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5401
Claude Debussy: Prléude à L'Histoire de Tristan for solo piano, completed by Robert Orledge
Piano seul
Piano Solo - Advanced Intermediate - Digital Download Composed by Claude Debussy/Ro…
(+)
Piano Solo - Advanced Intermediate - Digital Download Composed by Claude Debussy/Robert Orledge. Romantic Period, Impressionistic, Repertoire, Recital. Score. 6 pages. Published by Musik Fabrik Music Publishing
Recorded by Nicolas Horvath on Grand Piano records (GP822)<br> <br> 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.<br> <br> 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.<br> <br> 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)!<br> <br> Robert Orledge
$10.35
9.38 €
#
Piano seul
#
Claude Debussy/Robert Orledge
#
Claude Debussy: Prléude à L'Histoire de Tristan for solo piano, completed by Robert Orledge
#
Musik Fabrik Music Publishing
#
SheetMusicPlus
Debussy Inconnu: Album of works for the piano by Claude Debussy completed by Robert Orledge, Vol. 2
Piano seul
Piano Solo - Advanced Intermediate - Digital Download Composed by Claude Debussy/Ro…
(+)
Piano Solo - Advanced Intermediate - Digital Download Composed by Claude Debussy/Robert Orledge. 20th Century, Impressionistic, Repertoire. Score. 76 pages. Published by Musik Fabrik Music Publishing
Contains Le Roi Lear: Prélude,Première Fanfare, and La Mort de Cordélia,Toomai des éléphants, Rodrigue et Chimène: Prélude à l’acte 1p. Le Martyre de Saint Sébastien: La Passion , and No-ja-li ou Le Palais du Silence<br> <br> From Robert Orledge's notes:<br> <br> My interest in the wonderful music of Claude Debussy began in the 1980s when I researched and published a book with Cambridge University Press entitled Debussy and the Theatre. During the course of my studies in Paris, I was amazed to discover that Debussy planned over 50 theatrical works but only finished two of these entirely by himself (the opera Pelléas et Mélisande in 1893–1902 and the ballet Jeux for Diaghilev’s Ballets Russes in 1912–13). Of the rest, many were never started musically (like Siddartha and Orphée-roi with the Oriental scholar Victor Segalen, 1907); some had a few tantalising sketches (like the Edgar Allan Poe opera Le Diable dans le beffroi, 1902–03); some were half-finished (like his other Poe opera La Chute de la Maison Usher, 1908–17); while others were musically complete but had their orchestrations completed by other composers (like Khamma, by Charles Koechlin, 1912–13; or Le Martyre de Saint Sébastien and La Boîte à joujoux by his ‘angel of corrections’ [‘l’ange des Corrections’] André Caplet in 1911 and 1919 respectively).<br> <br> For it has to be admitted that what some scholars call Debussy’s ‘compulsive achievement’ could equally well be viewed as laziness, especially as far as the minute detail required for calligraphing his orchestral scores was concerned. It was as if creating the music itself was of greater importance than controlling its final sound, even if Debussy was an imaginative orchestrator when he found the time and energy to do it. It also seems true that Debussy also preferred inventing ideas to turning them into complete pieces. However, despite the lack of detail in many of his sketches (missing clefs, key signatures, dynamics, phrasing, etc.) the notes themselves are surprisingly accurate, whether or not they can be compared with a later draft. Thus, a large number of sketches exist for his Chinese ballet No-ja-li ou Le Palais du Silence and it is not too difficult to see which parts of Georges de Feure’s 1913 scenario (see below) inspired which ideas. But Debussy hardly made any attempt to join them together after the first few bars.<br> <br> It was usually up to his publisher, Jacques Durand, to find solutions when Debussy risked a breach of contract. Debussy was supposed to supervise the orchestrations completed by others, but this supervision was usually very light and restricted to quiet, sensitive moments in which problems were easier to spot. Far from jealously guarding every one of his created notes, as Ravel did, Debussy once even went as far as to ask Koechlin to ‘write a ballet for him that he would sign’ on 26 March 1914 when he was hard-pressed to fulfil his lucrative contract for No-ja-li with André Charlot at the Alhambra Theatre in London. In the end, Debussy (through Durand) sent Charlot the symphonic suite Printemps instead, whose orchestration had been completed by Henri Busser in the Spring of 1912.<br> <br> So, when I was offered early retirement as Professor of Music at Liverpool University in 2004, I seized the opportunity it would give me to spend time trying to reconstruct some of Debussy’s lost potential masterpieces from his existing sketches and drafts—then orchestrating them in Debussy’s style when this was appropriate. I had begun this mission in 2001 with the most promising project, the missing parts of Scene 2 of La Chute de la Maison Usher and the sheer joy it gave me at every stage persuaded me to tackle other projects, especially when Debussy experts were unable to identify exactly where I took over from Debussy (and vice versa) in Usher.
$38.95
35.32 €
#
Piano seul
#
Claude Debussy/Robert Orledge
#
Debussy Inconnu: Album of works for the piano by Claude Debussy completed by Robert Orledge, Vol. 2
#
Musik Fabrik Music Publishing
#
SheetMusicPlus
Debussy Inconnu: Album of works for the piano by Claude Debussy completed by Robert Orledge, Vol. 1
Piano seul
Piano Solo - Advanced Intermediate - Digital Download Composed by Claude Debussy/Ro…
(+)
Piano Solo - Advanced Intermediate - Digital Download Composed by Claude Debussy/Robert Orledge. 20th Century, Impressionistic, Repertoire, Recital. Score. 71 pages. Published by Musik Fabrik Music Publishing
Contains A Night in the House of Usher Un Jour affreux avec Le Diable dans le beffroi, Les accords de septième regrettent!!!, Petite Valse,Fêtes galantes, and Prélude à ‘L’Histoire de Tristan’<br> <br> From Robert Orledge's notes:<br> <br> My interest in the wonderful music of Claude Debussy began in the 1980s when I researched and published a book with Cambridge University Press entitled Debussy and the Theatre. During the course of my studies in Paris, I was amazed to discover that Debussy planned over 50 theatrical works but only finished two of these entirely by himself (the opera Pelléas et Mélisande in 1893–1902 and the ballet Jeux for Diaghilev’s Ballets Russes in 1912–13). Of the rest, many were never started musically (like Siddartha and Orphée-roi with the Oriental scholar Victor Segalen, 1907); some had a few tantalising sketches (like the Edgar Allan Poe opera Le Diable dans le beffroi, 1902–03); some were half-finished (like his other Poe opera La Chute de la Maison Usher, 1908–17); while others were musically complete but had their orchestrations completed by other composers (like Khamma, by Charles Koechlin, 1912–13; or Le Martyre de Saint Sébastien and La Boîte à joujoux by his ‘angel of corrections’ [‘l’ange des Corrections’] André Caplet in 1911 and 1919 respectively).<br> <br> For it has to be admitted that what some scholars call Debussy’s ‘compulsive achievement’ could equally well be viewed as laziness, especially as far as the minute detail required for calligraphing his orchestral scores was concerned. It was as if creating the music itself was of greater importance than controlling its final sound, even if Debussy was an imaginative orchestrator when he found the time and energy to do it. It also seems true that Debussy also preferred inventing ideas to turning them into complete pieces. However, despite the lack of detail in many of his sketches (missing clefs, key signatures, dynamics, phrasing, etc.) the notes themselves are surprisingly accurate, whether or not they can be compared with a later draft. Thus, a large number of sketches exist for his Chinese ballet No-ja-li ou Le Palais du Silence and it is not too difficult to see which parts of Georges de Feure’s 1913 scenario (see below) inspired which ideas. But Debussy hardly made any attempt to join them together after the first few bars.<br> <br> It was usually up to his publisher, Jacques Durand, to find solutions when Debussy risked a breach of contract. Debussy was supposed to supervise the orchestrations completed by others, but this supervision was usually very light and restricted to quiet, sensitive moments in which problems were easier to spot. Far from jealously guarding every one of his created notes, as Ravel did, Debussy once even went as far as to ask Koechlin to ‘write a ballet for him that he would sign’ on 26 March 1914 when he was hard-pressed to fulfil his lucrative contract for No-ja-li with André Charlot at the Alhambra Theatre in London. In the end, Debussy (through Durand) sent Charlot the symphonic suite Printemps instead, whose orchestration had been completed by Henri Busser in the Spring of 1912.<br> <br> So, when I was offered early retirement as Professor of Music at Liverpool University in 2004, I seized the opportunity it would give me to spend time trying to reconstruct some of Debussy’s lost potential masterpieces from his existing sketches and drafts—then orchestrating them in Debussy’s style when this was appropriate. I had begun this mission in 2001 with the most promising project, the missing parts of Scene 2 of La Chute de la Maison Usher and the sheer joy it gave me at every stage persuaded me to tackle other projects, especially when Debussy experts were unable to identify exactly where I took over from Debussy (and vice versa) in Usher.
$38.95
35.32 €
#
Piano seul
#
Claude Debussy/Robert Orledge
#
Debussy Inconnu: Album of works for the piano by Claude Debussy completed by Robert Orledge, Vol. 1
#
Musik Fabrik Music Publishing
#
SheetMusicPlus
The Hedgehog Hustle
String orchestra & piano - Digital Download SKU: IZ.OMW192-S Composed by Allen W. M…
(+)
String orchestra & piano - Digital Download SKU: IZ.OMW192-S Composed by Allen W. Menton. Score. 39 pages. Imagine Music - Digital #OMW192-S. Published by Imagine Music - Digital (IZ.OMW192-S). 9 x 12 in inches.Nineteenth-century philosophers coined the term hedgehog dilemma to describe the conundrum faced by hedgehogs huddling together for warmth during the winter. If they huddle too closely, they hurt each other with their spines. If they maintain greater distance, they become too cold. The challenge is to find an optimal distance, in which a few occasional pricks are endured in order to get some warmth. Philosophers viewed this situation as a metaphor for human relationships: close intimacy contains the risk of mutual harm. Inspired by the humorous movements of a friend's pet hedgehog, I imagined a fanciful scenario: a disco-loving hedgehog in search of a partner for the 1970's couples dance known as the hustle. Unfortunately, he and his partner keep sticking each other with their spines (represented by the pizzicato in the strings), and his partner abandons him. Our hero sadly contemplates his future, destined to dance alone. However, the music gives him courage, and he concludes with an exuberant dance solo.
$16.00
14.51 €
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Allen W
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The Hedgehog Hustle
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Imagine Music - Digital
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SheetMusicPlus
"At The Edge Of A Spiral" - for Piano Four-Hands [Performance Score]
1 Piano, 4 mains
Instrumental Duet Instrumental Duet,Piano - Level 5 - Digital Download SKU: A0.976038
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Instrumental Duet Instrumental Duet,Piano - Level 5 - Digital Download SKU: A0.976038 Composed by Lior Navok. 20th Century,Contemporary. Score and parts. 27 pages. Lior Navok Music #4725307. Published by Lior Navok Music (A0.976038). AT THE EDGE OF A SPIRAL - for Piano Four-Hands (2004) DURATION: 10 Minutes PROGRAM NOTES: The composer writes about his work: At the Edge of a Spiral for one piano, four hands is a short journey of a built intensity. It is based on few fragments, motives that are lit in different light each time. The piece starts slow, but increases its intensity and speed as it progresses, utilizing the same motives. While composing the piece, I heard about a young man that threw himself to the river. I tried to imagine that went in his mind and what brought to this dead-end. And again the idea of a built intensity, obsessive and uncompromising came to my mind. At the very end of the piece, there is a sudden drop of intensity followed by a music box passage, as if describing what is going on in the person's mind right after the jump, right after reaching the edge of his life's spiral. At the Edge of a Spiral was written and dedicated for the Silver-Garburg Piano Duo - Sivan Silver and Gil Garburg. It was funded by the generous support of Miriam and Eliezer Benbassat. INFO: Item: Performance Score Edition: 2nd Edition Copyright: Lior Navok Publisher: Lior Navok Music Pages: 27 Binding: Ink: Black & White Paper Size: Folio / Legal.
$18.00
16.32 €
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1 Piano, 4 mains
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Lior Navok
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"At The Edge Of A Spiral" - for Piano Four-Hands [Performance Score]
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Lior Navok Music
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SheetMusicPlus
Hedgehog Roll - Flute, Clarinet, Bass Clarinet, Bassoon
Flûte, Clarinette et Basson
Woodwind Ensemble,Woodwind Trio Bassoon,Clarinet,Flute - Level 3 - Digital Download SKU…
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Woodwind Ensemble,Woodwind Trio Bassoon,Clarinet,Flute - Level 3 - Digital Download SKU: A0.721384 Composed by Anne L Christopherson GRSM ARCM. Concert,Holiday,Wedding. 6 pages. Music-Scores.com #4595845. Published by Music-Scores.com (A0.721384). Hedgehog Roll is all about thriving hedgehogs, snuffling, eating, playing and rolling.Wind quartet for Flute, Clarinet, Bass Clarinet and Bassoon.by Anne Christopherson GRSM ARCM at https://www.music-scores.com
$7.95
7.21 €
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Flûte, Clarinette et Basson
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Anne L Christopherson GRSM ARCM
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Hedgehog Roll - Flute, Clarinet, Bass Clarinet, Bassoon
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Music-Scores.com
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SheetMusicPlus
Hedgehog Roll - 2 Flutes, Clarinet, Bass Clarinet
Small Ensemble Bass Clarinet,Flute - Level 3 - Digital Download SKU: A0.722120 Comp…
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Small Ensemble Bass Clarinet,Flute - Level 3 - Digital Download SKU: A0.722120 Composed by Anne Christopherson GRSM ARCM. Concert,Holiday,Wedding. Score and parts. 7 pages. Music-Scores.com #5798423. Published by Music-Scores.com (A0.722120). Hedgehog Roll is all about thriving hedgehogs, snuffling, eating, playing and rolling.Wind Quartet for 2 Flutes, Clarinet and Bass Clarinet.By Anne Christopherson GRSM ARCM at https://www.music-scores.com
$7.95
7.21 €
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Anne Christopherson GRSM ARCM at
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Anne Christopherson GRSM ARCM
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Hedgehog Roll - 2 Flutes, Clarinet, Bass Clarinet
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Music-Scores.com
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SheetMusicPlus
Dancing Naked at the Edge of Dawn for SSAA choir, percussion, and piano
Chorale SSAA
Choral Choir (SSAA) - Level 3 - Digital Download SKU: A0.918668 Composed by Jenni B…
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Choral Choir (SSAA) - Level 3 - Digital Download SKU: A0.918668 Composed by Jenni Brandon. Contemporary. Octavo. 28 pages. Jenni Brandon Music #2007299. Published by Jenni Brandon Music (A0.918668). Dancing Naked at the Edge of Dawn for SSAA choir, percussion, piano (JB 118) by Jenni Brandon. Poems by Kris Radish. Commissioned by Sistrum, Lansing, Michigan's Women's Chorus under the direction of Meredith Bowen. The lovely poetry by Ms. Radish is simple and gorgeous, exploring dark to light, love and possibility, and the ability to achieve anything. A three-movement work for SSAA choir with piano and percussion, this work is recorded by Sistrum on their CD Dancing Naked at the Edge of Dawn on the Blue Griffin Recording label. The audio clip comes from the third movement of this work.Three movements: I. the dark line II. morning prayer II. Dancing Naked at the Edge of Dawn (also available as an individual movement (JB 151)Programming: Concert and ContestJenni Brandon Musicwww.jennibrandon.comASCAP
$4.00
3.63 €
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Chorale SSAA
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Jenni Brandon
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Dancing Naked at the Edge of Dawn for SSAA choir, percussion, and piano
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Jenni Brandon Music
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SheetMusicPlus
Gradual edge
Violoncelle, Orgue
Organ and cello - difficult - Digital Download SKU: S9.Q777565 For violoncello a…
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Organ and cello - difficult - Digital Download SKU: S9.Q777565 For violoncello and organ. Composed by Chaya Czernowin. Downloadable, Score and part. Duration 13 minutes. Schott Music - Digital #Q777565. Published by Schott Music - Digital (S9.Q777565). Many years ago I saw a sculpture of Anish Kapoor: in this sculpture there were two huge halved orbs hanging from two sides of the room. The halved orbs were dark purple blue, which was so dark that the end of the orbs (their inside) was not visible. They seemed, instead, like endless openings. The piece Gradual Edge is an attempt to trace, as if through touch, and follow the imaginary passage on this half orb, attempting to figure out, through touch, the transition from substance to the endless cavities inside in increasing darkness. The piece is dedicated to Christina Meißner and Poul Skjølstrup Larsen. Chaya CzernowinChaya Czernowins Gradual edge für Violoncello und Orgel ist durch eine Skulptur von Anish Kapoor inspiriert, die aus zwei riesigen Halbkugeln besteht. Es ist ein Versuch, dem Übergang von äußerer Substanz zu den endlosen Hohlräumen im Inneren der zunehmenden Dunkelheit nachzuforschen.
$16.99
15.4 €
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Violoncelle, Orgue
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Chaya Czernowin
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Gradual edge
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Schott Music - Digital
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SheetMusicPlus
Sonata for Piano No. 5 "GILT-EDGE"
Piano seul
Piano Solo - Level 5 - Digital Download SKU: A0.1397074 By Sean A. Moore. By Sean A…
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Piano Solo - Level 5 - Digital Download SKU: A0.1397074 By Sean A. Moore. By Sean A. Moore. 21st Century,Classical,Contemporary. Score. 25 pages. Sean A Moore #980408. Published by Sean A Moore (A0.1397074). GILT-EDGE†is a piano sonata in three movements. The sonata features dissonance, clusters, irregular rhythmic patterns and meters, syncopation, and extremes in textures and dynamics. The work is mostly intervallically/motivically based with the entire keyboard being utilized as a sort of sonic canvas as diverse as the world itself. The first movement, “GILT-EDGEâ€, has the same name as the title of the composition. The movement is emotionally intense, beginning loudly with a forearm cluster crash at the low end of the instrument and with a fast tempo. However, the first movement of the sonata ends slowly, quietly and sometimes dreamlike all while expressing a very dark mood. “Hopewellâ€, the second and somewhat more melodic movement, has a more meditative quality. This movement is inspired by the image of a quiet country road and an uncomplicated way of living that sometimes isn’t always what it seems. The final movement, “Antiochâ€, written on three staves, returns the listener back to the emotional complexities of the first movement. However, this movement does not end quietly. In this short explosive last movement, the sonata reaches its dramatic conclusion.
$12.99
11.78 €
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Piano seul
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Sean A
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Sonata for Piano No. 5 "GILT-EDGE"
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Sean A Moore
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SheetMusicPlus
On the Edge of Tomorrow
Voix Soprano, Piano
Soprano voice,Vocal Solo - Level 2 - Digital Download SKU: A0.1379783 By Ken Medema…
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Soprano voice,Vocal Solo - Level 2 - Digital Download SKU: A0.1379783 By Ken Medema. By Ken Medema. Arranged by Ken Medema. Sacred. 8 pages. Ken Medema Music #956360. Published by Ken Medema Music (A0.1379783). Solo PianoStanding on the edge of tomorrow,Standing on the edge of adventure,Standing in the place of discovery,Learning every step on the way,Thankful for the pathways behind us,Looking to the future before us,Guided by the Spirit among us,Standing at the dawn of the day.Verse 1Holy Spirit guide us, worshiping we come,Draw us ever closer to our God our home.Fill us with God’s presence, mold and change and turn,Till with holy fire hearts like torches burn.Â
$3.99
3.62 €
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Voix Soprano, Piano
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Ken Medema
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Ken Medema
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On the Edge of Tomorrow
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Ken Medema Music
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SheetMusicPlus
On The Edge of Tomorrow
Piano Facile
C Instrument - Level 1 - Digital Download SKU: A0.1372133 By Ken Medema. By Ken Med…
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C Instrument - Level 1 - Digital Download SKU: A0.1372133 By Ken Medema. By Ken Medema. Arranged by Cathy Chamblee. Sacred. Lead Sheet / Fake Book. 8 pages. Ken Medema Music #956378. Published by Ken Medema Music (A0.1372133). Standing on the edge of tomorrowSolo/PianoDo you feel the gentle winds of change?Do you see the first glimpse of sunrise?Do you smell the fragrance new and strange?Standing on the edge of tomorrow,Do you hear a single robin sing?Do you feel the trees gently stirring?Could this be the taste of coming spring?
$1.99
1.8 €
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Piano Facile
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Ken Medema
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Cathy Chamblee
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On The Edge of Tomorrow
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Ken Medema Music
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SheetMusicPlus
The River's Edge. For viola and piano.
Alto, Piano
Piano,Viola - Level 4 - Digital Download SKU: A0.827198 Composed by Fiona Caldarevi…
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Piano,Viola - Level 4 - Digital Download SKU: A0.827198 Composed by Fiona Caldarevic. Concert,Contemporary. Score and part. 8 pages. Fiona Caldarevic #3379327. Published by Fiona Caldarevic (A0.827198). The River's Edge was composed by Australian composer Fiona Caldarevic for piano and viola in response to a haiku by Sue Killham about their home town of Narrandera NSW Australia, as part of the Naviar Haiku series: Verdant town of treesPoised upon the river's edgeWaiting for one dayWatch a performance of this composition here: https://youtu.be/q6DNSbA_WZgDigital PDF download includes full score and separate viola part.
$6.99
6.34 €
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Alto, Piano
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Fiona Caldarevic
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The River's Edge. For viola and piano.
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Fiona Caldarevic
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SheetMusicPlus
From the Shadow's Edge (for Brass Quintet & Optional Percussion)
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
Horn,Trombone,Trumpet,Tuba - Level 4 - Digital Download SKU: A0.1158148 Composed by…
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Horn,Trombone,Trumpet,Tuba - Level 4 - Digital Download SKU: A0.1158148 Composed by Dr. Daniel N. Thrower. 20th Century,Chamber,Classical,Historic,Patriotic. 47 pages. Https://gildedmusicpress.com/ #758453. Published by https://gildedmusicpress.com/ (A0.1158148). From the Shadow's Edge was commissioned by horn player in the US Air Force Bands, SSgt Alena Zidlicky, to honor her grandmother Beluse Urlich Zidlicky (Babi), who escaped the oppressive Nazi occupation of Czechoslovakia during WWII. For brass quintet and percussion, the horn is featured. The music of this composition begins in aural darkness, as if immersed in an inescapable shadow. The tense harmonies and contrapuntal motions of the brass are accompanied by two heartbeat motifs, in the tuba and bass drum, conjuring sentiments of fear and uncertainty. Emotions swell as the solo horn enters with contrasting triplet rhythms that struggle against the complex mixture of duple strains throughout the other parts. This dark introduction serves as a prelude to the above storyline, which transitions quickly (and trepidatiously) out of the shadow. From rehearsal letter B through the remainder of the piece, hope permeates in the brightness, once escaped from the shadow’s ominous edge. The complex nature of the thematic overlapping and polyphonic texture of the quintet as a whole provide feelings of unrest, anticipation, hope, and yes, heroism. Nothing exudes heroism more than a soaring solo horn! This composition celebrates triumph over evil, whether during life or in death, and those who press on with a brightness of hope even in the darkest shadows that life can cast, as exemplified in the life of Beluse Ulrich Zidlicky.
$29.95
27.16 €
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Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
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Dr
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From the Shadow's Edge
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https://gildedmusicpress.com/
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SheetMusicPlus
Lady Gaga : The Edge of Glory (niveau facile/intermédiaire, sax alto)
Saxophone
Téléchargez la partition Saxophone The Edge of Glory (niveau facile/interm&e…
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Téléchargez la partition Saxophone The Edge of Glory (niveau facile/intermédiaire, sax alto) de Lady Gaga. Partition pour Saxophone avec accomp. orchestre -- Pop/rock
5.99 €
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Saxophone
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Lady Gaga
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The Edge of Glory
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Tomplay
Lady Gaga : The Edge of Glory (niveau difficile, sax alto)
Saxophone
Téléchargez la partition Saxophone The Edge of Glory (niveau difficile, sax …
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Téléchargez la partition Saxophone The Edge of Glory (niveau difficile, sax alto) de Lady Gaga. Partition pour Saxophone avec accomp. orchestre -- Pop/rock
5.99 €
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Saxophone
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Lady Gaga
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The Edge of Glory
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Tomplay
Lady Gaga : The Edge of Glory (niveau facile/intermédiaire, sax ténor)
Saxophone
Téléchargez la partition Saxophone The Edge of Glory (niveau facile/interm&e…
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Téléchargez la partition Saxophone The Edge of Glory (niveau facile/intermédiaire, sax ténor) de Lady Gaga. Partition pour Saxophone avec accomp. orchestre -- Pop/rock
5.99 €
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Saxophone
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Lady Gaga
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The Edge of Glory
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Tomplay
Lady Gaga : The Edge of Glory (niveau difficile, sax ténor)
Saxophone
Téléchargez la partition Saxophone The Edge of Glory (niveau difficile, sax …
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Téléchargez la partition Saxophone The Edge of Glory (niveau difficile, sax ténor) de Lady Gaga. Partition pour Saxophone avec accomp. orchestre -- Pop/rock
5.99 €
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Saxophone
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Lady Gaga
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The Edge of Glory
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Tomplay
Lady Gaga : The Edge of Glory (niveau facile/intermédiaire)
Clarinette
Téléchargez la partition Clarinette The Edge of Glory (niveau facile/interm&…
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Téléchargez la partition Clarinette The Edge of Glory (niveau facile/intermédiaire) de Lady Gaga. Partition pour Clarinette avec accomp. orchestre -- Pop/rock
5.99 €
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Clarinette
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Lady Gaga
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The Edge of Glory
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Tomplay
Lady Gaga : The Edge of Glory (niveau débutant, sax alto)
Saxophone
Téléchargez la partition Saxophone The Edge of Glory (niveau débutant…
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Téléchargez la partition Saxophone The Edge of Glory (niveau débutant, sax alto) de Lady Gaga. Partition pour Saxophone avec accomp. orchestre -- Pop/rock
5.99 €
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Saxophone
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Lady Gaga
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The Edge of Glory
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Tomplay
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