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Claude Debussy: Sérénade for violin and 17 instrments, full score and solo part only (parts on ren
Orchestre de chambre
Chamber Orchestra - Level 4 - Digital Download SKU: A0.1080705 Composed by Claude D…
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Chamber Orchestra - Level 4 - Digital Download 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
15.6 €
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Orchestre de chambre
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Claude Debussy/Robert Orledge
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Claude Debussy: Sérénade for violin and 17 instrments, full score and solo part only
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Musik Fabrik Music Publishing
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SheetMusicPlus
Carson Cooman: Quintet for Bassoon and Strings (2005–08) for bassoon and string quartet
Orchestre de chambre
Chamber Orchestra - Level 5 - Digital Download SKU: A0.533574 Composed by Carson Co…
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Chamber Orchestra - Level 5 - Digital Download SKU: A0.533574 Composed by Carson Cooman. Contemporary,Standards. Score and parts. 65 pages. Musik Fabrik Music Publishing #3024985. Published by Musik Fabrik Music Publishing (A0.533574). Quintet for Bassoon and Strings (2005–08) was commissioned by The Commission Projectand is dedicated to Klaus Heymann, in tribute for his invigoration of the classical recordingindustry and his enthusiastic support for the composers of our time.The original conception for the work was devised during an extremely foggy week onNantucket Island, Massachusetts in the summer of 2005. It is music deeply connected to theocean landscape. Throughout the work, the strings often present a fog-like backdrop,through which the bassoon’s color emerges like a lighthouse beacon—lyrical and flexible.The work opens with a series of interlocking, nebulous figurations in the strings thatgradually build in intensity. The bassoon unfolds the work’s basic melodic material in a freesolo that also increases in intensity. At the point of climax, the tempo suddenly slowsdramatically, and a tender, lyrical cantilena emerges. As this music dissolves, a bouncy andenergetic music takes the foreground. It climaxes in a bassoon cadenza. Though the bassoonhas played the leader throughout, this is the first time it is heard unaccompanied. A brief,but vigorous afterglow recalls the opening of the work. The final section emerges out of it: aseries of high, distant harmonics (perhaps harbor buoys) in the strings through which thebassoon sings a final song.
$25.95
23.88 €
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Orchestre de chambre
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Carson Cooman
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Carson Cooman: Quintet for Bassoon and Strings
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Musik Fabrik Music Publishing
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SheetMusicPlus
Carson Cooman: Shining Space: Quintet for Horn and Strings (2006)
Orchestre de chambre
Chamber Orchestra - Level 5 - Digital Download SKU: A0.533698 Composed by Carson Co…
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Chamber Orchestra - Level 5 - Digital Download SKU: A0.533698 Composed by Carson Cooman. Contemporary,Standards. Score and parts. 71 pages. Musik Fabrik Music Publishing #3038887. Published by Musik Fabrik Music Publishing (A0.533698). Shining Space: Quintet for Horn and Strings (2006) was commissioned by and is dedicatedto Hazel Dean Davis and Stephen Hackbarth on the occasion of their marriage, June 24, 2006.The work was premiered by James Sommerville, horn with Sarah Kapustin and FrancescaAnderegg, violins, Nathan Burke, viola, and Peter Lorenzo Anderegg, cello.The basic musical material for the work is a set of intervals which is gradually “expandedoutward†– moving from close dissonance to luminous consonance. This could be seen torepresent a sense of freedom, growth, and a bright future.The first movement, Bright Morning Sky, begins vibrantly with ecstatic ringing in the higherstrings. The cello presents the work’s basic pitch material in dramatic gestures. The hornthen enters: first abortively and then affirmatively – changing the texture to focus on itself.The horn continues lyrical melodic development while the strings react, dissipating theirinitial energy. Nervous tremolos in the strings start to build back energy again, leading to awild climax. The music then relaxes into the next section marked “Slow, suspended.†Thehorn and strings interact melodically, supported by luminous harmonies. The nervoustremolos return, regaining energy towards the coda. The work ends with the ecstatic ringingof the opening – but,this time, the harmonic material is open and bright.The second movement, I Am the Vine, is serene and expressive – consisting of a series ofcanons which develop, break-off, and start again. The canons are almost always in twovoices – representing two lives intertwining.The third movement, Chasing Windflower, returns to the energy of the opening movement.However, the harmonic language begins this time with the open sonorities. Darker colors(from the first movement) continue to interject, but are always overwhelmed by a sense offree-wheeling excitement. The work presses on to an ecstatic coda – with a sense ofunfettered joy.
$38.95
35.85 €
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Orchestre de chambre
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Carson Cooman
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Carson Cooman: Shining Space: Quintet for Horn and Strings
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Musik Fabrik Music Publishing
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SheetMusicPlus
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