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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 - Violin
Non classifié
285
Piano & claviers
Piano seul
311
Piano Facile
130
Orgue
17
1 Piano, 4 mains
14
Piano, Voix
13
Instruments en Do
6
2 Pianos, 4 mains
5
Accompagnement Piano
3
Accordéon
2
Piano grosses notes
2
Piano, Voix et Guitare
2
1 Piano, 6 mains
1
Instrument seul et Orgue
1
+ 8 instrumentations
Retracter
Guitares
Guitare
32
Guitare notes et tablatures
25
4 Guitares (Quatuor)
9
Ligne De Mélodie, (Paroles) et Accords
4
Dulcimer
2
Ukulele
2
Banjo
2
Ensemble de Ukulélés
1
3 Guitares (trio)
1
2 Guitares (duo)
1
Mandoline
1
Ensemble de guitares
1
+ 7 instrumentations
Retracter
Voix
Chorale SATB
27
Chorale 2 parties
24
Chorale 3 parties
15
Voix duo, Piano
7
Pack Instrumental pour Chorale
6
Chorale Unison
5
Chorale TTBB
2
Voix duo
1
Chorale SSAA
1
+ 4 instrumentations
Retracter
Vents
Flûte traversière et Piano
53
Quatuor de Saxophones: 4 saxophones
50
2 Saxophones (duo)
49
Clarinette et Piano
45
Hautbois, Piano (duo)
36
Flûte, Hautbois, Clarinette, Basson
36
Flûte traversière
35
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
34
2 Flûtes traversières (duo)
34
2 Clarinettes (duo)
30
Saxophone Alto et Piano
28
Clarinette
26
Saxophone Tenor et Piano
25
3 Saxophones (trio)
23
Quintette de Saxophone: 5 saxophones
23
Quatuor de Clarinettes: 4 clarinettes
20
Hautbois (partie séparée)
19
Saxophone Alto
18
Flûte, Clarinette (duo)
18
2 Hautbois (duo)
16
Saxophone Soprano et Piano
14
Saxophone
12
Saxophone (partie séparée)
12
Flûte, Clarinette et Basson
10
Saxophone Tenor
10
Quatuor de Flûtes : 4 flûtes
10
Flûte, Hautbois, Clarinette (trio)
8
Saxophone Baryton, Piano
8
3 Clarinettes (trio)
8
Trio de Flûtes: 3 flûtes
6
Hautbois, Basson (duo)
6
Hautbois
6
Flûte, Violoncelle, Piano (trio)
6
Hautbois, Clarinette (duo)
6
Flûte à bec Soprano
5
Quintette de Clarinettes: 5 clarinettes
5
2 Saxophones, Piano
5
Clarinette, Basson (duo)
4
Cor Anglais
4
Flûte, Violoncelle
4
Hautbois, Clarinette, Basson (trio d'anches)
4
Flûte et Guitare
4
Flûte à Bec
4
Flûte, Hautbois (duo)
4
2 Flûtes traversières, Piano
4
Saxophone Soprano
3
Flûte, Hautbois, Basson
3
Clarinette Basse, Piano
3
Flûte, Clarinette, Piano (trio)
3
Clarinette, Harpe (duo)
3
Cor anglais, Piano
3
Clarinette, Violoncelle (duo)
2
Piccolo
2
Clarinette, Violoncelle, Piano (trio)
2
2 Clarinettes, Piano
2
Hautbois, Harpe
2
Saxophone, Clarinette (duo)
2
Quintette de Flûte : 5 flûtes
2
Flûte, Trompette (duo)
2
Saxophone et Harpe
2
Ensemble de Flûtes
2
Saxophone Baryton
2
2 Hautbois, Piano
2
Hautbois, Trompette (duo)
2
3 Flûtes à bec (trio)
2
3 Hautbois
2
Flûte à bec Alto
2
Flûte, Hautbois, Piano (trio)
1
Flûte, Saxophone (duo)
1
Flûte, Trombone (duo)
1
Saxophone, Basson (duo)
1
Clarinette (partie séparée)
1
Ensemble de Clarinettes
1
Flute (partie séparée)
1
Flûte, Basson et Piano
1
Hautbois, Flûte
1
Hautbois, Violoncelle et Piano
1
Flûte à bec Tenor
1
Flûte, Violoncelle, Guitare
1
5 Flûtes à bec
1
Clarinette, Guitare (duo)
1
Flûte, Clarinette, Cor, Basson (Quartet)
1
Flûte traversière, Orgue (duo)
1
Quatuor de Flûtes à bec
1
Hautbois, Guitare (duo)
1
Flûte irlandaise
1
Flûte, Alto et Piano
1
+ 82 instrumentations
Retracter
Cuivres
Trompette, Piano
43
2 Trompettes (duo)
32
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
32
Trombone et Piano
28
Trompette
27
2 Trombones (duo)
23
Cor et Piano
19
Trombone
18
Cor
17
Tuba
16
Tuba et Piano
16
Quatuor de Cuivres
15
2 Cors (duo)
15
Quatuor de Cuivres: 2 trompettes, Cor, trombone
14
Trompette, Trombone (duo)
10
Quatuor de Cuivres : 2 trompettes, trombone, tuba
9
Quatuor de cuivres: 4 cors
5
2 Tubas (duo)
5
Euphonium
5
Trompette, Trombone, Piano
4
Euphonium, Piano (duo)
4
Cor Anglais
4
Trompette, Saxophone (duo)
4
Quatuor de cuivres: 4 trompettes
4
3 Trompettes (trio)
3
Trombone, Tuba (duo)
3
Quatuor de cuivres: 4 trombones
3
Trompette, Tuba (duo)
3
Trompette, Cor (duo)
3
Cor, Tuba (duo)
3
3 Trombones (trio)
3
Cor anglais, Piano
3
2 Cors, Piano
2
Trombone, violoncelle (duo)
2
2 Trombones, Piano
1
Cor, Violoncelle et Piano
1
Trombone, Cor (duo)
1
Trompette (partie séparée)
1
3 Cors (trio)
1
Bass Clef Instruments
1
Trompette, Violoncelle (duo)
1
Trompette, Basson (duo)
1
Cor, Violoncelle (duo)
1
Ensemble de Trombones
1
Tuba et Orgue
1
2 Trompettes, Clavier (piano ou orgue)
1
Ensemble de Trompettes
1
+ 42 instrumentations
Retracter
Cordes
Violoncelle, Piano
52
Violoncelle
45
2 Violoncelles (duo)
36
Alto, Piano
33
Alto seul
31
Harpe
26
2 Altos (duo)
24
4 Violoncelles
14
Contre Basse
13
Trio à cordes
9
Contrebasse, Piano (duo)
8
Quatuor à cordes: 2 violons, alto, violoncelle
7
Alto, Violoncelle (duo)
7
Trio à Cordes: 3 violoncelles
6
2 Contrebasses (duo)
5
2 Altos, Piano
4
Alto (partie séparée)
4
2 Harpes (duo)
4
Violoncelle, Contrebasse (duo)
3
2 Violoncelles, Piano
3
Trio à cordes: 3 altos
2
Quatuor à cordes : 4 altos
2
Harpe, Flûte (duo)
1
Alto et Harpe
1
Harpe et Orgue
1
3 Contrebasses
1
Violoncelle, Orgue
1
3 Harpes
1
4 Contrebasses
1
Alto et Basson
1
+ 25 instrumentations
Retracter
Orchestre & Percussions
Orchestre d'harmonie
52
Orchestre à Cordes
19
Orchestre
10
Ensemble de cuivres
10
Cloches
8
Orchestre de chambre
6
Ensemble de Percussions
2
Marimba
2
Ensemble Jazz
2
Xylophone, Piano
1
+ 5 instrumentations
Retracter
Autres
Instruments
ACCORDEON
ALTO
AUTRES INST…
BALALAIKA
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
BUGLE
CHANT - CHO…
CHARANGO
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
CONTREBASSE
COR
COR ANGLAIS
CORNEMUSE
CORNET
DOBRO - GUI…
DULCIMER
EUPHONIUM
FANFARE - B…
FLUTE
FLUTE A BEC
FLUTE A DIX…
FLUTE DE PA…
FORMATION M…
GUITARE
GUITARE PED…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH, THEOR…
MANDOLINE
MARIMBA
ORCHESTRE
ORGUE
OUD
PARTITIONS …
PAS DE PART…
PERCU. ORCH…
PERCUSSION
PIANO
SAXOPHONE
SYNTHE
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIELLE A RO…
VIOLE DE GA…
VIOLON
VIOLONCELLE
XYLOPHONE
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TRI ET FILTRES
TRI ET FILTRES
Tri et filtres :
--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
style (tous)
AFRICAIN
AMERICANA
ASIE
BLUEGRASS
BLUES
CELTIQUE - IRISH - S…
CHANSON FRANÇAISE
CHRISTIAN (contempor…
CLASSIQUE - BAROQUE …
COMEDIES MUSICALES -…
CONTEMPORAIN - 20-21…
CONTEMPORAIN - NEW A…
COUNTRY
EGLISE - SACRE
ENFANTS : EVEIL - IN…
FILM - TV
FILM WALT DISNEY
FINGERSTYLE - FINGER…
FLAMENCO
FOLK ROCK
FOLKLORE - TRADITION…
FUNK
GOSPEL - SPIRITUEL -…
HALLOWEEN
JAZZ
JAZZ MANOUCHE - SWIN…
JEUX VIDEOS
KLEZMER - JUIVE
LATIN - BOSSA - WORL…
LATIN POP ROCK
MARIAGE - AMOUR - BA…
MEDIEVAL - RENAISSAN…
METAL - HARD
METHODE : ACCORDS ET…
METHODE : ETUDES
METHODE : TECHNIQUES
NOËL
OLD TIME - EARLY ROC…
OPERA
PATRIOTIQUE
POLKA
POP ROCK - POP MUSIC
POP ROCK - ROCK CLAS…
POP ROCK - ROCK MODE…
PUNK
RAGTIME
REGGAE
SOUL - R&B - HIP HOP…
TANGO
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Crtitères actifs :
Canon in D - Violin
Orchestre
Partitions à imprimer
10 partitions trouvées
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1
Canongia - Clarinet Concerto No.4 in D minor
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Orchestre
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Classique
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José Avelino Canongia
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J
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Canongia - Clarinet Concerto N
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J.G. Cuco Barber
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SheetMusicPlus
Full Orchestra - SKU: A0.1309878 Composed by José Avelino Canongia. Arranged by J.G. Cucó Barber. 19th Century,Classical,Romantic Period. 125 page...
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Full Orchestra - SKU: A0.1309878 Composed by José Avelino Canongia. Arranged by J.G. Cucó Barber. 19th Century,Classical,Romantic Period. 125 pages. J.G. Cuco Barber #899024. Published by J.G. Cuco Barber (A0.1309878). Work Title Clarinet Concerto No.4 in D minorComposer Canongia, José AvelinoKey D minorMovements/Sections 3 movements: Allegro agitato Adagio Allegro Dedication à S. M. I. la Duchesse de BraganeComposer Time Period RomanticPiece Style RomanticInstrumentation clarinet, orchestraInstrDetail2 flutes, 2 oboes, 2 clarinets, 2 bassoons2 horns, 2 trumpets, trombonetimpani, strings.
$45.00
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
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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
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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
#
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
Lanny Allen: A Mighty Fortress Is Our God (with "Canon in D") (COMPLETE) - orchestra/band
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Orchestre
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INTERMÉDIAIRE
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Musique Sacrée
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Lanny Allen
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Virtualsheetmusic
Instantly printable sheet music by Johann Pachelbel for orchestra/band of MEDIUM skill level. / sacred,hymn
Instantly printable sheet music by Johann Pachelbel for orchestra/band of MEDIUM skill level. / sacred,hymn
$43.99
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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Canon in D - Violin