SKU: FA.MFCD017B
8.27 x 11.69 inches.
Contains Le Roi Lear: Prelude,Premiere Fanfare, and La Mort de Cordelia,Toomai des elephants, Rodrigue et Chimene: Prelude a l'acte 1p. Le Martyre de Saint Sebastien: La Passion , and No-ja-li ou Le Palais du SilenceFrom Robert Orledge's notes: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 Pelleas et Melisande 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 Orphee-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 Sebastien and La Boite a joujoux by his 'angel of corrections' ['l'ange des Corrections'] Andre Caplet in 1911 and 1919 respectively).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.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 Andre 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.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.
SKU: PR.114409470
UPC: 680160014200. 8.5 x 11 inches.
The idea of Song in Winter came from the imagination of the pine and the bamboo. They are so persistent and dauntless. Standing in the frigid winter, they are evergreens. In Chinese paintings, they are featured characters; in Chinese literature, they are praised as symbols against evil influences and unhealty trends. Chen Yi admires their beautiful appearances and their strong spirit and expresses their feelings through their music, which combines Chinese and Western musical materials and medium. The silence between the gestures is like the space in brush painting and calligraphy.Song in Winter is a trio written for harpsichord, dizi (bamboo flute) and zheng (Chinese zither). My idea for this piece came from the pine and the bamboo. Such persistent and dauntless trees! Standing in the frigid winter, they are evergreens. In Chinese paintings, they are the featured characters, while in Chinese literature, they are praised as symbols against evil influences and unhealthy trends. I admire their beautiful appearances and their strong spirit. I express my feelings through my music, which combines Chinese and Western musical materials and media. Using the harpsichord, an old Western instrument, and the zheng and dizi, two old Chinese instruments, I mix keyboard, plucking and blowing instruments into a whole. The silence between the gestures is like the space in Chinese brush painting and calligraphy. Although I have been living in a western society for seven years, I have found my thinking closely linked with Chinese arts. I merged them into my musical language in the trio. Song in Winter was commissioned and inspired by Prof. Joyce Lindorff, the winner of the Pro Musicis Foundation's international competition, for her March 23, 1994 concert at Weill Recital Hall at Carnegie Hall in New York, sponsored by the Foundation. It is dedicated to Ms. Lindorff and Ms. Susan Cheng, the founder and executive director of Music From China, who has been enthusiastically supporting Chinese new music in New York for many years. The work has been recorded on the album “Sparkle: Chamber Music of Chen Yi†on CRI, released in New York in 1999. The trio has also been adapted for quartet: flute, zheng (Chinese zither), piano and percussion, for ALEA III, for the premiere concert in Feb. 4, 1994, in Boston.—Chen Yi(born in China, 1953).
SKU: HL.35031818
UPC: 888680711399. 5.0x5.0x0.15 inches. Daniel 2:19, I Corinthians 2:7, Job 34:29, Lamentations 3:28, Mark 4:11, Romans 16:25.
A very interesting poetic perspective is explored in this anthem that considers the silence, shadows and mystery of faith, reminding us that truth is sometimes revealed in moments of quiet contemplation and in times of seeking. The American folk hymn Jesus, My Song in the Night clarifies the Source of our answers, and arching melodic gestures with lush harmonies infuse this piece with a theatrical sweep that really connects. Score and Parts (fl 1-2, ob, cl 1-2, bn, hn 1-2, tpt 1-3, tbn 1-3, tba, perc 1-2, timp, pno, hp, vn 1-2, va, vc, db) available as a digital download.
SKU: PR.416415420
UPC: 680160632312.
Echoes of Silence was commissioned by the Albany Symphony Orchestra for the American Music Festival of 2012 as part of the Capitol Region Heritage Commissions project. The work takes as its inspirations the Troy Savings Bank Music Hall in Albany, NY, and the Albany Symphony Orchestra. The Troy Savings Bank was founded in 1823 and was one of the more important music halls in early-twentieth-century America. It was honored with performances by many world-renowned artists, such as Vladimir Horowitz, Yehudi Menuhin, and Arthur Rubinstein. The title, Echoes of Silence, refers to the echoes of these and other artists' great performances, which one might imagine still resonate in the hall. If the hall had a voice, it would also sing of the all the wonderful masterpieces that were performed there in the past. The main idea of this piece is to reflect the sounds that were absorbed by the walls of this concert hall during the past century of live performance. Some of the main pitch materials are derived from Alexander Borodin's Symphony No. 2, a masterpiece that was composed in 1823, the same year as the founding of the Troy Savings Bank. The main thematic materials of Echoes of Silence are developed from many small musical motifs found in Borodin's symphony. Another source of material is Igor Stravinsky's Symphony of Psalms, composed in 1930, the year in which the Albany Symphony Orchestra was founded. These borrowed materials are used as the main elements in maintaining the structural unity of Echoes of Silence. Because this concert hall has absorbed so much wonderful music from so many great performances, we can imagine even the smallest corner of the hall filling its silence with echoes.
SKU: PR.41641542L
UPC: 680160632329.
SKU: BT.MUSAM996996
ISBN 9781849380140. English.
The Complete Guitar Player series has taught hundreds of thousands how to play and the accompanying songbooks have featured hits by Paul Simon, Elvis Presley, The Beatles, John Denver and many othertopartists.Now these songbooks are available in super value omnibus editions like this one. The songs are still graded by ease of playing and everything is there... standard notation, Guitar chord boxes, full lyrics andevenstrumming patterns!Over 180 great songs! Perfect for all players and singers!The bonus CD contains backing tracks to 16 of the songs in the book.
SKU: LO.10-2363LA
UPC: 000308048803.
SATB-Optional C-instrument, Handbells (3 octaves)- Gleaned from the best-selling cantata Come To The Table, this joyous outburst of glad Hosannas!ö will begin you church's Passion Week with suitable celebration. The optional instruments add an extra degree of festivity.
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