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La minute de silence
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PlayPopSongs: La minute de silence
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PlayPopSongs: La minute de silence
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La minute de silence
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Quickpartitions
Michel Berger: La minute de silence
Piano, Voix et Guitare
4.99 €
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Piano, Voix et Guitare
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Michel Berger: La minute de silence
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La minute de silence
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Quickpartitions
Michel Berger : La minute de silence
Accompagnement Piano
Partitions piano d'accompagnement
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Accompagnement Piano
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Michel Berger
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La minute de silence
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Noviscore
Michel Berger : La minute de silence
Instruments en Do
Instruments en Do
Instruments en Do
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Instruments en Do
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Michel Berger
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La minute de silence
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Noviscore
Michel Berger : La minute de silence
Piano seul
Partitions piano solo
Partitions piano solo
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Piano seul
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Michel Berger
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La minute de silence
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Noviscore
Michel Berger : La minute de silence
Piano seul
Partitions piano solo
Partitions piano solo
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Piano seul
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Michel Berger
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La minute de silence
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Noviscore
Michel Berger : La minute de silence
Piano seul
Partitions piano solo
Partitions piano solo
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Piano seul
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Michel Berger
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La minute de silence
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Noviscore
Michel Berger : La minute de silence
Instruments en Mib
Instruments en Mi bémol
Instruments en Mi bémol
4.99 €
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Instruments en Mib
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Michel Berger
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La minute de silence
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Noviscore
Michel Berger : La minute de silence
Instruments en Sib
Instruments en Si bémol
Instruments en Si bémol
4.99 €
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Instruments en Sib
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Michel Berger
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La minute de silence
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Noviscore
A La Orilla Azul del Silencio (On the Blue Shore of Silence)
Piano seul
Piano Solo - Level 5 - Digital Download SKU: A0.938565 Composed by Douglas Pew. Con…
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Piano Solo - Level 5 - Digital Download SKU: A0.938565 Composed by Douglas Pew. Contemporary. Score. 20 pages. Blue Shore Music #12975. Published by Blue Shore Music (A0.938565). The 25-minute suite A la Orilla Azul Del Silencio ('On the Blue Shore of Silence') was inspired by the last poems of Pablo Neruda. Sensual, other-worldly, expressive and showcasing his rich harmonic pallet, they are freely tonal and transcend any sense of measured time. This is gorgeous piano music. The language is luminous and chromatic, with just enough hints of tonality to help juxtapose the incredible harmonic shifts. His sonic approach to the keyboard here has its ancient roots in Debussyâs pianism, demanding hushed pianissimo dynamics. Pew has a unique voice that is sure to connect with audiences, while saying something fresh, profound and meaningful. - Scott Holden, pianist. 1. Llueve (It Rains) 2.Flores en la Luz (Flowers in the Light) 3. Una Palpitación de Estrellas Pálidas (A Palpitation of Pale Stars) 4. ¿Ahà Está el Mar? (Is the Sea There?) 5. ¡Fue tan bello vivir cuando vivÃas! (It was beautiful to live when you lived!). For more information, please visit douglaspew.com.
$34.99
32.64 €
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Piano seul
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Douglas Pew
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A La Orilla Azul del Silencio
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Blue Shore Music
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SheetMusicPlus
Un, Flambeau, Jeanette Isabella (Bring a Torch, Jeanette Isabella)
Chorale 3 parties
Choral Choir (SSA) - Level 3 - Digital Download SKU: A0.887268 Composed by Traditio…
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Choral Choir (SSA) - Level 3 - Digital Download SKU: A0.887268 Composed by Traditional. Arranged by Michelle Willis. Christmas,Contemporary,Renaissance,Sacred. Octavo. 4 pages. Teton Music #3138323. Published by Teton Music (A0.887268). Lucious harmonies make this familiar, 15th century Christmas carol fresh again. The piece begins with percussive 'dings' and 'dongs' as they mimic the ringing of church bells. The remainder of the piece splits into four part women's harmony with flowing, moving lines in each vocal part. Excellent selection for church, school or professional ensembles. May be sung in English or French.Duration: 2 minutes, 45 secondsEnglish LyricsBring a torch, Jeanette, Isabella!Bring a torch, to Bethlehem come!Christ is born. Tell the folk of the villageMary has laid him in a manger.Ah! Ah! beautiful is the Mother!Ah! Ah! beautiful is her child!Who is that, knocking on the door?Who is it, knocking like that?Open up, we've arranged on a platterLovely cakes that we have brought hereKnock! Knock! Knock! Open the door for us!Knock! Knock! Knock! Let's celebrate!It is wrong when the Baby is sleeping,It is wrong to speak so loud.Silence, now as you gather around,Lest your noise should waken Jesus.Hush! Hush! see how the Baby slumbers;Hush! Hush! see how the Baby sleeps!Softly now unto the stable,Softly for a moment come!Look and see how charming is Jesus,Look at him there, His cheeks are rosy!Hush! Hush! see how the Child is sleeping;Hush! Hush! see how he smiles in dreams!French LyricsUn flambeau, Jeannette, IsabelleUn flambeau, courons au berceau.Câest Jésus, bonnes gens du hameau,Le Christ est né, Marie appelleAh! Ah! Que la mère est belleAh! Ah! Que lâEnfant est beau.Qui vient là frappant de la sorteQui vient là frappant comme ça.Ouvrez donc jâai posé sur un platDe bons gâteaux quâici jâapporte.Toc! Toc! Ouvrez-nous la porteToc! Toc! Faisons grand gala.Câest un tort quand lâEnfant sommeilleCâest un tort de crier si fort.Taisez-vous lâun et lâautre dâabord,Au moindre bruit Jésus sâéveilleChut! Chut! Il dort à merveilleChut! Chut! Voyez comme Il dort.Doucement dans lâétable closeDoucement venez un momentApprochez! Que Jésus est charmant,Comme Il est blanc, comme Il est roseDo! Do! Que lâEnfant reposeDo! Do! QuâIl rie en dormant.
$2.49
2.32 €
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Chorale 3 parties
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Traditional
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Michelle Willis
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Un, Flambeau, Jeanette Isabella
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Teton Music
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SheetMusicPlus
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 quâune 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 Debussyâs 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 violinâs 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 Debussyâs 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 Debussyâs 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 KÅchlin 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 KÅchlin 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 Debussyâs unfinished works, and especially his theatre projects. His completion of Debussyâs 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
15.81 €
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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
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…
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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 lacte 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 18931902 and the ballet Jeux for Diaghilevs Ballets Russes in 191213). 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, 190203); some were half-finished (like his other Poe opera La Chute de la Maison Usher, 190817); while others were musically complete but had their orchestrations completed by other composers (like Khamma, by Charles Koechlin, 191213; or Le Martyre de Saint Sébastien and La Boîte à joujoux by his angel of corrections [lange des Corrections] André Caplet in 1911 and 1919 respectively).<br> <br> For it has to be admitted that what some scholars call Debussys 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 Feures 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 Debussys lost potential masterpieces from his existing sketches and draftsthen orchestrating them in Debussys 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
36.33 €
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Piano seul
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Claude Debussy/Robert Orledge
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Debussy Inconnu: Album of works for the piano by Claude Debussy completed by Robert Orledge, Vol. 2
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Musik Fabrik Music Publishing
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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…
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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 LHistoire 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 18931902 and the ballet Jeux for Diaghilevs Ballets Russes in 191213). 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, 190203); some were half-finished (like his other Poe opera La Chute de la Maison Usher, 190817); while others were musically complete but had their orchestrations completed by other composers (like Khamma, by Charles Koechlin, 191213; or Le Martyre de Saint Sébastien and La Boîte à joujoux by his angel of corrections [lange des Corrections] André Caplet in 1911 and 1919 respectively).<br> <br> For it has to be admitted that what some scholars call Debussys 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 Feures 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 Debussys lost potential masterpieces from his existing sketches and draftsthen orchestrating them in Debussys 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
36.33 €
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Piano seul
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Claude Debussy/Robert Orledge
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Debussy Inconnu: Album of works for the piano by Claude Debussy completed by Robert Orledge, Vol. 1
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Musik Fabrik Music Publishing
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SheetMusicPlus
Mi Amado (My Beloved) from Two Love Songs of St. John of the Cross (Downloadable)
Chorale SSAA
SSAA choir unaccompanied - Moderately Difficult - Digital Download SKU: MQ.7351-E C…
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SSAA choir unaccompanied - Moderately Difficult - Digital Download SKU: MQ.7351-E Composed by Steven Sametz. Wedding. 8 pages. Duration 2 minutes, 30 seconds. E. C. Schirmer Music Company - Digital #7351-E. Published by E. C. Schirmer Music Company - Digital (MQ.7351-E). Spanish.Set to the poetry of the 16th-century Spanish Carmelite priest, San Juan de la Cruz (St. John of the Cross,) this piece (and its companion, 7350) can appear to be a secular love song. But it is actually religious allegory in which the Soul is singing to God. He is strong and magnificent as a mountain; comforting as the cool, shady woods; filled with unexpected delights like an exotic island; possesses her powerfully like a roaring river; thrills her with a touch like a breeze on the skin; fills her and satisfies her like a delicious meal; opens her eyes to the unexpected, like the dawn. As they rest together in the tranquil night, the soul delights in these feelings like being filled with glorious music that can truly be heard only in silence. In that moment, we are given a luxurious silence, surrounded by gorgeous music, in which we, too, may simply breathe, delight and rest in the presence of Love.Duration: 2:30.
$2.25
2.1 €
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Chorale SSAA
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Steven Sametz
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Mi Amado
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E. C. Schirmer Music Company - Digital
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SheetMusicPlus
Ange Flégier: Au crépuscule for baritone voice and piano
Baritone Horn TC,Vocal Solo,Voice - Level 3 - Digital Download SKU: A0.533410 Compo…
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Baritone Horn TC,Vocal Solo,Voice - Level 3 - Digital Download SKU: A0.533410 Composed by Ange Flégier. Concert,Romantic Period,Standards. 9 pages. Musik Fabrik Music Publishing #2913373. Published by Musik Fabrik Music Publishing (A0.533410). A setting of a poem by Jean Richepin. Edited by Jared Schwartz and Mary Dibbern.Recorded on Ange Flégier: Mélodies for Baritone Voice and Piano.Toccata Classics, 2016. In e minor. Duration: aprox. 4 minutesAnge Flégier (1846â1925) was born in Marseilles and also died there. Hestudied composition with Ambroise Thomas at the Conservatoire in Paris and then became a well-known composer with more than 350 works in his catalogue. Most of his works are concert songs and chamber music pieces. He also worked as a music critic and, later in life, as a painter.Dans le silenceLe bateau dortEt bord sur bordIl se balance.Seul à lâavantUn petit mousseDâune voix douceSiffle le vent.Au couchant pâleEt violetFlotte un refletDernier dâopale.Les flots déteintsOnt sous la briseLa couleur griseDes vieux étains.Alors la veuveAux noirs cheveuxSe dit: «Je veuxFaire lâépreuveDe mes écrinsDans cette glace.»Et la Nuit placeParmi ses crins,Sous ses longs voilesAux plis dormants,Les diamantsDe ses étoiles.
$9.10
8.49 €
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Ange Flégier
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Ange Flégier: Au crépuscule for baritone voice and piano
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Musik Fabrik Music Publishing
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SheetMusicPlus
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