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Vous avez sélectionné:
Robert de Visée
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Robert de Visée Baroque Lute Suites Volume One for Low G Ukulele
Ukulele
Ukulele - Level 3 - Digital Download SKU: A0.1126579 By Michael P Walker. By Robert…
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Ukulele - Level 3 - Digital Download SKU: A0.1126579 By Michael P Walker. By Robert de Visee. Arranged by Michael P Walker. Baroque,Classical. Score. 63 pages. Michael P Walker #727229. Published by Michael P Walker (A0.1126579). Who would have thought you could play classical music on a ukulele? But you can! Here are Baroque Lute pieces by Robert de Visée arranged in tablature and modern notation for Low G ukulele. Robert de Visée, (1655 – 1732/33) In 1686 Robert de Visée was one of King Louis XIV's favorite musicians performing regularly in the private royal chambers, while also being recognized for his musicianship. De Visée composed mostly for the guitar, theorbo, and lute, and is arguably one of the most important French composers of Baroque guitar music. Recommended for Intermediate to Advanced Performers.
$19.95
18.21 €
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Ukulele
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Michael P Walker
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Michael P Walker
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Robert de Visée Baroque Lute Suites Volume One for Low G Ukulele
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Michael P Walker
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SheetMusicPlus
Robert de Visée Baroque Lute Suites Volume Three for Low G Ukulele
Ukulele
Ukulele - Level 3 - Digital Download SKU: A0.1126589 By Michael P Walker. By Robert…
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Ukulele - Level 3 - Digital Download SKU: A0.1126589 By Michael P Walker. By Robert de Visee. Arranged by Michael P Walker. Baroque,Classical. Score. 44 pages. Michael P Walker #727240. Published by Michael P Walker (A0.1126589). Who would have thought you could play classical music on a ukulele? But you can! Here are Baroque Lute pieces by Robert de Visée arranged in tablature and modern notation for Low G ukulele. Robert de Visée, (1655 – 1732/33) In 1686 Robert de Visée was one of King Louis XIV's favorite musicians performing regularly in the private royal chambers, while also being recognized for his musicianship. De Visée composed mostly for the guitar, theorbo, and lute, and is arguably one of the most important French composers of Baroque guitar music. Recommended for Intermediate to Advanced Performers.
$19.95
18.21 €
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Ukulele
#
Michael P Walker
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Michael P Walker
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Robert de Visée Baroque Lute Suites Volume Three for Low G Ukulele
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Michael P Walker
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SheetMusicPlus
Robert de Visée Baroque Lute Suites Volume Two for Low G Ukulele
Ukulele
Ukulele - Level 3 - Digital Download SKU: A0.1126583 By Michael P Walker. By Robert…
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Ukulele - Level 3 - Digital Download SKU: A0.1126583 By Michael P Walker. By Robert de Visee. Arranged by Michael P Walker. Baroque,Classical. Score. 50 pages. Michael P Walker #727234. Published by Michael P Walker (A0.1126583). Who would have thought you could play classical music on a ukulele? But you can! Here are Baroque Lute pieces by Robert de Visée arranged in tablature and modern notation for Low G ukulele. Robert de Visée, (1655 – 1732/33) In 1686 Robert de Visée was one of King Louis XIV's favorite musicians performing regularly in the private royal chambers, while also being recognized for his musicianship. De Visée composed mostly for the guitar, theorbo, and lute, and is arguably one of the most important French composers of Baroque guitar music. Recommended for Intermediate to Advanced Performers.
$19.95
18.21 €
#
Ukulele
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Michael P Walker
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Michael P Walker
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Robert de Visée Baroque Lute Suites Volume Two for Low G Ukulele
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Michael P Walker
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SheetMusicPlus
Robert de Visée - Menuet (Easy Classical Guitar with Tabs)
Guitare notes et tablatures
Guitar - Level 2 - Digital Download SKU: A0.570248 Composed by Robert de Visee. Arr…
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Guitar - Level 2 - Digital Download SKU: A0.570248 Composed by Robert de Visee. Arranged by Cadenza Editions. Baroque,Children,World. Guitar Tab. 3 pages. Cadenza Editions #4735675. Published by Cadenza Editions (A0.570248). Robert de Visée - Menuet (Easy Classical Guitar with Tabs).
$4.99
4.55 €
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Guitare notes et tablatures
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Robert de Visee
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Cadenza Editions
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Robert de Visée - Menuet
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Cadenza Editions
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SheetMusicPlus
Robert de Visee 5 Lute Suites and Six Petites Pieces, in Tablature and Modern Notation for Baritone Ukulele
Ukulele Baryton
Composed by Robert de Visee (1650-1725). Arranged by Michael P. Walker. Renaissance.…
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Composed by Robert de Visee (1650-1725). Arranged by Michael P. Walker. Renaissance. Tablature. 130 pages. Published by Published by Morgan Cobb Associates
Recommended for Intermediate to AdvancedPerformers, Here are 45 compositions by Robert de Visée fromthe 17th Century transcribed for the baritone ukulele, Renaissanceguitar, low G ukelele, and many otherfour-course instruments. Of course, theymay all be played on the guitar.Recommended for Intermediate to AdvancedPerformers, Here are 45 compositions by Robert de Visée fromthe 17th Century transcribed for the baritone ukulele, Renaissanceguitar, low G ukelele, and many otherfour-course instruments. Of course, theymay all be played on the guitar.
$19.95
18.21 €
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Ukulele Baryton
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Robert de Visee (1650-1725)
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Michael P
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Robert de Visee 5 Lute Suites and Six Petites Pieces, in Tablature and Modern Notation for Baritone Ukulele
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Published by Morgan Cobb Associates
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SheetMusicPlus
ALLEMANDE - SUITE IN G MINOR - ROBERT DE VISÉE - FOR GUITAR SOLO
Guitare
Solo Guitar - Level 4 - Digital Download SKU: A0.569705 By FALLAHIN SCORE EDITIONS.…
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Solo Guitar - Level 4 - Digital Download SKU: A0.569705 By FALLAHIN SCORE EDITIONS. By Robert de Visee. Arranged by Marcelo Fallahin. Baroque,Classical. Individual part. 2 pages. Fallahin Score Editions #179101. Published by Fallahin Score Editions (A0.569705). TRANSCRIPTION FOR GUITAR SOLO.
$5.00
4.56 €
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Guitare
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FALLAHIN SCORE EDITIONS
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Marcelo Fallahin
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ALLEMANDE - SUITE IN G MINOR - ROBERT DE VISÉE - FOR GUITAR SOLO
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Fallahin Score Editions
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SheetMusicPlus
Baroque Uke #12 Passacaille in Em, Robert de Visée
Ukulele
Composed by Robert de Visee (1650-1725). Arranged by Chris Webster. Baroque, Classical…
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Composed by Robert de Visee (1650-1725). Arranged by Chris Webster. Baroque, Classical. Individual part. 2 pages. Chris Webster #788096. Published by Chris Webster
$1.99
1.82 €
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Ukulele
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Robert de Visee (1650-1725)
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Chris Webster
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Baroque Uke #12 Passacaille in Em, Robert de Visée
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Chris Webster
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SheetMusicPlus
ALLEMANDE - ROBERT DE VISÉE - FOR GUITAR SOLO
Guitare
By FALLAHIN SCORE EDITIONS. By Robert de Visee (1650-1725). Arranged by Marcelo Fallah…
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By FALLAHIN SCORE EDITIONS. By Robert de Visee (1650-1725). Arranged by Marcelo Fallahin. Baroque, Classical. Individual part. 2 pages. Fallahin Score Editions #128527. Published by Fallahin Score Editions
$8.00
7.3 €
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Guitare
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FALLAHIN SCORE EDITIONS
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Marcelo Fallahin
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ALLEMANDE - ROBERT DE VISÉE - FOR GUITAR SOLO
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Fallahin Score Editions
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SheetMusicPlus
Suite (E Minor) for easy guitar duo
2 Guitares (duo)
Instrumental Duet Guitar,Instrumental Duet - Level 3 - Digital Download SKU: A0.531499
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Instrumental Duet Guitar,Instrumental Duet - Level 3 - Digital Download SKU: A0.531499 Composed by R. de Visee. Arranged by Klas Krantz. Baroque,Classical. Score and parts. 9 pages. Amadeus Music #2035617. Published by Amadeus Music (A0.531499). Robert de Visée (c. 1655 – 1733) was a lutenist, guitarist, theorbist and viol player at the court of the French kings Louis XIV and Louis XV, as well as a singer and composer for lute, theorbo and guitar.
$5.95
5.43 €
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2 Guitares (duo)
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R
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Klas Krantz
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Suite
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Amadeus Music
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SheetMusicPlus
Chaconne by Robert de Visée
Small Ensemble - Digital Download SKU: A0.919864 Arranged by Daniel Duarte, DM. Con…
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Small Ensemble - Digital Download SKU: A0.919864 Arranged by Daniel Duarte, DM. Contemporary. Score and parts. 5 pages. Daniel Duarte, DM #4605079. Published by Daniel Duarte, DM (A0.919864).
$5.99
5.47 €
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Daniel Duarte, DM
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Chaconne by Robert de Visée
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Daniel Duarte, DM
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SheetMusicPlus
Bourrée in D Minor
Guitare notes et tablatures
Guitar - Level 3 - Digital Download SKU: A0.691133 Composed by Robert de Visee. Arr…
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Guitar - Level 3 - Digital Download SKU: A0.691133 Composed by Robert de Visee. Arranged by Mark Phillips. Baroque. Guitar Tab. 2 pages. A. J. Cornell Publications #2941841. Published by A. J. Cornell Publications (A0.691133). Bourrée in D Minor by Robert de Visée (from Guitar Suite in D Minor) for solo classical guitar (in standard notation and tab).
$3.99
3.64 €
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Guitare notes et tablatures
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Robert de Visee
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Mark Phillips
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Bourrée in D Minor
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A. J. Cornell Publications
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SheetMusicPlus
BourreÌe in D Minor (from Suite in D Minor)
2 Clarinettes (duo)
Clarinet Duet Clarinet - Level 2 - Digital Download SKU: A0.692861 Composed by Robe…
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Clarinet Duet Clarinet - Level 2 - Digital Download SKU: A0.692861 Composed by Robert de Visee. Arranged by Mark Phillips. Baroque. 2 scores. 1 pages. A. J. Cornell Publications #6718153. Published by A. J. Cornell Publications (A0.692861). de Visée’s BourreÌe in D Minor (from Suite in D Minor) for clarinet duet
$1.99
1.82 €
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2 Clarinettes (duo)
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Robert de Visee
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Mark Phillips
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BourreÌe in D Minor
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A. J. Cornell Publications
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SheetMusicPlus
BourreÌe in D Minor (from Suite in D Minor)
2 Trompettes (duo)
Trumpet Duet Trumpet - Level 2 - Digital Download SKU: A0.692889 Composed by Robert…
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Trumpet Duet Trumpet - Level 2 - Digital Download SKU: A0.692889 Composed by Robert de Visee. Arranged by Mark Phillips. Baroque. Score. 1 pages. A. J. Cornell Publications #6732773. Published by A. J. Cornell Publications (A0.692889). de Visée’s BourreÌe in D Minor (from Suite in D Minor) for trumpet duet
$1.99
1.82 €
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2 Trompettes (duo)
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Robert de Visee
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Mark Phillips
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BourreÌe in D Minor
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A. J. Cornell Publications
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SheetMusicPlus
BourreÌe in D Minor (from Suite in D Minor)
2 Violons (duo)
Violin Duet Violin - Level 2 - Digital Download SKU: A0.692947 Composed by Robert d…
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Violin Duet Violin - Level 2 - Digital Download SKU: A0.692947 Composed by Robert de Visee. Arranged by Mark Phillips. Baroque. 1 pages. A. J. Cornell Publications #6745409. Published by A. J. Cornell Publications (A0.692947). de Visée’s BourreÌe in D Minor (from Suite in D Minor) for violin duet
$1.99
1.82 €
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2 Violons (duo)
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Robert de Visee
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Mark Phillips
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BourreÌe in D Minor
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A. J. Cornell Publications
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SheetMusicPlus
BourreÌe in D Minor (from Suite in D Minor)
2 Saxophones (duo)
Alto Saxophone Duet Alto Saxophone - Level 2 - Digital Download SKU: A0.692919 Comp…
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Alto Saxophone Duet Alto Saxophone - Level 2 - Digital Download SKU: A0.692919 Composed by Robert de Visee. Arranged by Mark Phillips. Baroque. 2 scores. 1 pages. A. J. Cornell Publications #6744327. Published by A. J. Cornell Publications (A0.692919). de Visée’s BourreÌe in D Minor (from Suite in D Minor) for alto sax duet
$1.99
1.82 €
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2 Saxophones (duo)
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Robert de Visee
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Mark Phillips
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BourreÌe in D Minor
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A. J. Cornell Publications
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SheetMusicPlus
Immortal Invisible - An Anthem for Brass Choir
Ensemble de cuivres
Brass Ensemble - Level 3 - Digital Download SKU: A0.809854 Composed by Text: Walter…
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Brass Ensemble - Level 3 - Digital Download SKU: A0.809854 Composed by Text: Walter C. Smith - 1867 and a traditional Welsh Hymn Melody. Arranged by Robert E. Proctor. Christian,Contemporary,Sacred. Score and parts. 21 pages. R. E. Proctor #3674087. Published by R. E. Proctor (A0.809854). An anthem for brass choir based on the hymn Immortal Invisible God only Wise. Given an intermediate level as the Horn parts are somewhat high. Duration 1:39. It would make a fine processional for any occasion.
$9.95
9.08 €
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Ensemble de cuivres
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Text: Walter C
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Robert E
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Immortal Invisible - An Anthem for Brass Choir
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R. E. Proctor
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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 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.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
35.55 €
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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
#
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 ‘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.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
35.55 €
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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
Suite in D minor for guitar solo
Guitare
Solo Guitar - Level 3 - Digital Download SKU: A0.532291 Composed by R. de Visée.…
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Solo Guitar - Level 3 - Digital Download SKU: A0.532291 Composed by R. de Visée. Arranged by Klas Krantz. Baroque,Classical. Individual part. 6 pages. Amadeus Music #4611487. Published by Amadeus Music (A0.532291). Robert de Visée (1655-1733), A guitarist, lutenist and composer, Robert de Visée enjoyed some distinction as a musician at the court of Louis XIV, and as the guitar teacher of his successor.
$5.95
5.43 €
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Guitare
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R
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Klas Krantz
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Suite in D minor for guitar solo
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Amadeus Music
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SheetMusicPlus
Marche des soldats de Robert Bruce
Quintette de Saxophone: 5 saxophones
Saxophone Quintet,Woodwind Ensemble Alto Saxophone,Baritone Saxophone,Bass Saxophone,Sopra…
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Saxophone Quintet,Woodwind Ensemble Alto Saxophone,Baritone Saxophone,Bass Saxophone,Soprano Saxophone,Tenor Saxophone - Level 2 - Digital Download SKU: A0.946350 Composed by Unknwon (Scottish Folk Music). Arranged by Benjamin Karaca. Celtic,Irish,Multicultural,Patriotic,Renaissance,Traditional,World. 16 pages. Benjamin Karaca #6339839. Published by Benjamin Karaca (A0.946350). This piece of music is named after Robert the Bruce (or Robert I), King of Scots in the early 14th century. It was likely brought to France by Scottish soldiers who were supporting France in the war against England, hence the French title. The song itself is most likely based on the patriotic Scottish song Scots Wha Hae, which, in turn, derives from the old Scottish melody Hey Tuttie Tatie.This piece of music is often performed by pipe bands. It is typically played in the key of B-flat major (F Mixolydian). For this arrangement, I transposed it to E-flat major (B-flat Mixolydian), which better suits the saxophone's range.Originally, I had in mind the instrumentation SAATB. However, I have included the following substitute parts: The second part can be played by either a Soprano or Alto Sax. The third and fourth parts can be played by either an Alto or Tenor Sax. The fifth part can be played by either a Baritone or Bass Saxophone.Saxophone Quintet SAATB, SATTB (and many other lineups) and Snare Drum. Level: 2/5.Part 1: Soprano SaxPart 2: Soprano Sax / Alto SaxPart 3: Alto Sax / Tenor SaxPart 4: Alto Sax / Tenor SaxPart 5: Baritone Sax / Bass SaxSnare DrumScore in CA high-quality arrangement by a professional musician. It also includes interesting information about the piece and helpful tips for interpretation. For more information, please visit my website: www.benjaminkaraca.com.
$19.95
18.21 €
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Quintette de Saxophone: 5 saxophones
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Unknwon
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Benjamin Karaca
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Marche des soldats de Robert Bruce
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Benjamin Karaca
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SheetMusicPlus
Casey Jones Went Down on the Robert E. Lee
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
Brass Ensemble,Brass Quintet - Level 2 - Digital Download SKU: A0.774842 Composed b…
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Brass Ensemble,Brass Quintet - Level 2 - Digital Download SKU: A0.774842 Composed by Clarence M. Jones. Arranged by Bill Wilson. Jazz. Score and parts. 15 pages. Alexander Wilson #39037. Published by Alexander Wilson (A0.774842). A response to Lewis F. Muir and L. Wolfe Gilbert's Waiting for the Robert E. Lee, Clarence Jones and Marvin Lee's Casey Jones Went Down on the Robert E. Lee borrows heavily from its predecessor in terms of music, but still contains enough original ideas to stand on its own. It speaks of the instant fame of the original that both pieces were published in 1912. Arranged for brass quintet (two Bb trumpets, French horn, trombone, and tuba). Includes world parts (horn in Eb, trombone in Bb TC, tuba in Eb TC, and tuba in Bb TC). Performance time is approximately 2:00. Visit our website, www.tootsuitebrasspublishing.com, for a catalog of our arrangements available through sheetmusicplus.com.
$4.00
3.65 €
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Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
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Clarence M
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Bill Wilson
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Casey Jones Went Down on the Robert E. Lee
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Alexander Wilson
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SheetMusicPlus
Cantique de Noel (O Holy Night) - Violin 3 (Viola Treble Clef)
Violon (partie séparée)
Orchestra Violin 3 (Viola Treble Clef) - Level 3-4 - Digital Download SKU: HX.277919
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Orchestra Violin 3 (Viola Treble Clef) - Level 3-4 - Digital Download SKU: HX.277919 By Mannheim Steamroller. Arranged by Chip Davis and Robert Longfield. Christmas. Individual instrument part. 1 pages. Hal Leonard - Digital #0. Published by Hal Leonard - Digital (HX.277919).
$7.00
6.39 €
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Violon (partie séparée)
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Mannheim Steamroller
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Cantique de Noel
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Hal Leonard - Digital
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SheetMusicPlus
Minuet
Ukulele
Ukulele - Level 2 - Digital Download SKU: A0.1165510 By Robert de Visee. By Robert …
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Ukulele - Level 2 - Digital Download SKU: A0.1165510 By Robert de Visee. By Robert de Visee. Arranged by Andrzej Falek. Classical. Score. 1 pages. Andrzej Falek #765872. Published by Andrzej Falek (A0.1165510). Fingerstyle ukele version of a classical composition Minuet by Robert de Visée in C Major. It includes ukulele notation and tab as well as fingering.
$1.99
1.82 €
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Ukulele
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Robert de Visee
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Andrzej Falek
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Minuet
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Andrzej Falek
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SheetMusicPlus
Garôta De Ipanema
Guitare
Solo Guitar - Level 2 - Digital Download SKU: A0.1044126 Composed by Antonio Carlos…
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Solo Guitar - Level 2 - Digital Download SKU: A0.1044126 Composed by Antonio Carlos Jobim and Vinicius De Moraes. Arranged by MARCIO ROBERTO AMARAL. 20th Century,Contemporary,Jazz,Multicultural,Standards,World. Individual part. 5 pages. Marcio Amaral #648853. Published by Marcio Amaral (A0.1044126). Arranjo da música Garota de Ipanema para violão fingerstyle. Arranjo com tablatura e partitura. NÃvel de execução intermediário. Propõe uma execução direta sem improvisações privilegiando a melodia. Composição de Tom Jobim e VinÃcius de Moraes. Bossa Nova.
$5.99
5.47 €
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Guitare
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Antonio Carlos Jobim and Vinicius De Moraes
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MARCIO ROBERTO AMARAL
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Garôta De Ipanema
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Marcio Amaral
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SheetMusicPlus
BourreÌe in D Minor (from Suite in D Minor)
2 Flûtes traversières (duo)
Flute Duet Flute - Level 2 - Digital Download SKU: A0.692833 Composed by Robert de …
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Flute Duet Flute - Level 2 - Digital Download SKU: A0.692833 Composed by Robert de Visee. Arranged by Mark Phillips. Baroque. Score. 1 pages. A. J. Cornell Publications #6713637. Published by A. J. Cornell Publications (A0.692833). de Visee’s BourreÌe in D Minor (from Suite in D Minor) for flute duet
$1.99
1.82 €
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2 Flûtes traversières (duo)
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Robert de Visee
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Mark Phillips
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BourreÌe in D Minor
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A. J. Cornell Publications
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SheetMusicPlus
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