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
Nightlife in Paris Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire De Haske Publications
Concert Band/Harmonie/Fanfare Band - Grade 3.5 SKU: BT.DHP-1216333-015 Co...(+)
Concert
Band/Harmonie/Fanfare
Band - Grade 3.5
SKU:
BT.DHP-1216333-015
Composed by Peter Kleine
Schaars. Peter's Compact
Collection. Original
Light Music. Set (Score &
Parts). Composed 2021. De
Haske Publications #DHP
1216333-015. Published by
De Haske Publications
(BT.DHP-1216333-015).
English-German-French-
Dutch.
The
magnificent shows at the
Moulin Rouge have left
their mark on the
collective imagination of
all who read about them.
For decades, a small but
spectacular band formed
one of the basic
ingredients in this
internationally
famedcabaret theatre.
With the first sounds of
this composition by Peter
Kleine Schaars, the
exciting Parisian
nightlife immediately
comes to mind. The
musette takes us to
quartier Pigalle, the
red-light district of
Paris, and when thedoors
of the Moulin Rouge open,
we hear the recognizable
rhythms of a contemporary
disco: a combination of
the rhythmic cells 8 / 4
and 3 / 14. In addition,
the composition has been
highlighted with a
plentiful and varied use
of rhythmic cell 5.
Naturally, the themes and
accompaniments have been
divided equally among all
parts.
Die
großartigen Shows im
Moulin Rouge prägten
das kollektive
Bewusstsein all jener,
die sich damit
beschäftigt haben.
Jahrzehntelang war eine
kleine, aber fantastische
Band Bestandteil dieses
international
bekanntenKabaretttheaters
. Mit den ersten
Klängen der
Komposition von Peter
Kleine Schaars fühlt
man sich sofort in das
aufregende Pariser
Nachtleben versetzt. Die
Musette führt uns ins
Quartier Pigalle, das
Rotlichtviertel von
Paris, undwenn sich die
Türen des Moulin Rouge
öffnen, erklingen die
bekannten Rhythmen einer
modernen Disco: eine
Kombination der
Rhythmus-Einheiten 8 / 4
und 3 / 14. Darüber
hinaus ist die
Komposition durch eine
vielfältige Verwendung
derRhythmus-Einheit 5
geprägt. Die Themen
und Begleitungen
verteilen sich dabei
gleichmäßig auf
alle Stimmen.
Nightlife in Paris Orchestre d'harmonie [Conducteur] - Intermédiaire De Haske Publications
Concert Band/Harmonie/Fanfare Band - Grade 3.5 SKU: BT.DHP-1216333-215 Co...(+)
Concert
Band/Harmonie/Fanfare
Band - Grade 3.5
SKU:
BT.DHP-1216333-215
Composed by Peter Kleine
Schaars. Peter's Compact
Collection. Original
Light Music. Score Only.
Composed 2021. 26 pages.
De Haske Publications
#DHP 1216333-215.
Published by De Haske
Publications
(BT.DHP-1216333-215).
English-German-French-
Dutch.
The
magnificent shows at the
Moulin Rouge have left
their mark on the
collective imagination of
all who read about them.
For decades, a small but
spectacular band formed
one of the basic
ingredients in this
internationally
famedcabaret theatre.
With the first sounds of
this composition by Peter
Kleine Schaars, the
exciting Parisian
nightlife immediately
comes to mind. The
musette takes us to
quartier Pigalle, the
red-light district of
Paris, and when thedoors
of the Moulin Rouge open,
we hear the recognizable
rhythms of a contemporary
disco: a combination of
the rhythmic cells 8 / 4
and 3 / 14. In addition,
the composition has been
highlighted with a
plentiful and varied use
of rhythmic cell 5.
Naturally, the themes and
accompaniments have been
divided equally among all
parts.
Die
großartigen Shows im
Moulin Rouge prägten
das kollektive
Bewusstsein all jener,
die sich damit
beschäftigt haben.
Jahrzehntelang war eine
kleine, aber fantastische
Band Bestandteil dieses
international
bekanntenKabaretttheaters
. Mit den ersten
Klängen der
Komposition von Peter
Kleine Schaars fühlt
man sich sofort in das
aufregende Pariser
Nachtleben versetzt. Die
Musette führt uns ins
Quartier Pigalle, das
Rotlichtviertel von
Paris, undwenn sich die
Türen des Moulin Rouge
öffnen, erklingen die
bekannten Rhythmen einer
modernen Disco: eine
Kombination der
Rhythmus-Einheiten 8 / 4
und 3 / 14. Darüber
hinaus ist die
Komposition durch eine
vielfältige Verwendung
derRhythmus-Einheit 5
geprägt. Die Themen
und Begleitungen
verteilen sich dabei
gleichmäßig auf
alle Stimmen.
(Based on the Etudes of Franz Whilhelm Ferling). By John Walker, Franz Wilhelm F...(+)
(Based on the Etudes of
Franz Whilhelm Ferling).
By John Walker, Franz
Wilhelm Ferling. Edited
by Amy Porter. Arranged
by Cyrille Rose. For
flute and piano. Carl
Fischer Classic Studies.
Book and CD. 44 pages.
Published by Carl Fischer
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.
Versailles Ensemble de cuivres [Conducteur et Parties séparées] - Facile De Haske Publications
Brass Band - Grade 2 SKU: BT.DHP-1043670-030 Composed by Christian Bouthi...(+)
Brass Band - Grade 2
SKU:
BT.DHP-1043670-030
Composed by Christian
Bouthier. Flexible 4
Series. Concert Piece.
Set (Score & Parts).
Composed 2004. De Haske
Publications #DHP
1043670-030. Published by
De Haske Publications
(BT.DHP-1043670-030).
Versailles,
composed by Christian
Bouthier, reflects a
number of impressions of
the royal castle in
Versailles, near Paris.
There are four movements
consisting of Le Chateau,
Le grand Trianon,
L’Appartement du
Roi and Les Grandes Eaux
each of which depicts a
different aspect of
Versailles both inside
and outside. Bring a
touch of regalness to any
concert band programme.
Versailles
, gecomponeerd door
Christian Bouthier, geeft
een aantal indrukken weer
van het koninklijke
kasteel te Versailles,
vlak bij Parijs. De vier
afwisselende delen
beschrijven
achtereenvolgens Le ch
teau (het
kasteelzelf), Le grand
Trianon (het extra
complex dat Lodewijk XIV
liet bouwen),
L’Appartement
du Roi (het
appartement van de
koning) en Les Grandes
Eaux (de
waterpartijen). De fraaie
thema’s worden
verklankt inboeiende,
gemakkelijk te spelen
muziek voor
blaasorkest.
Ve
rsailles, aus der
Feder von Christian
Bouthier, spiegelt eine
Reihe von Impressionen
des königlichen
Schlosses in Versailles
bei Paris wider. Die vier
abwechslungsreichen
Sätze beschreiben das
Schloss selbst, den
Nebenpalast Le Grand
Trianon, die Gemächer
des Königs und das
weitläufige System an
Wasserläufen und
Teichen, welches die
ganze Anlage einst
versorgte. Prächtige
Motive, verpackt in
interessante, leicht
spielbare Musik für
Brass
Band.
Paris Dance Saxophone Alto et Piano - Intermédiaire De Haske Publications
Alto Saxophone and Piano - intermediate SKU: BT.DHP-1155655-401 Composed ...(+)
Alto Saxophone and Piano
- intermediate
SKU:
BT.DHP-1155655-401
Composed by Pascal
Proust. De Haske
Saxophone Series. Book
Only. Composed 2015. 8
pages. De Haske
Publications #DHP
1155655-401. Published by
De Haske Publications
(BT.DHP-1155655-401).
ISBN 9789043147507.
English-German-French-Dut
ch.
Who could play
a waltz more beautifully
than a saxophone? This
little waltz could have
been played in the
Roaring Twenties in the
fashionable districts of
Paris.
The composer
Pascal Proust has many
years’ experience
as a musician and music
teacher. His output
includes several hundred
compositions for the most
diverse instrumentations.
He wrote Paris
Dance for
saxophonists at the level
of approximately3 4
years’ study and
paid special attention to
an easy-to-follow,
attractive musical style.
As a result, Paris
Dance is an ideal
performance or
competition work for
young
musicians.
Wie kan
een wals mooier spelen
dan een saxofonist? Dit
fraaie walsje zou zomaar
gespeeld kunnen zijn in
de jaren twintig van de
vorige eeuw in de
modieuze stadsdelen van
Parijs.
De componist
Pascal Proust kan bogen
op een jarenlange
ervaring als muzikant en
muziekdocent. Zijn oeuvre
omvat honderden
composities voor de meest
diverse instrumentaties.
Hij schreef Paris
Dance voor
saxofonisten die ongeveer
drie tot vierjaar les
hebben gehad, waarbij hij
speciaal aandacht heeft
besteed aan een makkelijk
te volgen, aantrekkelijke
muziekstijl. Daardoor
is Paris Dance een
ideaal voordrachts- of
wedstrijdstuk voor jonge
muzikanten.
Wer
könnte einen Walzer
schöner spielen als
das Saxophon? Diese
Walzertakte könnten
genau so in den zwanziger
Jahren des vorigen
Jahrhunderts in einem
berühmten Stadtviertel
von Paris erklungen
sein...
Der Komponist
Pascal Proust kann aus
seiner langjährigen
Erfahrung als Musiker und
Musikpädagoge
schöpfen; sein Oeuvre
umfasst mehrere hundert
Kompositionen für
verschiedenste
Besetzungen. Er schrieb
Paris Dance für
Saxophonisten mit
ungefähr3 4 Jahren
Unterrichtserfahrung und
legte besonderes
Augenmerk auf einenleicht
verständlichen,
attraktiven musikalischen
Stil. Dadurch eignet sich
Paris Dance ideal
als Vortrags- und
Wettbewerbsstück
für junge
Musiker.
Recorder - Intermediate SKU: MB.WBM48 Composed by William Bay. Solos, Due...(+)
Recorder - Intermediate
SKU: MB.WBM48
Composed by William Bay.
Solos, Duets and
Ensembles,
Saddle-stitched, Celtic /
Irish, Featured Products,
Folk. Lively Tunes.
Style. Book. 32 pages.
Mel Bay Publications, Inc
#WBM48. Published by Mel
Bay Publications, Inc
(MB.WBM48).
ISBN
9781732708815. 8.75 x
11.75 inches.
Lively
Recorder Tunes is a
collection of 55 spirited
recorder solos. The
selections include reels,
hornpipes, jigs, sea
chanteys, dance tunes and
more. These recorder
solos are ideal for
performance or just
enjoyment. Guitar chords
are included for
accompaniment, and can be
used by any chordal
instrument.
(The Drummer's Guide to the Genre and the Legends Who Defined It). By Rich Lacko...(+)
(The Drummer's Guide to
the Genre and the Legends
Who Defined It). By Rich
Lackowski and John
O'Reilly, Jr.. For
Drumset.
Artist/Personality; Book;
CD; Method/Instruction;
Percussion - Drum Set
Method or Collection. On
the Beaten Path. Jazz.
108 pages. Published by
Alfred Music Publishing
Easy Piano Piano/Keyboard SKU: HL.282476 The New Decade Series. Co...(+)
Easy Piano Piano/Keyboard
SKU: HL.282476
The New Decade
Series. Composed by
Various. Easy Piano
Songbook. Standards.
Softcover. 352 pages.
Published by Hal Leonard
(HL.282476).
ISBN
9781540034335. UPC:
888680789206.
9.0x12.0x0.846
inches.
100 songs
popularized in the World
War II era of the 1940s
are included in this
collection arranged for
easy piano with lyrics.
Songs include:
Ac-cent-tchu-ate the
Positive * Besame Mucho
(Kiss Me Much) * Boogie
Woogie Bugle Boy *
Chattanooga Choo Choo *
Don't Get Around Much
Anymore * A Dream Is a
Wish Your Heart Makes *
How High the Moon * I Get
a Kick Out of You * It
Might As Well Be Spring *
Java Jive * Laura *
Moonlight in Vermont * A
Nightingale Sang in
Berkeley Square * On a
Slow Boat to China *
Perfidia * Route 66 *
Sentimental Journey *
Some Enchanted Evening *
The Surrey with the
Fringe on Top * Take the
A Train * Time After Time
* When You Wish upon a
Star * You'd Be So Nice
to Come Home To *
Zip-A-Dee-Doo-Dah * and
more.
Orpheus in the Underworld Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire De Haske Publications
Concert Band/Harmonie - Grade 4 SKU: BT.DHP-1053830-010 Composed by Jacqu...(+)
Concert Band/Harmonie -
Grade 4
SKU:
BT.DHP-1053830-010
Composed by Jacques
Offenbach. The Great
Classics. Transcription.
Set (Score & Parts).
Composed 2005. De Haske
Publications #DHP
1053830-010. Published by
De Haske Publications
(BT.DHP-1053830-010).
English-German-French-
Dutch.
Jacques
Offenbach was born in
1819 in Cologne, Germany,
but as a child he moved
to Paris where he
received a thorough
musical education. In his
operetta Orpheus in the
Underworld, Offenbach
parodies the famous Greek
legend of Orpheus and
Euridice. Indirectly,
however, he criticises
the complacency of many
of his contemporaries.
The overture was not
written entirely by
Offenbach, Carl Binder
added various pieces to
it for a Viennese
production of this
operetta in 1860 and
since then, these pieces
have remained part of the
composition. This
appealing transcription
includes the famous Can
Can which is sure to get
your audience high
kicking in the
aisles!
Jacques Offenbach
(1819-1880) coltivava
l’arte di
ironizzare sulla
frivolezza delle
abitudini parigine,
sull’amore, sulla
vita politica e la vita
militare. La sua operetta
Orfeo agli Inferni (1858)
è una parodia del mito
greco di Orfeo ed
Euridice, ma dietro la
facciata
dell’antichit , si
abbandona ad una critica
severa del comportamento
di sufficienza di
numerosi suoi
contemporanei.
L’Ouverture come
noi la conosciamo oggi,
non è la versione
originale di Offenbach,
ma una versione
completata da Carl Binder
per una produzione a
Vienna nel 1860. Wil van
der Beek ne ha realizzato
una trascrizione
irresistibile che
contiene il brillante
Cancan, una delle pagine
più celebri
dellospartito.