo)
1
Cor Anglais
1
Tuba
1
Cor anglais, Piano
1
Quatuor de cuivres: 4 cors
1
3 Trombones (trio)
1
+ 16 instrumentations
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Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
44
Violoncelle
11
Violon et Piano
10
Violon
10
Harpe
8
Quintette à cordes: 2 violons, alto, violoncelle, basse
6
Alto seul
5
Ensemble d'Altos
4
Ensemble de Violons
4
Violon, Violoncelle (duo)
3
Contre Basse
3
Violoncelle, Piano
2
Violon, Alto (duo)
1
2 Altos (duo)
1
Harpe, Violon (duo)
1
Violon, Tuba (duo)
1
Alto, Guitare (duo)
1
Trio à Cordes: violon, alto, violoncelle
1
Trio à Cordes: 3 violoncelles
1
Violoncelle , Guitare (duo)
1
Alto (partie séparée)
1
Alto et Harpe
1
2 Violons (duo)
1
Trio à Cordes: 2 violons, violoncelle
1
2 Violoncelles (duo)
1
Alto, Piano
1
Violoncelle, Contrebasse (duo)
1
+ 22 instrumentations
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Orchestre d'harmonie
53
Orchestre
26
Orchestre à Cordes
18
Orchestre de chambre
11
Ensemble Jazz
10
Ensemble de Percussions
5
Quintette à cordes : 2 Violons, Alto, Violoncelle, Contrebasse, Clavier
4
Ensemble de cuivres
4
Cloches
4
Jazz combo
2
Orchestre, Violon
1
Piano et Orchestre
1
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--INSTRUMENTS--
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ALTO
AUTOHARPE
BANJO
BASSE
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BOUZOUKI
CHORALE - CHAN…
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Orchestre, Violon
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Nocturne for violin and orchestra
Orchestre, Violon
Violin and orchestra - Digital Download Completed and orchestrated after the sketches…
(+)
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).<br> <br> 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'.<br> <br> 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.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).<br> <br> 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'.<br> <br> 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.
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Orchestre, Violon
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Nocturne for violin and orchestra
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Schott Music - Digital
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