Edited by Vladimir Bodunov. For first Violin/second Violin. This edition: Staple...(+)
Edited by Vladimir
Bodunov. For first
Violin/second Violin.
This edition: Stapled.
Ready to Play.
Performance score and
parts. Text Language:
German/English. 19/16
pages. Published by
Baerenreiter Verlag
Treble Recorder Duet and Continuo. By Jean-Baptiste Lully. Arranged by Paul M. D...(+)
Treble Recorder Duet and
Continuo. By
Jean-Baptiste Lully.
Arranged by Paul M.
Douglas. Fentone Play
Along Books. Play Along.
Size 9x12 inches. 24
pages. Published by
Fentone Music.
(Movements I and II Arranged for Clarinet in Bb and Piano). Composed by Igor Fyo...(+)
(Movements I and II
Arranged for Clarinet in
Bb and Piano). Composed
by Igor Fyodorovich
Stravinsky. Arranged by
David Dutkanicz. For Bb
clarinet, piano. 8 2
pages. Duration 7
minutes. Published by
Carl Fischer
Dialogue by Eugene Bozza is a piece for two Trumpets, lasting three minutes. Sou...(+)
Dialogue by Eugene Bozza
is a piece for two
Trumpets, lasting three
minutes. Sounding really
majestic, this work
exhibits the two Trumpets
having an exchange, like
a dialogue. The piece is
divided into three
movements: Allegro
Mastoso (4/4, tempo 120)
? Moderato (4/4, tempo
80) ? Tempo di Marcha
(2/4, tempo 120). This
piece is a great work to
play during a recital.
Eugene Bozza won
different prizes at the
Conservatoire de Paris
such as the First Prizes
for the Violin,
conducting and
composition, as well as
the Grand Prix de Rome.
He composed several
operas, chamber works and
ballets among others.
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.
SATB Choir (SATB) SKU: HL.48188819 Composed by Paul Ladmirault. Leduc. Ro...(+)
SATB Choir (SATB)
SKU:
HL.48188819
Composed
by Paul Ladmirault.
Leduc. Romantic.
Softcover. Heugel & Cie
#HE33624. Published by
Heugel & Cie
(HL.48188819).
English.
The
coal seller is a song for
SCTB a cappella by Paul
Ladmirault. The song was
written with a main
theme, two variations and
a coda, and features a
total of 5 verses. The
lyrics remind us of a
time when coal sellers
came to town to sell
merchandise. To be sung a
cappella, all in
andantino, this song is
very lyrical and has some
polyphonic aspects and
some merismas. Each verse
contains different
lyrics, all revolving
around the coal seller
and his life: - Verse 1:
this verse settles the
action, with the seller
trying to sell coal in
the city - Verse 2: the
seller is asked how much
is the cost of a pound of
coal - Verse 3: he is
asked where his wife is -
Verse 4: the beauty of
his wife is highlighted -
Verse 5: the seller
explains why his shirt is
so black Paul Ladmirault
(1877-1944) was a French
composer. He composed
numerous pieces
including: operas,
ballets, orchestral
works, chamber music and
vocal music..
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
Composed by Bohuslav
Martinu. Edited by Paul
Wingfield. This edition:
complete edition, urtext
edition. Linen. The
Bohuslav Martinu Complete
Edition VI/2/2. Complete
edition, Score,
anthology. Baerenreiter
Verlag #BA10573_01.
Published by Baerenreiter
Verlag (BA.BA10573-01).
ISBN 9790260107922.
33.3 x 26.3 cm inches.
Text Language: Czech.
Preface: Wingfield,
Paul.
The present
volume of the Bohuslav
Martinu Complete Edition
(BMCE) contains two
vocal-instrumental works.
TheField Mass(1939) with
a text by Jiri Mucha
incorporating bible and
liturgy quotes was
created in reaction to
the outbreak of the
Second World War and
intended for outdoor
performances. The
cantataThe Spectre's
Bridewith a text by Karel
Jaromir Erben was
composed in 1932 as part
of the
balletSpalicek(meaningcha
pbook); the composer
later took out the
cantata, making it into a
stand-alone concert
piece.
The
autograph scores served
as primary sources for
both works. The edition
of theField
Mass(including its
performance materials)
also contains the
original version of the
ending with a quote from
the Czech medieval
hymnJezu Kriste, stedry
kneze(Jesu Christ,
bountiful priest) and a
number of contemporary
translations.
About
Barenreiter
Urtext
What can I
expect from a Barenreiter
Urtext
edition?<
/p>
MUSICOLOGICA
LLY SOUND - A
reliable musical text
based on all available
sources - A
description of the
sources -
Information on the
genesis and history of
the work - Valuable
notes on performance
practice - Includes
an introduction with
critical commentary
explaining source
discrepancies and
editorial decisions
... AND
PRACTICAL -
Page-turns, fold-out
pages, and cues where you
need them - A
well-presented layout and
a user-friendly
format - Excellent
print quality -
Superior paper and
binding