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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
VIOLONCELLE
XYLOPHONE
CANON IN D - OBOE
Sheetmusicplus
Non classifié
422
Piano & claviers
Piano seul
227
Piano Facile
135
Piano Trio: piano, violon, violoncelle
21
Orgue
17
Piano, Voix
13
1 Piano, 4 mains
8
Piano Quatuor: piano, violon, alto, violoncelle
7
Instruments en Do
7
Accompagnement Piano
5
2 Pianos, 4 mains
4
Piano Quatuor: piano, 2 violons, violoncelle
2
Piano, Voix et Guitare
2
Accordéon
2
Piano grosses notes
1
Piano Quintette: piano, 2 violons, alto, violoncelle
1
1 Piano, 6 mains
1
+ 11 instrumentations
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Guitares
Guitare
25
Guitare notes et tablatures
20
4 Guitares (Quatuor)
9
Ligne De Mélodie, (Paroles) et Accords
4
2 Guitares (duo)
2
Ukulele
2
Dulcimer
2
Guitare, Violon, Violoncelle (trio)
1
Ensemble de Ukulélés
1
Banjo
1
Mandoline
1
3 Guitares (trio)
1
+ 7 instrumentations
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Voix
Chorale SATB
27
Chorale 2 parties
25
Chorale 3 parties
15
Pack Instrumental pour Chorale
9
Voix duo, Piano
7
Chorale Unison
5
Chorale TTBB
2
Chorale SSAA
1
Voix duo
1
+ 4 instrumentations
Retracter
Vents
Flûte traversière et Piano
55
2 Saxophones (duo)
51
Quatuor de Saxophones: 4 saxophones
49
Clarinette et Piano
47
Flûte traversière
37
2 Flûtes traversières (duo)
37
2 Clarinettes (duo)
31
Quintette de Saxophone: 5 saxophones
29
Clarinette
27
Saxophone Alto et Piano
27
Saxophone Tenor et Piano
26
3 Saxophones (trio)
23
Quatuor de Clarinettes: 4 clarinettes
21
Flûte, Clarinette (duo)
18
Saxophone Alto
17
Saxophone Soprano et Piano
14
Saxophone (partie séparée)
12
Quatuor de Flûtes : 4 flûtes
11
Ensemble de saxophones
10
Saxophone Tenor
10
Saxophone Baryton, Piano
9
Trio de Flûtes: 3 flûtes
8
3 Clarinettes (trio)
8
Flûte, Violon
7
Flûte, Violon, Piano
7
Quintette de Clarinettes: 5 clarinettes
6
Flûte, Violoncelle, Piano (trio)
6
Flûte, Clarinette et Basson
6
Flûte et Guitare
5
Flûte à bec Soprano
5
Ensemble de Clarinettes
5
2 Saxophones, Piano
5
Flûte, Violoncelle
4
2 Flûtes traversières, Piano
4
Cor Anglais
4
Ensemble de Flûtes
4
Clarinette, Harpe (duo)
3
Flûte, Clarinette, Piano (trio)
3
Clarinette, Basson (duo)
3
Saxophone
3
Clarinette Basse, Piano
3
Saxophone Soprano
3
Cor anglais, Piano
3
Quintette de Flûte : 5 flûtes
3
Clarinette, Violon (duo)
3
2 Clarinettes, Piano
3
Flûte, Trompette (duo)
2
Saxophone, Violon (duo)
2
Saxophone, Clarinette (duo)
2
Saxophone et Harpe
2
Flûte à bec Alto
2
Saxophone Baryton
2
Clarinette, Violoncelle (duo)
2
Clarinette, Violoncelle, Piano (trio)
2
Piccolo
2
Flûte, Violon, Violoncelle et Piano
2
Flûte, Violon et Violoncelle
1
5 Flûtes à bec
1
Flûte, Clarinette, Cor, Basson (Quartet)
1
Clarinette, Guitare (duo)
1
3 Flûtes à bec (trio)
1
Flûte, Basson et Piano
1
Flûte, Trombone (duo)
1
Quatuor de Flûtes à bec
1
Flûte, Saxophone (duo)
1
Cor anglais et Harpe (duo)
1
Flûte, Violon, Guitare
1
Flûte irlandaise
1
Flûte à bec Tenor
1
2 Flûte à bec (duo)
1
Flûte, Alto et Piano
1
Flûte et Trio à cordes
1
Saxophone, Basson (duo)
1
Flûte traversière, Orgue (duo)
1
Flûte, Violoncelle, Guitare
1
+ 70 instrumentations
Retracter
Cuivres
Trompette, Piano
46
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
33
Trombone et Piano
32
2 Trompettes (duo)
32
Trompette
29
Trombone
24
Cor et Piano
23
2 Trombones (duo)
23
Cor
20
Tuba et Piano
20
Tuba
19
Quatuor de Cuivres : 2 trompettes, trombone, tuba
19
2 Cors (duo)
16
Quatuor de Cuivres: 2 trompettes, Cor, trombone
14
Trompette, Trombone (duo)
11
Quatuor de Cuivres
11
Euphonium, Piano (duo)
7
2 Tubas (duo)
5
Ensemble de Trombones
5
Quatuor de cuivres: 4 cors
5
Cor Anglais
4
Trompette, Cor (duo)
4
Trompette, Saxophone (duo)
4
Trompette, Trombone, Piano
4
Ensemble de Trompettes
4
Cor, Tuba (duo)
3
Euphonium
3
Cor anglais, Piano
3
Trompette, Tuba (duo)
3
Trombone, Tuba (duo)
3
3 Trombones (trio)
3
3 Trompettes (trio)
3
Quatuor de cuivres: 4 trombones
3
Quatuor de cuivres: 4 trompettes
3
Trombone, violoncelle (duo)
2
Trompette, violon (duo)
2
2 Cors, Piano
2
Trompette, Violoncelle (duo)
1
Trompette, Basson (duo)
1
2 Trompettes, Clavier (piano ou orgue)
1
Cor, Violoncelle (duo)
1
Trombone, Cor (duo)
1
Trombone, Violon (duo)
1
Tuba et Orgue
1
Trompette (partie séparée)
1
Cor anglais et Harpe (duo)
1
3 Cors (trio)
1
Cor, Violoncelle et Piano
1
Ensemble de Cors
1
2 Trombones, Piano
1
+ 45 instrumentations
Retracter
Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
139
Violon et Piano
77
Violon
62
Violoncelle, Piano
53
2 Violons (duo)
52
Violoncelle
46
Violon, Violoncelle (duo)
40
2 Violoncelles (duo)
38
Alto, Piano
36
Alto seul
30
Quintette à cordes: 2 violons, alto, violoncelle, basse
29
Harpe
25
2 Altos (duo)
25
Trio à Cordes: violon, alto, violoncelle
22
Violon, Alto (duo)
21
Contre Basse
19
4 Violoncelles
17
Trio à Cordes: 2 violons, violoncelle
16
Contrebasse, Piano (duo)
12
Alto, Violoncelle (duo)
9
Alto (partie séparée)
7
Trio à Cordes: 3 violoncelles
7
Violon, Guitare (duo)
5
2 Contrebasses (duo)
5
2 Violons, Piano
5
Quatuor à cordes: 4 violons
5
Piano Trio: Violon, Alto, Piano
5
Trio à cordes: 3 violins
4
Violoncelle, Contrebasse (duo)
4
2 Harpes (duo)
4
2 Altos, Piano
4
Harpe, Flûte (duo)
3
Trio à cordes
3
2 Violoncelles, Piano
3
Violon, Orgue
3
Ensemble de Violons
3
Violon (partie séparée)
2
Violon, Basson (duo)
2
Trio à cordes: 3 altos
2
Quatuor à cordes : 4 altos
2
Ensemble d'Altos
2
Alto et Harpe
1
3 Harpes
1
Violoncelle, Orgue
1
4 Contrebasses
1
Alto et Basson
1
Violoncelle , Guitare (duo)
1
Trio à Cordes: 2 violons, alto
1
Violon, Violoncelle, Clarinette
1
Violon, Clarinette, Piano (trio)
1
Harpe et Orgue
1
3 Contrebasses
1
Harpe, Violon, Violoncelle
1
+ 48 instrumentations
Retracter
Orchestre & Percussions
Orchestre d'harmonie
50
Orchestre à Cordes
25
Ensemble de cuivres
10
Orchestre
9
Orchestre de chambre
7
Cloches
7
Ensemble Jazz
2
Ensemble de Percussions
2
Xylophone, Piano
1
Marimba
1
+ 5 instrumentations
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CHARANGO
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CLAVECIN
CLOCHES
CONTREBASSE
COR
COR ANGLAIS
CORNEMUSE
CORNET
DOBRO - GUI…
DULCIMER
EUPHONIUM
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FLUTE
FLUTE A BEC
FLUTE A DIX…
FLUTE DE PA…
FORMATION M…
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LIVRES
LUTH, THEOR…
MANDOLINE
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PERCUSSION
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VIOLON
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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
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TROMPETTE
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VIOLONCELLE
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Vous avez sélectionné:
CANON IN D - OBOE
SheetMusicPlus
Partitions à imprimer
9 partitions trouvées
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1
Canon in D
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Orchestre
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DÉBUTANT
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Classique
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Johann Pachelbel
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Canon in D
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SheetmusicLAB
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SheetMusicPlus
Orchestra (Flute, Clarinet, Drum Set, Violin, Violin, Cello, Piano) - Primer Level - SKU: P5.CL-BAR-11362 Composed by Johann Pachelbel. Baroque Period. ...
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Orchestra (Flute, Clarinet, Drum Set, Violin, Violin, Cello, Piano) - Primer Level - SKU: P5.CL-BAR-11362 Composed by Johann Pachelbel. Baroque Period. Score and Parts. 25 pages. SheetmusicLAB #CL-BAR-11362. Published by SheetmusicLAB (P5.CL-BAR-11362). 657 x 297 mm inches.
$41.67
Canon in D Major - Orchestra (Score and all parts)
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Orchestre
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INTERMÉDIAIRE
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Classique
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Johann Pachebel
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Murilo Frias
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Canon in D Major - Orchestra
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Murilo Frias
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SheetMusicPlus
Full Orchestra - Level 3 - Composed by Johann Pachebel. Arranged by Murilo Frias. Baroque, Classical, Sacred, Wedding, World. Score and parts. 24 pa...
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Full Orchestra - Level 3 - Composed by Johann Pachebel. Arranged by Murilo Frias. Baroque, Classical, Sacred, Wedding, World. Score and parts. 24 pages. Murilo Frias #6381101. Published by Murilo Frias
$8.99
Memorable Themes for Orchestra - Set One
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Orchestre
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Classique
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Frederic Chopin, Johann Pachel
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Daniel Ashcroft
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Memorable Themes for Orchestra
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DanielAshcroftMusic
#
SheetMusicPlus
Full Orchestra - SKU: A0.811410 Composed by Frederic Chopin, Johann Pachelbel, and Ludwig van Beethoven. Arranged by Daniel Ashcroft. Contemporary. Scor...
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Full Orchestra - SKU: A0.811410 Composed by Frederic Chopin, Johann Pachelbel, and Ludwig van Beethoven. Arranged by Daniel Ashcroft. Contemporary. Score and parts. 803 pages. DanielAshcroftMusic #118855. Published by DanielAshcroftMusic (A0.811410). Set One of Memorable Themes for Orchestra, comprising Beethoven's Ode To Joy, Pachelbel's Canon in D and Chopin's Waltz No 1 'Grande Valse Brillante'. A detailed score and complete set of parts for each work is included. Each work is also available individually on Sheet Music Plus in Score and Parts, Score only or Parts only formats.
$90.00
Pachelbel's Canon in D - Score Only
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Orchestre
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Classique
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Johann Pachelbel
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Daniel Ashcroft
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Pachelbel's Canon in D -
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DanielAshcroftMusic
#
SheetMusicPlus
Composed by Johann Pachelbel (1653-1706). Arranged by Daniel Ashcroft. For Full Orchestra. Baroque Period. Score. Published by DanielAshcroftMusic ...
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Composed by Johann Pachelbel (1653-1706). Arranged by Daniel Ashcroft. For Full Orchestra. Baroque Period. Score. Published by DanielAshcroftMusic
$15.00
Pachelbel's Canon in D - Score and Parts
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Orchestre
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Classique
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Johann Pachelbel
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Daniel Ashcroft
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Pachelbel's Canon in D -
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DanielAshcroftMusic
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SheetMusicPlus
Composed by Johann Pachelbel (1653-1706). Arranged by Daniel Ashcroft. For Full Orchestra. Baroque Period. Score,Set of Parts. Published by DanielAshcroftMusic ...
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Composed by Johann Pachelbel (1653-1706). Arranged by Daniel Ashcroft. For Full Orchestra. Baroque Period. Score,Set of Parts. Published by DanielAshcroftMusic
$40.00
Pachelbel's Canon in D
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Orchestre
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Classique
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Johann Pachelbel
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Daniel Ashcroft
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Pachelbel's Canon in D
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DanielAshcroftMusic
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SheetMusicPlus
Composed by Johann Pachelbel (1653-1706). Arranged by Daniel Ashcroft. Baroque Period. Performance. Published by DanielAshcroftMusic (S0.74553). - Performance -...
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Composed by Johann Pachelbel (1653-1706). Arranged by Daniel Ashcroft. Baroque Period. Performance. Published by DanielAshcroftMusic (S0.74553). - Performance - Baroque Period - DanielAshcroftMusic
$5.00
Claude Debussy ‒ Estampes, Orchestra Suite, Orchestrated by Arkady Leytush, No. 2 La soirée dans
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Orchestre
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Classique
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Claude Debussy
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Arkady Leytush
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Claude Debussy ‒ Estamp
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Arkady Leytush
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SheetMusicPlus
Full Orchestra - SKU: A0.1008374 Composed by Claude Debussy. Arranged by Arkady Leytush. 20th Century. Score and parts. 24 pages. Arkady Leytush #484977...
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Full Orchestra - SKU: A0.1008374 Composed by Claude Debussy. Arranged by Arkady Leytush. 20th Century. Score and parts. 24 pages. Arkady Leytush #4849775. Published by Arkady Leytush (A0.1008374). Estampes (Engravings) is the title of the triptych of three pieces which Debussy put together in 1903. The first complete performance was given on 9 January 1904 in the Salle Erard, Paris, by the young Spanish pianist Ricardo Viñes, who was already emerging as the prime interpreter of the new French music of Debussy and Ravel. The first two pieces were completed in 1903, but the third derives from an earlier group of pieces from 1894, collectively titled Images, which remained unpublished until 60 years after Debussy’s death, when they were printed as Images (oubliées). Estampes marks an expansion of Debussy’s keyboard style: he was apparently spurred to fuse neo-Lisztian technique with a sensitive, impressionistic pictorial impulse under the impact of discovering Ravel’s Jeux d’eau, published in 1902. The opening movement, ‘Pagodes’, is Debussy’s first pianistic evocation of the Orient and is essentially a fixed contemplation of its object, as in a Chinese print. This static impression is partly caused by Debussy’s use of long pedal-points, partly by his almost constant preoccupation with pentatonic melodies which subvert the sense of harmonic movement. He uses such pentatonic fragments in many different ways: in delicate arabesques, in two-part counterpoint, in canon, harmonized in fourths and fifths and as an underpinning for pattering, gamelan-like ostinato writing. Altogether the piece reflects the decisive impression made on him by hearing Javanese and Cambodian musicians at the 1889 Paris Exposition, which he had striven for years to incorporate effectively in music. In its final bars the music begins to dissolve into elaborate filigree.Just as ‘Pagodes’ was his first Oriental piece, so ‘La soirée dans Grenade’ was the first of Debussy’s evocations of Spain-that preternatural embodiment of an ‘imaginary Andalusia’ which would inspire Manuel de Falla, the native Spaniard, to go back to his country and create a true modern Spanish music based on Debussyan principles. Debussy’s personal acquaintance with Spain was virtually non-existent (he had spent a day just over the border at San Sebastian) and it is possible that one model for the piece was Ravel’s Habanera. Yet he wrote of this piece (to his friend Pierre Louÿs, to whom it was dedicated), ‘if this isn’t the music they play in Granada, so much the worse for Granada!’-and there is no debate about the absolute authenticity of Debussy’s use of Spanish idioms here. Falla himself pronounced it ‘characteristically Spanish in every detail’. ‘La soirée dans Grenade’ is founded on an ostinato that echoes the rhythm of the habanera and is present almost throughout. Beginning and ending in almost complete silence, this dark nocturne of warm summer nights builds powerfully to its climaxes. The melodic material ranges from a doleful Moorish chant with a distinctly oriental character to a stamping, vivacious dance-measure, taking in brief suggestions of guitar strumming and perfumed Impressionist haze. There is even a hint of castanets near the end. The piece fades out in a coda that seems to distil all the melancholy of the Moorish theme and a last few distant chords of the guitar. ‘Jardins sous la pluie’ is based on the children’s song ‘Nous n’rons plus au bois’ (We shan’t go to the woods): its original 1894 form was in fact entitled Quelques aspects de ‘Nous n’rons plus au bois’. The two versions are really two distinct treatments of the same set of ideas, but in ‘Jardins sous la pluie’ Estampes the earlier piece has been entirely rethought. The whole conception is more impressionistic, and subtilized. The teeming semiquaver motion is more all-pervasive, the tunes (for Debussy has added a second children’s song for treatment, ‘Do, do, l’enfant do’) more elusive and tinged sometimes with melancholy or nostalgia. The ending of the piece is entirely new. What it loses, perha.
$25.00
Claude Debussy ‒ Estampes, Orchestra Suite, Orchestrated by Arkady Leytush No. 1 Pagodes (Pagodas
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Orchestre
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Classique
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Claude Debussy
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Arkady Leytush
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Claude Debussy ‒ Estamp
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Arkady Leytush
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SheetMusicPlus
Full Orchestra - SKU: A0.1008372 Composed by Claude Debussy. Arranged by Arkady Leytush. 20th Century. Score and parts. 24 pages. Arkady Leytush #484976...
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Full Orchestra - SKU: A0.1008372 Composed by Claude Debussy. Arranged by Arkady Leytush. 20th Century. Score and parts. 24 pages. Arkady Leytush #4849769. Published by Arkady Leytush (A0.1008372). Estampes (Engravings) is the title of the triptych of three pieces which Debussy put together in 1903. The first complete performance was given on 9 January 1904 in the Salle Erard, Paris, by the young Spanish pianist Ricardo Viñes, who was already emerging as the prime interpreter of the new French music of Debussy and Ravel. The first two pieces were completed in 1903, but the third derives from an earlier group of pieces from 1894, collectively titled Images, which remained unpublished until 60 years after Debussy’s death, when they were printed as Images (oubliées). Estampes marks an expansion of Debussy’s keyboard style: he was apparently spurred to fuse neo-Lisztian technique with a sensitive, impressionistic pictorial impulse under the impact of discovering Ravel’s Jeux d’eau, published in 1902. The opening movement, ‘Pagodes’, is Debussy’s first pianistic evocation of the Orient and is essentially a fixed contemplation of its object, as in a Chinese print. This static impression is partly caused by Debussy’s use of long pedal-points, partly by his almost constant preoccupation with pentatonic melodies which subvert the sense of harmonic movement. He uses such pentatonic fragments in many different ways: in delicate arabesques, in two-part counterpoint, in canon, harmonized in fourths and fifths and as an underpinning for pattering, gamelan-like ostinato writing. Altogether the piece reflects the decisive impression made on him by hearing Javanese and Cambodian musicians at the 1889 Paris Exposition, which he had striven for years to incorporate effectively in music. In its final bars the music begins to dissolve into elaborate filigree. Just as ‘Pagodes’ was his first Oriental piece, so ‘La soirée dans Grenade’ was the first of Debussy’s evocations of Spain-that preternatural embodiment of an ‘imaginary Andalusia’ which would inspire Manuel de Falla, the native Spaniard, to go back to his country and create a true modern Spanish music based on Debussyan principles. Debussy’s personal acquaintance with Spain was virtually non-existent (he had spent a day just over the border at San Sebastian) and it is possible that one model for the piece was Ravel’s Habanera. Yet he wrote of this piece (to his friend Pierre Louÿs, to whom it was dedicated), ‘if this isn’t the music they play in Granada, so much the worse for Granada!’-and there is no debate about the absolute authenticity of Debussy’s use of Spanish idioms here. Falla himself pronounced it ‘characteristically Spanish in every detail’. ‘La soirée dans Grenade’ is founded on an ostinato that echoes the rhythm of the habanera and is present almost throughout. Beginning and ending in almost complete silence, this dark nocturne of warm summer nights builds powerfully to its climaxes. The melodic material ranges from a doleful Moorish chant with a distinctly oriental character to a stamping, vivacious dance-measure, taking in brief suggestions of guitar strumming and perfumed Impressionist haze. There is even a hint of castanets near the end. The piece fades out in a coda that seems to distil all the melancholy of the Moorish theme and a last few distant chords of the guitar. ‘Jardins sous la pluie’ is based on the children’s song ‘Nous n’rons plus au bois’ (We shan’t go to the woods): its original 1894 form was in fact entitled Quelques aspects de ‘Nous n’rons plus au bois’. The two versions are really two distinct treatments of the same set of ideas, but in ‘Jardins sous la pluie’ Estampes the earlier piece has been entirely rethought. The whole conception is more impressionistic, and subtilized. The teeming semiquaver motion is more all-pervasive, the tunes (for Debussy has added a second children’s song for treatment, ‘Do, do, l’enfant do’) more elusive and tinged sometimes with melancholy or nostalgia. Th.
$25.00
Claude Debussy ‒ Estampes, Orchestra Suite, Orchestrated by Arkady Leytush, No. 3 Jardins sous la
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Claude Debussy ‒ Estamp
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SheetMusicPlus
Full Orchestra - SKU: A0.1008375 Composed by Claude Debussy. Arranged by Arkady Leytush. 20th Century. Score and parts. 39 pages. Arkady Leytush #488544...
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Full Orchestra - SKU: A0.1008375 Composed by Claude Debussy. Arranged by Arkady Leytush. 20th Century. Score and parts. 39 pages. Arkady Leytush #4885449. Published by Arkady Leytush (A0.1008375). Estampes (Engravings) is the title of the triptych of three pieces which Debussy put together in 1903. The first complete performance was given on 9 January 1904 in the Salle Erard, Paris, by the young Spanish pianist Ricardo Viñes, who was already emerging as the prime interpreter of the new French music of Debussy and Ravel. The first two pieces were completed in 1903, but the third derives from an earlier group of pieces from 1894, collectively titled Images, which remained unpublished until 60 years after Debussy’s death, when they were printed as Images (oubliées). Estampes marks an expansion of Debussy’s keyboard style: he was apparently spurred to fuse neo-Lisztian technique with a sensitive, impressionistic pictorial impulse under the impact of discovering Ravel’s Jeux d’eau, published in 1902. The opening movement, ‘Pagodes’, is Debussy’s first pianistic evocation of the Orient and is essentially a fixed contemplation of its object, as in a Chinese print. This static impression is partly caused by Debussy’s use of long pedal-points, partly by his almost constant preoccupation with pentatonic melodies which subvert the sense of harmonic movement. He uses such pentatonic fragments in many different ways: in delicate arabesques, in two-part counterpoint, in canon, harmonized in fourths and fifths and as an underpinning for pattering, gamelan-like ostinato writing. Altogether the piece reflects the decisive impression made on him by hearing Javanese and Cambodian musicians at the 1889 Paris Exposition, which he had striven for years to incorporate effectively in music. In its final bars the music begins to dissolve into elaborate filigree.Just as ‘Pagodes’ was his first Oriental piece, so ‘La soirée dans Grenade’ was the first of Debussy’s evocations of Spain-that preternatural embodiment of an ‘imaginary Andalusia’ which would inspire Manuel de Falla, the native Spaniard, to go back to his country and create a true modern Spanish music based on Debussyan principles. Debussy’s personal acquaintance with Spain was virtually non-existent (he had spent a day just over the border at San Sebastian) and it is possible that one model for the piece was Ravel’s Habanera. Yet he wrote of this piece (to his friend Pierre Louÿs, to whom it was dedicated), ‘if this isn’t the music they play in Granada, so much the worse for Granada!’-and there is no debate about the absolute authenticity of Debussy’s use of Spanish idioms here. Falla himself pronounced it ‘characteristically Spanish in every detail’. ‘La soirée dans Grenade’ is founded on an ostinato that echoes the rhythm of the habanera and is present almost throughout. Beginning and ending in almost complete silence, this dark nocturne of warm summer nights builds powerfully to its climaxes. The melodic material ranges from a doleful Moorish chant with a distinctly oriental character to a stamping, vivacious dance-measure, taking in brief suggestions of guitar strumming and perfumed Impressionist haze. There is even a hint of castanets near the end. The piece fades out in a coda that seems to distil all the melancholy of the Moorish theme and a last few distant chords of the guitar. ‘Jardins sous la pluie’ is based on the children’s song ‘Nous n’rons plus au bois’ (We shan’t go to the woods): its original 1894 form was in fact entitled Quelques aspects de ‘Nous n’rons plus au bois’. The two versions are really two distinct treatments of the same set of ideas, but in ‘Jardins sous la pluie’ Estampes the earlier piece has been entirely rethought. The whole conception is more impressionistic, and subtilized. The teeming semiquaver motion is more all-pervasive, the tunes (for Debussy has added a second children’s song for treatment, ‘Do, do, l’enfant do’) more elusive and tinged sometimes with melancholy or nostalgia. The ending of the piece is entirely new. What it loses, perha.
$25.00
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