SKU: BT.MUSTH978746

English.

This work owes its inception to Delius' friend Percy Granger, who approached Delius for 'some piece for not too big Orchestra...and not too wildly difficult'. This work is the result of this request, and is scored here for PianoSolo.

SKU: PR.110418480

ISBN 9781491136294. UPC: 680160688784.

Chen Yi’s beautiful and highly-textured tone poem was inspired by ancient Chinese poetry; its melodic ideas were developed from musical phrases characteristic of Chinese opera. Wang Ya’s original verse as translated by Chen Yi reads:“SONG OF SPRING OUTING”Ten thousand apricot trees by the riverside,Spring flowers bloom after the wind at night.Covered over the garden, colors dark and light,Mirrored in the green water ripples.
SONG OF SPRING OUTING was commissioned by the Center for East Asian Studies and the Asian Classical Music Initiative at the University of Kansas in 2022 for Dr. Yi-Yang Chen to premiere in 2023.The work was inspired by an ancient Chinese poem with the same title:Song of Spring Outingby Wang Ya (Tang Dynasty)English translation by Chen YiTen thousand apricot trees by the riverside,Spring flowers bloom after the wind at night.Covered over the garden, colors dark and light,Mirrored in the green water ripples.This inspiring image is like taking a walk through a beautiful garden with layers of colorful trees and flowers, mirrored in the green water.The opening phrase of the music introduces the signature intervals, the leap of a seventh found in Beijing Opera fiddle’s language, followed by melodic material with a major 2nd and perfect 4th in pentatonic style as the thematic materials. [C-Bb-G in bars 1-2, followed by the top pitches A-B and Ab-E( in bars 2-3]. This statement is brought back (Rehearsal F) in a retrograded form of the introduction at the climatic end of the piece.The musical form is a combination of variations on thematic materials, and a rondo. After the introductory section, Rehearsal A introduces an improvisation-like mountain song melody (developed from the pentatonic material in the introduction).Rehearsal B brings in a lively texture in short groupings with staccato in both hands (using the seventh leap interval introduced in the opening of the piece).Rehearsals C and D develop the introduction’s pentatonic melody and the mountain tune (introduced in Rehearsal A) with more layers in the texture.Rehearsal E develops the material presented in Rehearsal B, with an extended range in both ends of the keyboard, increasing the freshness and excitement.

SKU: HL.49008417

ISBN 9790001131650. 9.0x12.0x0.193 inches.

This Spring music forms part of the cycle The Seasons, a collection for piano containing the previously published pieces Balta ainava (White Landscape) and Rudens musika (Autumn music). Nature in all its shapes and the relationship of humans to Nature play an important role in Vask's works. Many of his works have programmatic titles associated with this theme, such as landscapes of burnt earth and music for migrating birds.

SKU: HL.49019759

ISBN 9790001191692. UPC: 840126938760. 9.0x12.0x0.157 inches.

The anthology 'Klangspuren' by Barbara Heller contains 76 works for piano which have been written for the Barbara Heller Piano Competition. Each title has its own personal message: Music can show an image or remind of something, be a short story and put one in a special mood.Arranged in a progressive order, the pieces are divided into two volumes: Vol. 1 contains easy to intermediate pieces, Vol. 2 intermediate to difficult pieces.

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 Silence

From 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.