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1
Symphony No. 8, after Beethoven's sketches, op. 80
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Orchestre de chambre
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Adrian Gagiu
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Symphony No. 8, after Beethove
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Adrian Gagiu
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SheetMusicPlus
Chamber Orchestra - Level 4 - SKU: A0.1038395 Composed by Adrian Gagiu. Classical. 451 pages. Adrian Gagiu #643336. Published by Adrian Gagiu (A0.103839...
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Chamber Orchestra - Level 4 - SKU: A0.1038395 Composed by Adrian Gagiu. Classical. 451 pages. Adrian Gagiu #643336. Published by Adrian Gagiu (A0.1038395). Throughout his career, Beethoven made dozens of concept sketches for many movements of symphonies, besides those for the completed nine compositions of that genre. In the period 1812-1816, mainly during the composition of the Seventh and Eighth Symphonies, there were three recurring such projected works in his sketchbooks, namely in D minor, E minor and E flat major respectively, and remarkably with sketches for more than one of their movements. The present symphony in late Classical style is based on those projects, making use of all their themes in a „combined†symphony in D minor and thus with peculiar tonal relationships. The incentive for this new work in the Classical idiom was in the quality and potential of some of the sketches, especially the one included now in the main theme of the slow movement. Some of the sketched material was subject to transpositions and adaptations to fit the formal outlook, and to editorial choices for the unclear pitches and durations. This publication includes the score and parts. The sketchbook sources for each passage are mentioned at the bottom of the score. Total duration: 36 min. Performing Rights Organization: SOCAN. The mp3 recording is the third, slow movement.
$100.00
Claude Debussy: Sérénade for violin and 17 instrments, full score and solo part only (parts on ren
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Orchestre de chambre
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Claude Debussy/Robert Orledge
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Claude Debussy: Sér&eac
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Musik Fabrik Music Publishing
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SheetMusicPlus
Chamber Orchestra - Level 4 - SKU: A0.1080705 Composed by Claude Debussy/Robert Orledge. 20th Century,Romantic Period,Standards. Score and parts. 30 pag...
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Chamber Orchestra - Level 4 - SKU: A0.1080705 Composed by Claude Debussy/Robert Orledge. 20th Century,Romantic Period,Standards. Score and parts. 30 pages. Musik Fabrik Music Publishing #4727447. Published by Musik Fabrik Music Publishing (A0.1080705). Instrumentation2 flûtes/2 flutescor anglais (doublant hautbois/doubling oboe)clarinette en La/clarinet in Abasson/bassooncor en Fa/horn in Fpercission (1 éxecutant - timbales (3)/cymbale suspendue, tambour de basque)/percussion (1 performer - timpani (3)/suspended cymbal, tambourine)harpe/harp9 cordes/9 strings (2.2.2.2.1)durée/duration: 5 minutes 30 secconds (environ/approx.) Une versions pour violon et piano ainsi qu’une version pour violon et orchestre (31CA(hb)23/2100/timb/perc/hpe/cordes)est également disponibile/A version for violin and piano as well as a version for violin and orchestra (31EH(ob)23/2100/timp/perc/strings) is also available.______________________Prmière: Edmond Agapian, violin with the Calagray (CA) Youth orchestra, cond. Gareth Jones, University of Calgary, 28 Janaury, 2011Première of the version for violin and 17 instruments: Frédéric Moisan, violin Orchestre 21 cond. Paolo Bellomio, Unveristy of Montreal, Canada, 2 March 2012Preface:In the early 1890s, Debussy composed the opening of a lyrical piece in E major for violin and piano, perhaps as a shorter companion piece for the violin Nocturne he was planning for the Belgian violinist Eugène Ysaÿe. After Debussy’s death in 1918, his second wife Emma often gave away sketch pages to performers or composers as memorials to her beloved husband , and this particular page was given to the Cuban born pianist and composer Joaquin Nin (1879-1949). It came up for sale in the catalogue of the British antiquarian dealer Lisa Cox in 2010 and although it might possibly be an early song for contralto and piano, the more dynamic idea in bar 12 strongly suggests the violin, especially as it begins on an open D string. Moreover, there is no text and in pieces of this length, Debussy usually wrote at least one word in, if only to remind himself where he had got to in any song. So my starting point was a complete 12-bar melody gently undulating in the violin’s lowest register over a sensual accompaniment, rising to a climax in bar 12 and giving me a contrasting idea that I could use as a link between sections and in the cadenza. As the B section (bars 14-26) derives directly from Debussy’s opening theme by metamorphosis, my own additions were restricted to the central section (bars 27-57) - comprising a new scherzando idea (C) and the more lyrical D (bars 36-46). C returns at bar 47, followed by the opening sections in reverse order, so that the Sérénade begins and ends with Debussy’s material and is cast in arch form (ABCDCBA). Robert OrledgeBrighton, 19 June 2019Robert Orledge was born in Bath in 1948 and educated at Clare College, Cambridge, where he gained his doctorate for his study of the composer Charles Kœchlin in 1973. Between 1971 and 1991 He rose from Lecturer to Professor in the Music Department of the University of Liverpool, publishing books on Gabriel Fauré, Claude Debussy, Charles Kœchlin and Erik Satie, as well as numerous articles, editions and reviews. As a historical musicologist, Professor Orledge specialized in the way composers composed, ,and since taking early retirement in 2004, he has concentrated on completing and orchestrating Debussy’s unfinished works, and especially his theatre projects. His completion of Debussy’s opera The Fall of the House of Usher (1908-17) was successfully premiered at the Bregenz Opera Festival in Austria in August 2006 and has since been performed in America, Portugal Germany and Holland, as well as being broadcast throughout Europe. A DVD of the Bregenz premier is available on Capriccio 93517, produced by Phylida Lloyd and conducted by Lawrence Foster. His completion of the Chinese ballet No-ja-li ou Le Palais du Silence (1914) was also premiered in 2006 in Los Angeles and ot.
$16.95
Nutcracker - Miniature Overture (Reduced orchestra)
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Orchestre de chambre
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Peter Ilyich Tchaikovsky
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Matthew Lax
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Nutcracker - Miniature Overtur
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Matthew Lax
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SheetMusicPlus
Chamber Orchestra - Level 4 - SKU: A0.818035 Composed by Peter Ilyich Tchaikovsky. Arranged by Matthew Lax. Christmas,Romantic Period. Score and parts. ...
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Chamber Orchestra - Level 4 - SKU: A0.818035 Composed by Peter Ilyich Tchaikovsky. Arranged by Matthew Lax. Christmas,Romantic Period. Score and parts. 82 pages. Matthew Lax #5221831. Published by Matthew Lax (A0.818035). Tchaikovsky's Miniature Overture from his Nutcracker Ballet - here with reduced wind/brass so that it is performed with just one flute, oboe, clarinet, bassoon, horn, trumpet, trombone, triangle and (small) string section. As with the original there are no cellos and double basses used in this arrangement.
$25.00
Barbara Allen for piccolo and orchestra
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Orchestre de chambre
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INTERMÉDIAIRE/AVANCÉ
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Reinhold Behringer
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David Warin Solomons
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Barbara Allen for piccolo and
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David Warin Solomons
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SheetMusicPlus
Chamber Orchestra - Level 4 - SKU: A0.1470559 By Reinhold Behringer. By Traditional. Arranged by David Warin Solomons. Contemporary,Traditional. 44 page...
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Chamber Orchestra - Level 4 - SKU: A0.1470559 By Reinhold Behringer. By Traditional. Arranged by David Warin Solomons. Contemporary,Traditional. 44 pages. David Warin Solomons #1048222. Published by David Warin Solomons (A0.1470559). An arrangement for piccolo and orchestra of the Barbara Allen folk song with many interesting cadences, harmonies and countermelodies.In Scarlet Town where I was born,There was a fair maid dwelling,Made every youth cry, “Well-a-day”,Her name was Barbara Allen.All in the merry month of May,When green buds they were swelling,Young Willy Grove on his death bed lay,For love of Barbara Allen.He sent his man down unto her then,To the town where she was dwelling.“You must come to my master dear,If your name's Barbara Allen.”So slowly, slowly she came up,And slowly she came nigh him,And all she said when there she came,“Young man I think you’re dying.”[“A dying man, no, no,” said he,“One kiss from thee would cure me.”“One kiss from me thou never shalt have,If your poor heart was breaking.”]He turned his face unto the wall,And death was drawing nigh him,“Adieu, adieu, my dear friends all,And be kind to Barbara Allen.”As she was walking o’er the fields,She heard the dead-bell knellin’;And every stroke did seem to say“Unworthy Barbara Allen!”When he was laid dead in his grave,Her heart was struck with sorrow,“Oh mother, mother make my bed,For I shall die tomorrow.”And on her death bed she lay,She begged to be buried by him,And so repented of the day,That she did e’er deny him.“Farewell”, she said, “You virgins all,And shun the fault I fell in.Hence forth take warning by the fall,Of cruel Barbara Allen.”.
$16.00
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