Song List: Prayers

Digital Pack includes:

1. Highlights from Doctor Who (arr. Robert Buckley) - Pt.2 - Eb Alto Saxophone
2. Highlights from Doctor Who (arr. Robert Buckley) - Pt.2 - Violin
3. Highlights from Doctor Who (arr. Robert Buckley) - Pt.3 - Bb Clarinet
4. Highlights from Doctor Who (arr. Robert Buckley) - Pt.3 - Bb Tenor Saxophone
5. Highlights from Doctor Who (arr. Robert Buckley) - Pt.3 - Eb Alto Sax/Alto Clar.
6. Highlights from Doctor Who (arr. Robert Buckley) - Pt.3 - F Horn
7. Highlights from Doctor Who (arr. Robert Buckley) - Pt.3 - Violin
8. Highlights from Doctor Who (arr. Robert Buckley) - Pt.3 - Viola
9. Highlights from Doctor Who (arr. Robert Buckley) - Pt.4 - Bb Tenor Sax/Bar. T.C.
10. Highlights from Doctor Who (arr. Robert Buckley) - Pt.4 - F Horn
11. Highlights from Doctor Who (arr. Robert Buckley) - Pt.4 - Trombone/Bar. B.C./Bsn.
12. Highlights from Doctor Who (arr. Robert Buckley) - Pt.4 - Cello
13. Highlights from Doctor Who (arr. Robert Buckley) - Pt.5 - Trombone/Bar. B.C./Bsn.
14. Highlights from Doctor Who (arr. Robert Buckley) - Pt.5 - Bb Bass Clarinet
15. Highlights from Doctor Who (arr. Robert Buckley) - Pt.5 - Baritone T.C.
16. Highlights from Doctor Who (arr. Robert Buckley) - Pt.5 - Cello
17. Highlights from Doctor Who (arr. Robert Buckley) - Pt.5 - Eb Baritone Saxophone
18. Highlights from Doctor Who (arr. Robert Buckley) - Pt.5 - Tuba
19. Highlights from Doctor Who (arr. Robert Buckley) - Pt.5 - String/Electric Bass
20. Highlights from Doctor Who (arr. Robert Buckley) - Percussion 1
21. Highlights from Doctor Who (arr. Robert Buckley) - iPad/iPhone Theramin
22. Highlights from Doctor Who (arr. Robert Buckley) - Percussion 2
23. Highlights from Doctor Who (arr. Robert Buckley) - Mallet Percussion
24. Highlights from Doctor Who (arr. Robert Buckley) - Timpani
25. Highlights from Doctor Who (arr. Robert Buckley) - Conductor Score (Full Score)
26. Highlights from Doctor Who (arr. Robert Buckley) - Pt.1 - Flute
27. Highlights from Doctor Who (arr. Robert Buckley) - Pt.1 - Bb Clarinet/Bb Trumpet
28. Highlights from Doctor Who (arr. Robert Buckley) - Pt.1 - Oboe
29. Highlights from Doctor Who (arr. Robert Buckley) - Pt.1 - Violin
30. Highlights from Doctor Who (arr. Robert Buckley) - Pt.2 - Bb Clarinet/Bb Trumpet

Digital Pack includes:

1. The Blue And The Gray (Young Band Edition) - Conductor Score (Full Score)
2. The Blue And The Gray (Young Band Edition) - Piccolo
3. The Blue And The Gray (Young Band Edition) - Flute
4. The Blue And The Gray (Young Band Edition) - Oboe
5. The Blue And The Gray (Young Band Edition) - Bassoon
6. The Blue And The Gray (Young Band Edition) - Bb Clarinet 1
7. The Blue And The Gray (Young Band Edition) - Bb Clarinet 2
8. The Blue And The Gray (Young Band Edition) - Bb Clarinet 3
9. The Blue And The Gray (Young Band Edition) - Eb Alto Clarinet
10. The Blue And The Gray (Young Band Edition) - Bb Bass Clarinet
11. The Blue And The Gray (Young Band Edition) - Eb Alto Saxophone 1
12. The Blue And The Gray (Young Band Edition) - Eb Alto Saxophone 2
13. The Blue And The Gray (Young Band Edition) - Bb Tenor Saxophone
14. The Blue And The Gray (Young Band Edition) - Eb Baritone Saxophone
15. The Blue And The Gray (Young Band Edition) - Bb Trumpet 1
16. The Blue And The Gray (Young Band Edition) - Bb Trumpet 2
17. The Blue And The Gray (Young Band Edition) - Bb Trumpet 3
18. The Blue And The Gray (Young Band Edition) - F Horn 1
19. The Blue And The Gray (Young Band Edition) - F Horn 2
20. The Blue And The Gray (Young Band Edition) - Trombone 1
21. The Blue And The Gray (Young Band Edition) - Trombone 2
22. The Blue And The Gray (Young Band Edition) - Baritone B.C.
23. The Blue And The Gray (Young Band Edition) - Baritone T.C.
24. The Blue And The Gray (Young Band Edition) - Tuba
25. The Blue And The Gray (Young Band Edition) - String Bass
26. The Blue And The Gray (Young Band Edition) - Percussion 1
27. The Blue And The Gray (Young Band Edition) - Percussion 2
28. The Blue And The Gray (Young Band Edition) - Mallet Percussion
29. The Blue And The Gray (Young Band Edition) - Timpani

Digital Pack includes:

1. The Blue And The Gray - Conductor Score (Full Score)
2. The Blue And The Gray - Violin 1
3. The Blue And The Gray - Violin 2
4. The Blue And The Gray - Violin 3 (Viola Treble Clef)
5. The Blue And The Gray - Viola
6. The Blue And The Gray - Cello
7. The Blue And The Gray - Bass
8. The Blue And The Gray - Piano
9. The Blue And The Gray - Percussion

ISBN 9781619116580.

This volume of the songs of Scottish poet Robert Burns contains 85 songs excerpted from the chapter Country Life in a larger collection of 324 Burns songs compiled and researched by Serge Hovey. It includes songs portraying farmers, shepherds, millers, weavers, tinkers, colliers, coopers, shoemakers, tailors, and other country folk reflecting Burns's intense love of the Scottish countryside and the oral tradition and music of its people. Robert Burns (1759-1796) spent his life collecting Scottish songs, using fragments of existing lyrics as the basis for his own poems, and wrote original lyrics for traditional melodies. Burns left for posterity about 270 poems and more than 300 songs which are usually printed without their tunes. Serge Hovey meticulously examined Burns' own sources, letters, and manuscripts to determine the origin of every tune and all the verses as well as Burns' intended match of words and music. He then arranged each song with highly imaginative and beautiful accompaniments geared for pianists with average skills.

Digital Pack includes:

1. Prayer Of Gethsemane - Full Score
2. Prayer Of Gethsemane - Bb Trumpet 1
3. Prayer Of Gethsemane - Bb Trumpet 2,3
4. Prayer Of Gethsemane - F Horn 1
5. Prayer Of Gethsemane - F Horn 2,3
6. Prayer Of Gethsemane - Trombone 1 & 2
7. Prayer Of Gethsemane - Trombone 3/Tuba
8. Prayer Of Gethsemane - Percussion
9. Prayer Of Gethsemane - Harp
10. Prayer Of Gethsemane - Rhythm
11. Prayer Of Gethsemane - Violin 1
12. Prayer Of Gethsemane - Violin 2
13. Prayer Of Gethsemane - Viola
14. Prayer Of Gethsemane - Cello
15. Prayer Of Gethsemane - Double Bass
16. Prayer Of Gethsemane - Alto Sax 1 (sub. Horn 1)
17. Prayer Of Gethsemane - Alto Sax 2-3 (sub. Horn 2-3)
18. Prayer Of Gethsemane - Tenor Sax (sub. Tbn 2)
19. Prayer Of Gethsemane - Bass Clarinet (sub. Tuba)
20. Prayer Of Gethsemane - Keyboard String Reduction

0Digital Pack includes:

1. Prayer of St. Gregory (Educational Edition) - Conductor Score (Full Score)
2. Prayer of St. Gregory (Educational Edition) - Solo Flute
3. Prayer of St. Gregory (Educational Edition) - Solo Oboe
4. Prayer of St. Gregory (Educational Edition) - Solo Bb Clarinet
5. Prayer of St. Gregory (Educational Edition) - Solo Eb Alto Saxophone
6. Prayer of St. Gregory (Educational Edition) - Solo Bb Trumpet
7. Prayer of St. Gregory (Educational Edition) - Solo Violin
8. Prayer of St. Gregory (Educational Edition) - Violin 1
9. Prayer of St. Gregory (Educational Edition) - Violin 2
10. Prayer of St. Gregory (Educational Edition) - Violin 3 (Viola Treble Clef)
11. Prayer of St. Gregory (Educational Edition) - Viola
12. Prayer of St. Gregory (Educational Edition) - Cello
13. Prayer of St. Gregory (Educational Edition) - Bass
14. Prayer of St. Gregory (Educational Edition) - Mallet Percussion

I owe an enormous debt of gratitude to the celebrated pianist Nicolas Horvath for enthusiastically
bringing my Debussy works to public attention in their solo piano formats, both through his recent
recitals across France and through this Naxos Grand Piano release (GP822). In some cases these are
true piano pieces (like Toomai des éléphants), in others they are piano reductions of orchestral scores
(like Fêtes galantes), while in others they are piano solos in their own right that also exist in orchestral
versions (as in the incidental music for Le Roi Lear). Needless to say, most of these tracks are world
première recordings, and this is certainly true of A Night in the House of Usher and its companion piece Un Jour affreux avec Le Diable dans le beffroi (?A Dreadful Day with the Devil in the Belfry?) which I arranged specially for Nicolas in November 2018 as a virtuosic, almost Lisztian paraphrase-fantasy. To remind us of the plot as the dramatic scenes unfold, Un Jour affreux avec le Diable dans le beffroi, like the start of No-ja-li) has a narrator (spoken in French by Florient Azoulay on the Grand Piano recording):

[After an overture rising from the underworld, with a polka and a citation of a chldren?s folksong Savez vous plantez les choux?, a carillon rings out]: Hearing it, the Dutch villagers start to count, with the bells of the belfry / 1, 2, 3, 4, 5, 6, 7, 10, 8, 9, 11, and 12 / Perfect! / 13!?!/ The bell rang 13 times / 13! / The Devil is here where the clock should be! / Damn! / The bells are cracked. / The Devil laughs fit to burst / He pulls from the pocket of his coat, a small dancing master?s violin / ?My God!? says the devil ? and he tunes his violin slowly / The Devil leads the villagers in a fantastic and relentless jig [making jokes at the expense of concertos by Beethoven, Brahms and Tchaikovsky] / The Devil directs the villagers towards the canal ? where he jumps to the other side, laughing all the time / The villagers try to imitate him, but they fall into the water. / [In Part 2] the villagers are transported to a hedonistic and lively Italian village. They are similarly transformed: the men have crooked hats ? the women have wide open bodices! They dance a mad Tarantella / 1, 2, 3, 4, 5, 6, 7 and 13 / shouting ?Hey there! (Hola?) / Jean, the young hero, makes a fervent prayer to God against the Devil / The prayer is answered and the bell again rings normally! / The expression of the Devil changes: he shudders! / Everything goes black / The devil disappears in a brief red glow ? / And the carillon and the bells chime as usual / 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11 and 12 / Perfect! / But the Devil?s grinning face ap-
pears once again where the clock should be ? briefly

Recorded by Nicolas Horvath on Grand Piano records (GP822)

Debussy?s friendship with the versatile poet and playwright Gabriel Mourey began in 1899, and in July 1907 Mourey offered Debussy a libretto based on Le roman de Tristan - Joseph Bédier?s adaptation of a twelfth-century Breton romance by the Anglo-Norman poet known as Thomas - which had recently been published in Paris. Debussy enthusiastically outlined the four-act plot to Victor Segalen that October, and the main differences from Wagner?s Tristan und Isolde are that none of the action takes place in Cornwall and that ?Isolde of the White Hands? is found guilty of cuckolding King Marc with Tristan, who has to rescue her from the leper colony in which she is abandoned in Act 1. She also betrays him when he goes mad at the end.

The idea of a Tristan that restored its ?legendary character? and had no connections with Wagner, appealed to Debussy, who was extremely moved by the circumstances of Tristan?s death. Even if he thought that Mourey?s poetry was ?not very lyrical and many passages do not exactly ?invite? music?, he did work on the libretto and the music that summer and sent his publisher, Jacques Durand, ?one of the 363 themes for the ?Roman de Tristan?? in a letter sent from Pourville on 23 August, 1907. The present prelude grows from this theme, together with the poignant Breton folksong ?Le Faucon?. After a short atmospheric introduction, Debussy?s dance-like theme (which is definitely not a leitmotif) gradually gains momentum and after it reaches its ecstatic climax, representing the transient happiness of the lovers, it dissolves into an expressive coda and an elegiac close (all growing from Debussy?s opening, off-stage trumpet calls), leaving us with the ultimate tragedy of their ill-fated affair.

Unfortunately, Mourey?s actual libretto has been lost and the project eventually foundered because Bédier?s cousin, Louis Artus, wanted Debussy to use the scenario he had prepared and copyrighted for the stage, and would not allow him to proceed with Mourey?s version. Debussy, it need hardly be said, would never have dreamed of collaborating with the author of the vaudeville hit La culotte (The pants)!

Robert Orledge

Scored for 21EH22/2200/timp/1perc/hp/strings Parts on rental.

Debussy?s friendship with the versatile poet and playwright Gabriel Mourey began in 1899, and in July 1907, Mourey offered Debussy a libretto based on Le roman de Tristan - Joesph Bédier?s adaptation of a twelfth-century Breton romance by the Anglo-Norman poet known as Tomas - which had recently been published in Paris. Debussy enthusiastically outline the four-act plot to Victor Segalen that October, and the main differences from Wagner?s Tristan und Isolde are that none of the action takes place in Cornwal and that ?Isolde of the white hands? is found guilty of cuckolding King Marc with Tristan, who has to rescue her from the leper colony in which she is abandoned in Act 1. She also betrays hi when he goes mad at the end.

The idea of a Tristan that restorced its ?legendary character? and had no connections with Wagner, appealed to Debussy, who was extremely moved by the circumstances of Tristan?s death. Even if he thought that Mourey?s poetry was ?not very lyrical and many passages do not exactly ?invite? music?, he did work on the libretto and the music that summer and sent his pubisher Jacques Durand, ?one of the 363 themes for the ?Roman de Tristan?? in a letter sent from Pourville on 23 August, 1907. The present prelude grows from this theme, together with the poignant Breton folksong ?Le Faucon?. After a short atmospheric introduction, Debussy?s dance-like theme (which is definitely not a leitmotif) gradually gains momentum and after it reaches it ecstatic climas, representing the transient happiness of the lovers, it dissolves into an expressive coda and an elegiac close (all growing from Debussy?s opennning, off-stage trumpet calls), leaving us with the ultimate tragedy of their ill-fated advice.

Unforunately, Mourey?s actual libretto has been lost and the project eventually foundered because Bédier?s cousin, Louis Artus, wanted Debussy to use the scenario he had prepared and copyrights for the stage, and would not allow him to proceed with Mourey?s version. Debussy, it need hardly be said, would never have dreamed of collaborating with the author of the vaudeville hit La culotte (The pants)!