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ACCORDEON
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102
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37
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5
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VOIX
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13
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2
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1
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12
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9
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Clarinette
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8
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6
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5
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4
Trompette
4
Trompette (partie séparée)
3
Trombone (partie séparée)
3
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3
Tuba et Piano
3
Cor et Piano
2
Quatuor de Cuivres
2
Euphonium, Piano (duo)
2
Euphonium
1
Quatuor de cuivres: 4 cors
1
Quatuor de cuivres: 4 trombones
1
2 Euphoniums et 2 Tubas
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Trombone basse et Piano
1
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CORDES
Violon et Piano
23
Quatuor à cordes: 2 violons, alto, violoncelle
14
Violoncelle, Piano
12
Violon
8
Alto, Piano
8
2 Violons (duo)
4
Harpe
3
Trio à Cordes: 2 violons, violoncelle
3
Violon, Guitare (duo)
3
Alto, Violoncelle (duo)
2
Quatuor à cordes : 4 altos
2
2 Altos (duo)
2
Violoncelle , Guitare (duo)
2
Alto, Guitare (duo)
2
Trio à Cordes: violon, alto, violoncelle
2
2 Violoncelles (duo)
2
Violoncelle
2
Alto (partie séparée)
1
Quintette à cordes: 2 violons, alto, violoncelle, basse
1
4 Violoncelles
1
Violoncelle, Orgue
1
Alto seul
1
Violon, Violoncelle (duo)
1
Violon, Alto (duo)
1
4 Contrebasses
1
Quatuor à cordes: 4 violons
1
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PERCUSSIONS & ORCHESTRES
Orchestre d'harmonie
58
Orchestre à Cordes
16
Orchestre
12
Orchestre de chambre
5
Ensemble de cuivres
5
Percussion (partie séparée)
3
Piano et Orchestre
2
Marimba, Piano (duo)
1
Quintette à Vent
1
Ensemble de Percussions
1
2 Xylophones
1
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AUTRES
Vous avez sélectionné:
Spanish Dance
Orchestre
Partitions à imprimer
12 partitions trouvées
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1
Spanish Dance
Orchestre
Full Orchestra - Level 4 - Digital Download SKU: A0.890734 Composed by Andrew Wainw…
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Full Orchestra - Level 4 - Digital Download SKU: A0.890734 Composed by Andrew Wainwright. Contemporary,Multicultural,World. Score and Parts. 69 pages. Andrew Wainwright #3010913. Published by Andrew Wainwright (A0.890734). Based on the traditional Spanish song RÃu RÃu ChÃu, this exhilarating foot-tapping item has proved popular with groups around the world and will be an exciting addition to your concert program. Spanish Dance winds up to a whirlwind climax with a respectful nod in the direction of Morley Calvert's Canadian Folk Song Suite - very clever. Paul Hindmarsh, British Bandsman magazine. *Please note the audio file is of the brass band version.
$70.00
63.74 €
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Orchestre
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Andrew Wainwright
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Spanish Dance
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Andrew Wainwright
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SheetMusicPlus
Spanish Dance from The Nutcracker for Full Orchestra
Orchestre
Full Orchestra - Level 5 - Digital Download SKU: A0.712963 Composed by Peter Ilyich…
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Full Orchestra - Level 5 - Digital Download SKU: A0.712963 Composed by Peter Ilyich Tchaikovsky. Arranged by Doug Clyde. Christmas,Romantic Period. Score and parts. 43 pages. ALBEDO MUSIC #4728719. Published by ALBEDO MUSIC (A0.712963). Spanish Dance from the ballet The Nutcracker for Full Orchestra. Composed by Pyotr Ilyich Tchaikovsky. Full Score & Parts. Arranged by Doug Clyde. Instrumentation: Piccolo, Flute 1, Flute 2, Oboe 1, Oboe 2, English Horn, Clarinet in Bb 1, Clarinet in Bb 2, Bass Clarinet in Bb, Bassoon 1, Bassoon 2, Horn in F I, Horn in F II, Horn in F III, Horn in F IV, Trumpet in Bb 1, Trumpet in Bb 2, Tenor Trombone 1, Tenor Trombone 2, Bass Trombone, Tuba, Timpani, Percussion (Castanets), Violin I, Violin II, Viola, Cello, Contrabass. Performance Duration 1:35. AMDS187. © 2016 by ALBEDO MUSIC.
$20.00
18.21 €
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Orchestre
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Peter Ilyich Tchaikovsky
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Doug Clyde
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Parts
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Spanish Dance from The Nutcracker for Full Orchestra
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ALBEDO MUSIC
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SheetMusicPlus
Spanish Dance for Piano and Orchestra
Orchestre
Full Orchestra - Level 5 - Digital Download SKU: A0.1037063 Composed by Joseph Hull…
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Full Orchestra - Level 5 - Digital Download SKU: A0.1037063 Composed by Joseph Hull. Contemporary. Score and parts. 20 pages. Joseph Hull #3034117. Published by Joseph Hull (A0.1037063). A lively dance that evokes images of Spain.
$10.00
9.11 €
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Orchestre
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Joseph Hull
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Spanish Dance for Piano and Orchestra
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Joseph Hull
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SheetMusicPlus
Dances from the Opera "On the Wings of the Scarlet Messenger" Suite for Orchestra
Orchestre
Full Orchestra - Level 4 - Digital Download SKU: A0.730404 Composed by James Nathan…
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Full Orchestra - Level 4 - Digital Download SKU: A0.730404 Composed by James Nathaniel Holland. Contemporary,Holiday,Musical/Show,Opera. Score and parts. 160 pages. James Nathaniel Holland #3218589. Published by James Nathaniel Holland (A0.730404). A suite in four movements for orchestra taken from the contemporary opera On the Wings of the Scarlet Messenger by American Costa Rican composer James Nathaniel Holland. The first, Dance of the Spirits is a percussionists dream evoking Southeast Asian flavor and energy. The second movement The Party: Intermezzo is a popular dance type of driving beat. The suite slows with the third movement with the haunting The Party: Art Imitates Life and a recap of the Spanish chorus here arranged for orchestra Bailen, Canten, Que Noche Bonita Perfect for New Year's Eve or New Year's Day concert. Use with the arrangement Bailen, Canten Que Noche Bonita with chorus or any of the stand alone arias from the opera. YouTube video presentation: https://youtu.be/QHzyUfKLI9MDuration 14:02 minutes.Instrumentation: picc, 12fl, 12ob, eh, 12cl, bcl, ts, 12bsn, 1234 hrn, 12 trp, trmb, btrmb, tim, perc( snare, hand cym, bd, ride cym with mallets, large gong, sm. gong, claves, castanets, tam., mid tom, tri., high hat) hrp, and stringsFull score in concert pitch with individual parts included. Full opera orchestral score and piano vocal score sold separately.Composer website: http://lacoronadelossantos.net/jamesnathanielholland.html .
$21.95
19.99 €
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Orchestre
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James Nathaniel Holland
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Dances from the Opera "On the Wings of the Scarlet Messenger" Suite for Orchestra
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James Nathaniel Holland
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SheetMusicPlus
Spanish National Anthem for Symphony Orchestra (Kt Olympic Anthem Series)
Orchestre
Full Orchestra - Intermediate - Digital Download Composed by Manuel de Espinosa de lo…
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Full Orchestra - Intermediate - Digital Download Composed by Manuel de Espinosa de los Monteros (1730-1810). Arranged by Keith Terrett. Classical Period, European, Patriotic. 30 pages. Published by Music for all Occasions
The Spanish National Anthem arranged for full Symphony Orchestra, there is a short version in my store in case you need it! Just need a sporting event now such as an Olympics!<br> <br> The Marcha Real (Spanish pronunciation: [ˈmartʃa reˈal], "Royal March") is the national anthem of Spain. It is one of only three national anthems (along with that of Bosnia and Herzegovina and the Republic of Kosovo) in the world to have no official lyrics.<br> <br> One of the oldest in the world, the anthem was first printed in a document dated 1761 and entitled Libro de la Ordenanza de los Toques de Pífanos y Tambores que se tocan nuevamente en la Ynfant° Española (Book of the Ordenance of Newly Played Military Drum and Fife Calls by The Spanish Infantry ), by Manuel de Espinosa. Here it is entitled La Marcha Granadera ("March of the Grenadiers"). There is written its score on this book. According to this document, Manuel de Espinosa de los Monteros is the composer.<br> <br> There is a false belief that Marcha Real’s author was Frederick II of Prussia, a great lover of music. This belief started in 1861 when it appears for the first time publied in La España militar (The Militar Spain). In 1864, the colonel Antonio Vallecillo publishes the history in the diary El Espíritu Público (The Public Spirit), making the supposed Prussian origin of Marcha Real popular. According to Vallecillo, the anthem was a gift from Frederick II to the soldier Juan Martín Álvarez de Sotomayor, who was serving in the Prussian Court to learn the military tactics developed by Frederick II’s army, under orders of King Charles III. In 1868 the history is published in Los Sucesos, changing the destinatary of the gift with Pedro Pablo Abarca de Bolea, Count of Aranda. The myth was picked up like this in different publications of 1884 and 1903, until being included in 1908 in the Enciclopedia Espasa.<br> <br> According to the tradition in 1770, Charles III declared the Marcha de Granaderos as the official Honor March, and with that formalized the habit of playing it in public and solemn acts. It became the official anthem during Isabel II’s reign.<br> <br> After the 1868 Revolution, General Prim convoked a national contest to create an official anthem, but it was declared deserted, advising the jury that Marcha de Granaderos was considered as such. By Alfonso XIII’s time, it was established by a Royal Circular Order (27 August 1908) that interpreted the harmonization of the march done by Bartolomé Pérez Casas, Major Music of the Royal Corps of Halberdier Guards. During the Second Republic, Himno de Riego was adopted as official anthem, although after the Spanish Civil War, Marcha Real returned to be used as anthem, sometimes sung with the verses written by the poet José María Pemán in 1928.<br> <br> The actual symphonic version of the Marcha Real that replaces the Pérez Casas one, belongs to maestro Francisco Grau and is the official one after the Royal Decree of 10 October 1997, when the Kingdom of Spain bought the author rights of the Marcha Real, then belonging to Pérez Casas’ Heirs. According to the Royal Decree 1560/1997, the anthem should have a tone of B major and a tempo of 76 bpm (♩=76), with a form of AABB and a duration of 52 seconds.<br> <br> Under the Trienio Liberal (1820-1823), the First Spanish Republic (1873–74) (when it enjoyed of a co-officiality) and the Second Spanish Republic (1931–1939), El Himno de Riego replaced La Marcha Real as the national anthem of Spain. At the conclusion of the Civil War, however, Francisco Franco restored La Marcha Real as the country’s national anthem, under its old title of La Marcha Granadera.<br> <br> Interpretation and etiquette:<br> <br> Military bands of the Spanish Armed Forces and the National Police Corps of Spain and civilian Marching bands and Concert bands play the B flat-major version of the anthem adapted for wind bands (as arranged by Francisco Grau), and playing the A Major version is optional.<br> <br> The bugle call "To the Colors" in Spain is the version played by Bugle bands in Spanish churches in religious occasions and processions organized by civil groups and the parishes. Various versions adapted for the drum and the bugle are used, even though brass instruments play the anthem as well. But in some bugle bands, the A flat version of the anthem (the old official one, adapted for the bugle) is played. Only a bugle call is sounded when the B flat version is played.<br> <br> Being the National Anthem, and in honor of the King and Queen of Spain, it’s a common practice for all to stand once it is played. Even though it is also played in church events, respect for the King and Queen (and the Royal Family as well) is required by everyone in attendance. As it happens civilians stand at attention while those in uniform salute when not in formation.<br> <br> The current official version, as described in Royal Decree 1560/1997, is a sixteen-bar long phrase, divided in two sections, each one is made up of four repeated bars (AABB form). Tempo is set to ♩= 76 and key to B flat.<br> <br> The long, complete version is the honors music for the King, while a shorter version without the repetitions is performed for the President of the Government of Spain, the Prince of Asturias, or during sporting events.<br> <br> There are also three official arrangements: one for orchestra, another for military band, and a third for organ, written by Francisco Grau Vegara and requested by the Government of Spain. All in all, there are six different official adaptations, for each arrangement and length. They all were recorded by the Spanish National Orchestra and the Spanish Royal Guard Band as an official recording and released on compact disc for a limited period of time.<br> <br> As the harmonization of the Marcha Real was written by Bartolomé Pérez Casas in the early 1900s, the copyright has not yet expired. The government bought it from Pérez Casas’ estate in 1997 for 130,000,000 pesetas (~ € 781,316) to avoid future legal problems. Until it expires, the copyright belongs to the Ministry of Culture and collecting societies charge copyright fees, which has led to criticism.<br> <br> As a result, many different harmonisations have been devised by performers to avoid paying. Nonetheless, the rights to the 1997 Francisco Grau revision were transferred to the government at no charge, although they were not placed in the public domain.<br> <br> Need an anthem fast? They are ALL in my store! All my anthem arrangements are also available for Orchestra, Recorders, Saxophones, Wind, Brass and Flexible band. If you need an anthem urgently for an instrumentation not in my store, let me know via e-mail, and I will arrange it for you FOC if possible! keithterrett@gmail.comThe Spanish National Anthem arranged for full Symphony Orchestra, there is a short version in my store in case you need it! Just need a sporting event now such as an Olympics!<br> <br> The Marcha Real (Spanish pronunciation: [ˈmartʃa reˈal], "Royal March") is the national anthem of Spain. It is one of only three national anthems (along with that of Bosnia and Herzegovina and the Republic of Kosovo) in the world to have no official lyrics.<br> <br> One of the oldest in the world, the anthem was first printed in a document dated 1761 and entitled Libro de la Ordenanza de los Toques de Pífanos y Tambores que se tocan nuevamente en la Ynfant° Española (Book of the Ordenance of Newly Played Military Drum and Fife Calls by The Spanish Infantry ), by Manuel de Espinosa. Here it is entitled La Marcha Granadera ("March of the Grenadiers"). There is written its score on this book. According to this document, Manuel de Espinosa de los Monteros is the composer.<br> <br> There is a false belief that Marcha Real’s author was Frederick II of Prussia, a great lover of music. This belief started in 1861 when it appears for the first time publied in La España militar (The Militar Spain). In 1864, the colonel Antonio Vallecillo publishes the history in the diary El Espíritu Público (The Public Spirit), making the supposed Prussian origin of Marcha Real popular. According to Vallecillo, the anthem was a gift from Frederick II to the soldier Juan Martín Álvarez de Sotomayor, who was serving in the Prussian Court to learn the military tactics developed by Frederick II’s army, under orders of King Charles III. In 1868 the history is published in Los Sucesos, changing the destinatary of the gift with Pedro Pablo Abarca de Bolea, Count of Aranda. The myth was picked up like this in different publications of 1884 and 1903, until being included in 1908 in the Enciclopedia Espasa.<br> <br> According to the tradition in 1770, Charles III declared the Marcha de Granaderos as the official Honor March, and with that formalized the habit of playing it in public and solemn acts. It became the official anthem during Isabel II’s reign.<br> <br> After the 1868 Revolution, General Prim convoked a national contest to create an official anthem, but it was declared deserted, advising the jury that Marcha de Granaderos was considered as such. By Alfonso XIII’s time, it was established by a Royal Circular Order (27 August 1908) that interpreted the harmonization of the march done by Bartolomé Pérez Casas, Major Music of the Royal Corps of Halberdier Guards. During the Second Republic, Himno de Riego was adopted as official anthem, although after the Spanish Civil War, Marcha Real returned to be used as anthem, sometimes sung with the verses written by the poet José María Pemán in 1928.<br> <br> The actual symphonic version of the Marcha Real that replaces the Pérez Casas one, belongs to maestro Francisco Grau and is the official one after the Royal Decree of 10 October 1997, when the Kingdom of Spain bought the author rights of the Marcha Real, then belonging to Pérez Casas’ Heirs. According to the Royal Decree 1560/1997, the anthem should have a tone of B major and a tempo of 76 bpm (♩=76), with a form of AABB and a duration of 52 seconds.<br> <br> Under the Trienio Liberal (1820-1823), the First Spanish Republic (1873–74) (when it enjoyed of a co-officiality) and the Second Spanish Republic (1931–1939), El Himno de Riego replaced La Marcha Real as the national anthem of Spain. At the conclusion of the Civil War, however, Francisco Franco restored La Marcha Real as the country’s national anthem, under its old title of La Marcha Granadera.<br> <br> Interpretation and etiquette:<br> <br> Military bands of the Spanish Armed Forces and the National Police Corps of Spain and civilian Marching bands and Concert bands play the B flat-major version of the anthem adapted for wind bands (as arranged by Francisco Grau), and playing the A Major version is optional.<br> <br> The bugle call "To the Colors" in Spain is the version played by Bugle bands in Spanish churches in religious occasions and processions organized by civil groups and the parishes. Various versions adapted for the drum and the bugle are used, even though brass instruments play the anthem as well. But in some bugle bands, the A flat version of the anthem (the old official one, adapted for the bugle) is played. Only a bugle call is sounded when the B flat version is played.<br> <br> Being the National Anthem, and in honor of the King and Queen of Spain, it’s a common practice for all to stand once it is played. Even though it is also played in church events, respect for the King and Queen (and the Royal Family as well) is required by everyone in attendance. As it happens civilians stand at attention while those in uniform salute when not in formation.<br> <br> The current official version, as described in Royal Decree 1560/1997, is a sixteen-bar long phrase, divided in two sections, each one is made up of four repeated bars (AABB form). Tempo is set to ♩= 76 and key to B flat.<br> <br> The long, complete version is the honors music for the King, while a shorter version without the repetitions is performed for the President of the Government of Spain, the Prince of Asturias, or during sporting events.<br> <br> There are also three official arrangements: one for orchestra, another for military band, and a third for organ, written by Francisco Grau Vegara and requested by the Government of Spain. All in all, there are six different official adaptations, for each arrangement and length. They all were recorded by the Spanish National Orchestra and the Spanish Royal Guard Band as an official recording and released on compact disc for a limited period of time.<br> <br> As the harmonization of the Marcha Real was written by Bartolomé Pérez Casas in the early 1900s, the copyright has not yet expired. The government bought it from Pérez Casas’ estate in 1997 for 130,000,000 pesetas (~ € 781,316) to avoid future legal problems. Until it expires, the copyright belongs to the Ministry of Culture and collecting societies charge copyright fees, which has led to criticism.<br> <br> As a result, many different harmonisations have been devised by performers to avoid paying. Nonetheless, the rights to the 1997 Francisco Grau revision were transferred to the government at no charge, although they were not placed in the public domain.<br> <br> Need an anthem fast? They are ALL in my store! All my anthem arrangements are also available for Orchestra, Recorders, Saxophones, Wind, Brass and Flexible band. If you need an anthem urgently for an instrumentation not in my store, let me know via e-mail, and I will arrange it for you FOC if possible! keithterrett@gmail.com
$39.00
35.51 €
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Orchestre
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Manuel de Espinosa de los Monteros (1730-1810)
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Keith Terrett
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Spanish National Anthem for Symphony Orchestra
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Music for all Occasions
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SheetMusicPlus
España Cañí - Pasodoble - Espana Cani
Orchestre
Full Orchestra - Level 3 - Digital Download SKU: A0.1211732 Composed by Pascual Mar…
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Full Orchestra - Level 3 - Digital Download SKU: A0.1211732 Composed by Pascual Marquina Narro. Arranged by Pablo Guerrero-MartÃn. Classical,Contest,Festival,Folk,March,Multicultural,World. Score and Parts. 51 pages. Pablo Guerrero-MartÃn #809346. Published by Pablo Guerrero-MartÃn (A0.1211732). España cañà (meaning Gypsy Spain in Spanish) is a famous instrumental Spanish piece of pasodoble music by Pascual Marquina Narro (1873–1948). The song was written around 1923 and first recorded in 1926. Its main refrain (eight bars of arpeggiated chords that go from E major to F major (with added 4 instead of 5) to G major and back) is arguably the best known snippet of Spanish music and is popular worldwide.Several arrangements of the tune are often used for the Latin Paso Doble dance (to the point that, among Latin dancers, it is known as the paso doble song as it is very commonly played in competition due to the common custom for the choreography to match the phrasing and accents of the music for the full effect of the dance). The song has also been used as the theme song for Pablo Sanchez in the Backyard Sports games.
$49.99
45.52 €
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Orchestre
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Pascual Marquina Narro
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Pablo Guerrero-MartÃn
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España Cañí - Pasodoble - Espana Cani
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Pablo Guerrero-MartÃn
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SheetMusicPlus
Claude Debussy ‒ 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 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
22.76 €
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Orchestre
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Claude Debussy
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Arkady Leytush
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Claude Debussy ‒ 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 ‒ 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 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
22.76 €
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Orchestre
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Claude Debussy
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Arkady Leytush
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Claude Debussy ‒ Estampes, Orchestra Suite, Orchestrated by Arkady Leytush No. 1 Pagodes
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Arkady Leytush
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SheetMusicPlus
Claude Debussy ‒ 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 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
22.76 €
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Orchestre
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Claude Debussy
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Arkady Leytush
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Claude Debussy ‒ Estampes, Orchestra Suite, Orchestrated by Arkady Leytush, No. 3 Jardins sous la
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Arkady Leytush
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SheetMusicPlus
Munamiktia - Score Only
Orchestre
Full Orchestra - Level 4 - Digital Download SKU: A0.1208333 Composed by Juan Guerra…
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Full Orchestra - Level 4 - Digital Download SKU: A0.1208333 Composed by Juan Guerra González. Classical,Contemporary. 30 pages. Juan Carlos Guerra Gonzalez #806440. Published by Juan Carlos Guerra Gonzalez (A0.1208333). “Munamiktia†(To marry) is based on the six sones from “Los Chapetones†(a folkloric dance from Panchimalco, El Salvador). “Los Chapetones†is a satiric dance portraying the social constructs of the Colonial time. It represents a wedding between Doña Lucrecia de Castilla and Don Tomás Rainer with the intention of making an alliance between Turkey and Spain. The investigation of this dance and its original music was made possible thanks to Aracely Sánchez (cultural researcher), Marcial Gudiel (folkloric dance researcher), and Concepción Clará de Guevara (anthropologist) for the creation of the work “Panchimalco†in 1982 work that was commissioned by the National Dance School of El Salvador “Morena Celariéâ€. The editors of the “Diccionario de la Música Española e Hispanoamericana†(Dictionary of Spanish and Hispanic Music) found this dance was unique in its genre in America and the Caribbean making “Los Chapetones†something exclusive from El Salvador. For this work, a part of each one of the sones is transformed in its rhythm or intervals to put them in melodies or in lines for the bass that have been harmonized in a different way while interacting with themes created especially for this work. The title, which in Nahuat means to marry, also serves as a reference to the union between the traditional themes used and the composer’s own musical language. Munamiktia (To marry) was written for the Salvadoran Composers Competition organized by the Pan American Symphony Orchestra (PASO) in Washington, DC. Given its originality, the Jury decided, after a long deliberation, to award it second place. The World Premiere will take place during their 21/22 season after PASO resumes activities due to COVID.* The actual World Premiere took place on March 25th, 2023 in Washington D.C. With the Pan American Symphony Orchestra (PASO) conducted by the composer.For parts please visit www.juancarlosguerra.com/munamiktia
$99.99
91.05 €
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Orchestre
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Juan Guerra González
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Munamiktia - Score Only
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Juan Carlos Guerra Gonzalez
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SheetMusicPlus
EL VITO (Score and Parts)
Orchestre
Full Orchestra - Level 3 - Digital Download SKU: A0.1276362 Composed by Spanish Fol…
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Full Orchestra - Level 3 - Digital Download SKU: A0.1276362 Composed by Spanish Folk Song. Arranged by arrange by Oleksiy Bazhenov. Folk. Score and Parts. 86 pages. Oleksiy Bazhenov #868096. Published by Oleksiy Bazhenov (A0.1276362). EL VITO - Â Traditional Andalusian folk song and danceArrange for soprano and Acoustic Gyitar with symphonic orchestra by Oleksiy Bazhenov.
$40.00
36.42 €
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Orchestre
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Spanish Folk Song
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arrange by Oleksiy Bazhenov
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EL VITO
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Oleksiy Bazhenov
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SheetMusicPlus
Spanish Dance for violin and orchestra(Full Score & Parts)
Orchestre
Composed by Manuel de Falla (1876-1946). Arranged by Gridi Kraja. 20th Century. Score. 129…
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Composed by Manuel de Falla (1876-1946). Arranged by Gridi Kraja. 20th Century. Score. 129 pages. Published by G.Kraja (S0.149817). - Score - 20th Century - G.Kraja
$65.00
59.19 €
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Orchestre
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Manuel de Falla
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Gridi Kraja
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Spanish Dance for violin and orchestra(Full Score & Parts)
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G.Kraja
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SheetMusicPlus
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