For voice and C instrument. Format: fakebook. With vocal melody, lyrics and chor...(+)
For voice and C
instrument. Format:
fakebook. With vocal
melody, lyrics and chord
names. Traditional pop
and vocal standards.
Series: Hal Leonard Fake
Books. 424 pages. 9x12
inches. Published by Hal
Leonard.
By Nicolas Horvath. By Robert Orledge and Claude Debussy (1862-1918). Redi...(+)
By Nicolas Horvath. By
Robert Orledge and Claude
Debussy (1862-1918).
Rediscoverd Debussy.
Christmas. Score. Musik
Fabrik #MFCD017A.
Published
by Musik Fabrik
Piano - Grade 5 SKU: FA.MFCD017B By Nicolas Horvath. By Claude Debussy an...(+)
Piano - Grade 5
SKU:
FA.MFCD017B
By
Nicolas Horvath. By
Claude Debussy and Robert
Orledge. Rediscoverd
Debussy. Christmas.
Score. Musik Fabrik
#MFCD017B. Published by
Musik Fabrik
(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.
Clarinet SKU: BT.9781408105306 Composed by Jonathan Rutland. Abracadabra....(+)
Clarinet
SKU:
BT.9781408105306
Composed by Jonathan
Rutland. Abracadabra.
Method. Book with CD. 64
pages. Collins Music
Publishing
#9781408105306. Published
by Collins Music
Publishing
(BT.9781408105306).
Backpackers Songbook Ligne De Mélodie, Paroles et Accords [Partition] Centerstream
Compiled by Ron Middlebrook. For voice and guitar or banjo. Format: guitar/vocal...(+)
Compiled by Ron
Middlebrook. For voice
and guitar or banjo.
Format: guitar/vocal
songbook (no tablature -
lyrics and chords only).
With lyrics, chord names,
guitar chord chart, banjo
chord chart and
illustrations. Folk. 108
pages. 6x9 inches.
Published by Centerstream
Publications.
Arranged and Edited from Music of the Sixteenth to Eighteenth Centuries. By Geor...(+)
Arranged and Edited from
Music of the Sixteenth to
Eighteenth Centuries. By
George Frideric Handel;
Giovanni D'antiquis;
Giovanni G. Gastoldi;
Jacques De Saint-Luc;
Johann Pachelbel; William
C White. Edited by
Bertram Turetzky.
Arranged by Bertram
Turetzky. Text: Bertram
Turetzky. String duet.
For Double Bass I, Double
Bass II. Performance
score. 15 pages.
Published by Theodore
Presser Company.
Arranged by Wohlgemuth.
Sheet music. Friedrich
Hofmeister Musikverlag
#FH 2055. Published by
Friedrich Hofmeister
Musikverlag (HF.FH-2055).
ISBN 9790203420552.
10.83 x 7.32
inches.
1. Jean
Baptiste Lully, Menuett
2. Valentin Haussmann,
Tanz - Nachtanz 3.
Valentin Haussmann, Tanz
- Nachtanz 4. Johann
Hermann Schein, Allemande
5. Jacques de Saint-Luc,
Bourree 6. Johann Adolf
Hasse, Marsch 7. Georg
Philipp Telemann, Gayment
8. Georg Philipp
Telemann, Vite 9. Georg
Philipp Telemann, Gayment
10. Georg Philipp
Telemann, Allegrement 11.
Georg Philipp Telemann,
Vite 12. Georg Philipp
Telemann, Vite 13. Johann
Krieger, Menuett 14.
Johann Krieger, Menuett
15. Georg Christoph
Wagenseil, Menuett 16.
Ferd.Tobias Richter,
Menuett 17. Joh. Caspar
Ferd. Fischer, Menuett
18. Johann Pachelbel,
Fuga 19. Johann
Pachelbel, Fuga 20. Georg
Friedrich Handel,
Fuga.
By Jacques de Saint Luc. Edited by Daniel Fournier. For Soprano Recorder (Flute/...(+)
By Jacques de Saint Luc.
Edited by Daniel
Fournier. For Soprano
Recorder (Flute/Oboe),
Basso Continuo. This
edition: paperback.
Musica Rara. 16 pages.
Published by Breitkopf
and Haertel
(The Most Famous Melodies of All Time Arranged for Easy Guitar). For Guitar. Thi...(+)
(The Most Famous Melodies
of All Time Arranged for
Easy Guitar). For Guitar.
This edition: Easy Guitar
TAB. Book; Guitar Mixed
Folio; Guitar TAB; Solo
Guitar TAB (EZ/Int). 288
pages. Published by
Alfred Music Publishing
Flute SKU: BT.9781408105276 The Way to Learn Through Songs and Tunes(+)
Flute
SKU:
BT.9781408105276
The Way to Learn
Through Songs and
Tunes. Composed by
Malcolm Pollock.
Abracadabra. Method. Book
with CD. 64 pages.
Collins Music Publishing
#9781408105276. Published
by Collins Music
Publishing
(BT.9781408105276).
Piano/Keyboard SKU: HL.381031 Composed by Various. Super Easy Songbook. F...(+)
Piano/Keyboard
SKU:
HL.381031
Composed by
Various. Super Easy
Songbook. Folk.
Softcover. 96 pages.
Published by Hal Leonard
(HL.381031).
ISBN
9781705152423. UPC:
196288019435.
9.0x12.0x0.292
inches.
It's super
easy! This series
features accessible
arrangements for piano,
with simple right-hand
melody, letter names
inside each note, basic
left-hand chord diagrams,
and no page turns. The
arrangements also include
lyrics. This big edition
includes 60 folk
favorites: Auld Lang Syne
* Aura Lee * Beautiful
Dreamer * Buffalo Gals
(Won't You Come Out
Tonight?) * (Oh, My
Darling) Clementine *
Cockles and Mussels
(Molly Malone) * Danny
Boy * Deep River * For
He's a Jolly Good Fellow
* Frankie and Johnny *
He's Got the Whole World
in His Hands * My Bonnie
Lies over the Ocean * My
Wild Irish Rose * Nobody
Knows the Trouble I've
Seen * 'O Sole Mio *
Sailing, Sailing *
Scarborough Fair * She'll
Be Comin' 'Round the
Mountain * Simple Gifts *
Skip to My Lou * Take Me
Out to the Ball Game *
Wayfaring Stranger *
Wellerman * When Johnny
Comes Marching Home *
When the Saints Go
Marching In * The Yellow
Rose of Texas * and
more.
By Music Sales. For Piano Solo. Popular, Classical. Sheet Music. 96 pages. Publi...(+)
By Music Sales. For Piano
Solo. Popular, Classical.
Sheet Music. 96 pages.
Published by Chester
Music. (CH64053)
ISBN 9780825633935. Sit
down at the Piano and
chill out with some of
the world's most soothing
melodies. This new
collection of cool
classical pieces lets you
play the cream of the
clasical repertoire.
Includes Barcarolle which
featured in the film
Lorenzo's Oil and is from
The Tales Of Hoffmann and
also The Ashokan Farewell
which featured in the TV
series The Civil War.
Urtext. Composed
by Camille Saint-Saens.
Edited by Peter Jost.
Orchestra; Folder.
Orchester-Bibliothek
(Orchestral Library).
In Cooperation with G.
Henle Verlag
Solo
concerto; Romantic;
Late-romantic. Set of
parts. 50 pages. Duration
9'. Breitkopf and Haertel
#OB 15155-30. Published
by Breitkopf and Haertel
(BR.OB-15155-30).
ISBN
9790004344989. 10 x 12.5
inches.
Many
well-known violinists
such as the dedicatee
Pablo de Sarasate,
together later with
Eugene Ysaye and Jacques
Thibaud, included in
their repertoires Camille
Saint-Saens' concert
piece composed in 1863.
Even today, concert life
is hard to imagine
without the Introduction
et Rondo capriccioso. The
highly virtuosic work
already inspired critics
and audiences during the
composer's lifetime;
reported about the
premiere in 1867 was: The
Introduction and the
Rondo capriccioso for the
same instrument are both
original and charming,
and Maestro Sarasate, who
was in his element here,
admirably made the most
of it. And a few years
later, a music critic
described the work as a
kind of fantasy waltz in
the Spanish style and
with a most bewitching
effect. After the first
performances in 1867,
despite success, the
work's score and
orchestral parts had
little chance of
publication due to
concert companies'
reluctance. In 1869 the
Paris publishing house G.
Hartmann merely published
an arrangement for violin
and piano produced by the
composer's friend Georges
Bizet. The orchestral
score and parts were
first published after the
Paris publishing house
Durand had acquired
publication rights in
1875. The present edition
published in
collaboration with the G.
Henle Verlag is the first
critical edition of the
work.
Violin and 1 other inst. (solo: vl - 2.2.2.2 - 2.2(or 2corn).0.0 - timp - str) <...(+)
Violin and 1 other inst.
(solo: vl - 2.2.2.2 -
2.2(or 2corn).0.0 - timp
- str)
SKU:
BR.EB-11238
Urtext. Composed
by Camille Saint-Saens.
Edited by Peter Jost.
Solo instruments;
stapled. Edition
Breitkopf.
In
Cooperation with G. Henle
Verlag
Solo concerto;
Romantic; Late-romantic.
Piano reduction. 44
pages. Duration 9'.
Breitkopf and Haertel #EB
11238. Published by
Breitkopf and Haertel
(BR.EB-11238).
ISBN
9790201812380. 9.5 x 12
inches.
Many
well-known violinists
such as the dedicatee
Pablo de Sarasate,
together later with
Eugene Ysaye and Jacques
Thibaud, included in
their repertoires Camille
Saint-Saens' concert
piece composed in 1863.
Even today, concert life
is hard to imagine
without the Introduction
et Rondo capriccioso. The
highly virtuosic work
already inspired critics
and audiences during the
composer's lifetime;
reported about the
premiere in 1867 was: The
Introduction and the
Rondo capriccioso for the
same instrument are both
original and charming,
and Maestro Sarasate, who
was in his element here,
admirably made the most
of it. And a few years
later, a music critic
described the work as a
kind of fantasy waltz in
the Spanish style and
with a most bewitching
effect. After the first
performances in 1867,
despite success, the
work's score and
orchestral parts had
little chance of
publication due to
concert companies'
reluctance. In 1869 the
Paris publishing house G.
Hartmann merely published
an arrangement for violin
and piano produced by the
composer's friend Georges
Bizet. The orchestral
score and parts were
first published after the
Paris publishing house
Durand had acquired
publication rights in
1875. The present edition
published in
collaboration with the G.
Henle Verlag is the first
critical edition of the
work.
Urtext. Composed
by Camille Saint-Saens.
Edited by Peter Jost.
Orchestra; stapled.
Orchester-Bibliothek
(Orchestral Library).
In Cooperation with G.
Henle Verlag
Solo
concerto; Romantic;
Late-romantic. Part. 4
pages. Duration 9'.
Breitkopf and Haertel #OB
15155-27. Published by
Breitkopf and Haertel
(BR.OB-15155-27).
ISBN
9790004344972. 10 x 12.5
inches.
Many
well-known violinists
such as the dedicatee
Pablo de Sarasate,
together later with
Eugene Ysaye and Jacques
Thibaud, included in
their repertoires Camille
Saint-Saens' concert
piece composed in 1863.
Even today, concert life
is hard to imagine
without the Introduction
et Rondo capriccioso. The
highly virtuosic work
already inspired critics
and audiences during the
composer's lifetime;
reported about the
premiere in 1867 was: The
Introduction and the
Rondo capriccioso for the
same instrument are both
original and charming,
and Maestro Sarasate, who
was in his element here,
admirably made the most
of it. And a few years
later, a music critic
described the work as a
kind of fantasy waltz in
the Spanish style and
with a most bewitching
effect. After the first
performances in 1867,
despite success, the
work's score and
orchestral parts had
little chance of
publication due to
concert companies'
reluctance. In 1869 the
Paris publishing house G.
Hartmann merely published
an arrangement for violin
and piano produced by the
composer's friend Georges
Bizet. The orchestral
score and parts were
first published after the
Paris publishing house
Durand had acquired
publication rights in
1875. The present edition
published in
collaboration with the G.
Henle Verlag is the first
critical edition of the
work.
Urtext. Composed
by Camille Saint-Saens.
Edited by Peter Jost.
Orchestra; stapled.
Orchester-Bibliothek
(Orchestral Library).
In Cooperation with G.
Henle Verlag
Solo
concerto; Romantic;
Late-romantic. Part. 8
pages. Duration 9'.
Breitkopf and Haertel #OB
15155-23. Published by
Breitkopf and Haertel
(BR.OB-15155-23).
ISBN
9790004344965. 10 x 12.5
inches.
Many
well-known violinists
such as the dedicatee
Pablo de Sarasate,
together later with
Eugene Ysaye and Jacques
Thibaud, included in
their repertoires Camille
Saint-Saens' concert
piece composed in 1863.
Even today, concert life
is hard to imagine
without the Introduction
et Rondo capriccioso. The
highly virtuosic work
already inspired critics
and audiences during the
composer's lifetime;
reported about the
premiere in 1867 was: The
Introduction and the
Rondo capriccioso for the
same instrument are both
original and charming,
and Maestro Sarasate, who
was in his element here,
admirably made the most
of it. And a few years
later, a music critic
described the work as a
kind of fantasy waltz in
the Spanish style and
with a most bewitching
effect. After the first
performances in 1867,
despite success, the
work's score and
orchestral parts had
little chance of
publication due to
concert companies'
reluctance. In 1869 the
Paris publishing house G.
Hartmann merely published
an arrangement for violin
and piano produced by the
composer's friend Georges
Bizet. The orchestral
score and parts were
first published after the
Paris publishing house
Durand had acquired
publication rights in
1875. The present edition
published in
collaboration with the G.
Henle Verlag is the first
critical edition of the
work.
Urtext. Composed
by Camille Saint-Saens.
Edited by Peter Jost.
Orchestra; stapled.
Orchester-Bibliothek
(Orchestral Library).
In Cooperation with G.
Henle Verlag
Solo
concerto; Romantic;
Late-romantic. Part. 8
pages. Duration 9'.
Breitkopf and Haertel #OB
15155-15. Published by
Breitkopf and Haertel
(BR.OB-15155-15).
ISBN
9790004344934. 10 x 12.5
inches.
Many
well-known violinists
such as the dedicatee
Pablo de Sarasate,
together later with
Eugene Ysaye and Jacques
Thibaud, included in
their repertoires Camille
Saint-Saens' concert
piece composed in 1863.
Even today, concert life
is hard to imagine
without the Introduction
et Rondo capriccioso. The
highly virtuosic work
already inspired critics
and audiences during the
composer's lifetime;
reported about the
premiere in 1867 was: The
Introduction and the
Rondo capriccioso for the
same instrument are both
original and charming,
and Maestro Sarasate, who
was in his element here,
admirably made the most
of it. And a few years
later, a music critic
described the work as a
kind of fantasy waltz in
the Spanish style and
with a most bewitching
effect. After the first
performances in 1867,
despite success, the
work's score and
orchestral parts had
little chance of
publication due to
concert companies'
reluctance. In 1869 the
Paris publishing house G.
Hartmann merely published
an arrangement for violin
and piano produced by the
composer's friend Georges
Bizet. The orchestral
score and parts were
first published after the
Paris publishing house
Durand had acquired
publication rights in
1875. The present edition
published in
collaboration with the G.
Henle Verlag is the first
critical edition of the
work.
Urtext. Composed
by Camille Saint-Saens.
Edited by Peter Jost.
Orchestra; stapled.
Orchester-Bibliothek
(Orchestral Library).
In Cooperation with G.
Henle Verlag
Solo
concerto; Romantic;
Late-romantic. Part. 8
pages. Duration 9'.
Breitkopf and Haertel #OB
15155-19. Published by
Breitkopf and Haertel
(BR.OB-15155-19).
ISBN
9790004344958. 10 x 12.5
inches.
Many
well-known violinists
such as the dedicatee
Pablo de Sarasate,
together later with
Eugene Ysaye and Jacques
Thibaud, included in
their repertoires Camille
Saint-Saens' concert
piece composed in 1863.
Even today, concert life
is hard to imagine
without the Introduction
et Rondo capriccioso. The
highly virtuosic work
already inspired critics
and audiences during the
composer's lifetime;
reported about the
premiere in 1867 was: The
Introduction and the
Rondo capriccioso for the
same instrument are both
original and charming,
and Maestro Sarasate, who
was in his element here,
admirably made the most
of it. And a few years
later, a music critic
described the work as a
kind of fantasy waltz in
the Spanish style and
with a most bewitching
effect. After the first
performances in 1867,
despite success, the
work's score and
orchestral parts had
little chance of
publication due to
concert companies'
reluctance. In 1869 the
Paris publishing house G.
Hartmann merely published
an arrangement for violin
and piano produced by the
composer's friend Georges
Bizet. The orchestral
score and parts were
first published after the
Paris publishing house
Durand had acquired
publication rights in
1875. The present edition
published in
collaboration with the G.
Henle Verlag is the first
critical edition of the
work.
Violin and orchestra (solo: vl - 2.2.2.2 - 2.2(or 2corn).0.0 - timp - str) SK...(+)
Violin and orchestra
(solo: vl - 2.2.2.2 -
2.2(or 2corn).0.0 - timp
- str)
SKU:
BR.PB-15155
Urtext. Composed
by Camille Saint-Saens.
Edited by Peter Jost.
Orchestra; stapled.
Partitur-Bibliothek
(Score Library).
In
Cooperation with G. Henle
Verlag
Solo concerto;
Romantic; Late-romantic.
Full score. 40 pages.
Duration 9'. Breitkopf
and Haertel #PB 15155.
Published by Breitkopf
and Haertel
(BR.PB-15155).
ISBN
9790004215609. 10 x 12.5
inches.
Many
well-known violinists
such as the dedicatee
Pablo de Sarasate,
together later with
Eugene Ysaye and Jacques
Thibaud, included in
their repertoires Camille
Saint-Saens' concert
piece composed in 1863.
Even today, concert life
is hard to imagine
without the Introduction
et Rondo capriccioso. The
highly virtuosic work
already inspired critics
and audiences during the
composer's lifetime;
reported about the
premiere in 1867 was: The
Introduction and the
Rondo capriccioso for the
same instrument are both
original and charming,
and Maestro Sarasate, who
was in his element here,
admirably made the most
of it. And a few years
later, a music critic
described the work as a
kind of fantasy waltz in
the Spanish style and
with a most bewitching
effect. After the first
performances in 1867,
despite success, the
work's score and
orchestral parts had
little chance of
publication due to
concert companies'
reluctance. In 1869 the
Paris publishing house G.
Hartmann merely published
an arrangement for violin
and piano produced by the
composer's friend Georges
Bizet. The orchestral
score and parts were
first published after the
Paris publishing house
Durand had acquired
publication rights in
1875. The present edition
published in
collaboration with the G.
Henle Verlag is the first
critical edition of the
work.