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3 Dance Pieces
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Claude Debussy ‒ Estampes, Orchestra Suite, Orchestrated by Arkady Leytush, No. 3 Jardins sous la
Orchestra
Full Orchestra - Digital Download SKU: A0.1008375 Composed by Claude Debussy. Arran…
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Full Orchestra - Digital Download SKU: A0.1008375 Composed by Claude Debussy. Arranged by Arkady Leytush. 20th Century. Score and parts. 39 pages. Arkady Leytush #4885449. Published by Arkady Leytush (A0.1008375). Estampes (Engravings) is the title of the triptych of three pieces which Debussy put together in 1903. The first complete performance was given on 9 January 1904 in the Salle Erard, Paris, by the young Spanish pianist Ricardo Viñes, who was already emerging as the prime interpreter of the new French music of Debussy and Ravel. The first two pieces were completed in 1903, but the third derives from an earlier group of pieces from 1894, collectively titled Images, which remained unpublished until 60 years after Debussy’s death, when they were printed as Images (oubliées). Estampes marks an expansion of Debussy’s keyboard style: he was apparently spurred to fuse neo-Lisztian technique with a sensitive, impressionistic pictorial impulse under the impact of discovering Ravel’s Jeux d’eau, published in 1902. The opening movement, ‘Pagodes’, is Debussy’s first pianistic evocation of the Orient and is essentially a fixed contemplation of its object, as in a Chinese print. This static impression is partly caused by Debussy’s use of long pedal-points, partly by his almost constant preoccupation with pentatonic melodies which subvert the sense of harmonic movement. He uses such pentatonic fragments in many different ways: in delicate arabesques, in two-part counterpoint, in canon, harmonized in fourths and fifths and as an underpinning for pattering, gamelan-like ostinato writing. Altogether the piece reflects the decisive impression made on him by hearing Javanese and Cambodian musicians at the 1889 Paris Exposition, which he had striven for years to incorporate effectively in music. In its final bars the music begins to dissolve into elaborate filigree.Just as ‘Pagodes’ was his first Oriental piece, so ‘La soirée dans Grenade’ was the first of Debussy’s evocations of Spain-that preternatural embodiment of an ‘imaginary Andalusia’ which would inspire Manuel de Falla, the native Spaniard, to go back to his country and create a true modern Spanish music based on Debussyan principles. Debussy’s personal acquaintance with Spain was virtually non-existent (he had spent a day just over the border at San Sebastian) and it is possible that one model for the piece was Ravel’s Habanera. Yet he wrote of this piece (to his friend Pierre Louÿs, to whom it was dedicated), ‘if this isn’t the music they play in Granada, so much the worse for Granada!’-and there is no debate about the absolute authenticity of Debussy’s use of Spanish idioms here. Falla himself pronounced it ‘characteristically Spanish in every detail’. ‘La soirée dans Grenade’ is founded on an ostinato that echoes the rhythm of the habanera and is present almost throughout. Beginning and ending in almost complete silence, this dark nocturne of warm summer nights builds powerfully to its climaxes. The melodic material ranges from a doleful Moorish chant with a distinctly oriental character to a stamping, vivacious dance-measure, taking in brief suggestions of guitar strumming and perfumed Impressionist haze. There is even a hint of castanets near the end. The piece fades out in a coda that seems to distil all the melancholy of the Moorish theme and a last few distant chords of the guitar. ‘Jardins sous la pluie’ is based on the children’s song ‘Nous n’rons plus au bois’ (We shan’t go to the woods): its original 1894 form was in fact entitled Quelques aspects de ‘Nous n’rons plus au bois’. The two versions are really two distinct treatments of the same set of ideas, but in ‘Jardins sous la pluie’ Estampes the earlier piece has been entirely rethought. The whole conception is more impressionistic, and subtilized. The teeming semiquaver motion is more all-pervasive, the tunes (for Debussy has added a second children’s song for treatment, ‘Do, do, l’enfant do’) more elusive and tinged sometimes with melancholy or nostalgia. The ending of the piece is entirely new. What it loses, perha.
$25.00
23.09 €
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Orchestra
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Claude Debussy
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Claude Debussy ‒ Estampes, Orchestra Suite, Orchestrated by Arkady Leytush, No. 3 Jardins sous la
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Arkady Leytush
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SheetMusicPlus
CHINESE RHAPSODY No.3 For Saxophone and Full Orchestra, Op.46(1988) [score】 - Score Only
Orchestra
Full Orchestra - Level 5 - Digital Download SKU: A0.1049004 Composed by An-lun Huan…
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Full Orchestra - Level 5 - Digital Download SKU: A0.1049004 Composed by An-lun Huang. 20th Century,Classical,Contemporary,Multicultural,Traditional,World. Score and parts. 61 pages. DoReMi Edition #653398. Published by DoReMi Edition (A0.1049004). Chinese Rhapsody No.3 was composed e in Toronto, Canada , 1988. Huang dedicated the piece to the Canadian Saxophonist Paul Brodie who premiered it in Parry sound of Ontario in the same year. Written in Saibei Folk Style, the music is divided into 5 movements without stop. As usual, Huang didn‘t use any folk song . But the typical taste of Huang’s “Zhang Jia Kou[張家å£] accent†is pretty easy to be identified. With the concert virtuosity, the 1st movement is composed as an emotional Cadenza which expresses the profound affections to the land of Saibei. Using the same Alto Sax., the lyric 2nd movement is followed by a folk dance, the 3rd movement. Chang to a Soprano Saxophone, the 4th movement is sound like a dreamy nocturne which is interrupted by the percussions of the fiery 5th movement. The whole Rhapsody ends on a climax of the Chinese Northern west “wind and percussion “styleâ€. Brodie found more than 300 trills in this piece. Perhaps this is the key to perform the music in real Chinese style. Huang has composed 5 versions of these pieces for different ensembles: saxophone solo with piano, or strings, or winds/brasses, or Chinese traditional orchestra, or symphony orchestra. The attached mp3 was performed by the German saxophonist Jurgen Demmler with pianist Peter Grabinger in 1996. Duration: 20’.
$19.99
18.46 €
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Orchestra
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An-lun Huang
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CHINESE RHAPSODY No.3 For Saxophone and Full Orchestra, Op.46(1988) [score】 - Score Only
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DoReMi Edition
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SheetMusicPlus
La selva incantata
Orchestra
Orchestra - Digital Download SKU: S9.Q3135 The Enchanted Forest. Composed by…
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Orchestra - Digital Download SKU: S9.Q3135 The Enchanted Forest. Composed by Hans Werner Henze. This edition: study score. Music Of Our Time. Downloadable, Study score. Duration 11 minutes. Schott Music - Digital #Q3135. Published by Schott Music - Digital (S9.Q3135). This music is taken from the second act of my early opera King Stag. In the original, the aria - here rescored for the orchestra alone - is sung by the protagonist (tenor) who yearns to return to the woods, to nature, to the origins of his animal existence. The rondo is set in a very fast dance tempo (a Tarantella?) and is in three parts: the first one is cheerful and comic, the second one lyrical, almost romantically so, whereas the third one is impetuous and dramatic. The music of both pieces has been considerably rewritten and altered, in harmonic, melodic and rhythmic aspects. - Hans Werner Henze2 (2. auch Picc.) * 2 (2. auch Engl. Hr.) * 2 (2. auch Bassklar.) * Altsax. * 2 (2. auch Kfg.) - 3 * 2 * 2 * 0 - P. S. (Trgl. * hg. Beck. * Beckenpaar * 3 Tomt. * 3 Bong. * Mil. Tr. * gr. Tr. [mit Beck.]) (2 Spieler) - Hfe. * Cel. * Klav. - Str.
$23.99
22.16 €
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Orchestra
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Hans Werner Henze
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La selva incantata
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Schott Music - Digital
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SheetMusicPlus
4th Nocturne
Orchestra
Full Orchestra - Level 3 - Digital Download SKU: A0.976714 Composed by Erik Satie. …
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Full Orchestra - Level 3 - Digital Download SKU: A0.976714 Composed by Erik Satie. Arranged by Robert Myers. 20th Century. Score and parts. 36 pages. WheatMyer Music #4793377. Published by WheatMyer Music (A0.976714). Near the end of his career, Erik Satie wrote five pieces for piano designated as nocturnes. Contrary to most of his oeuvre, these were serious works lacking the satire, wit, and non-conformity Satie usually exhibited. Still, they are unmistakably Satie: soothing, floating, and very French. This work is a straightforward arrangement of Satie’s 4th nocturne, applying the color and dynamic ranges of the orchestra to his piano writing. It maintains the enchanting dance-like character of the original work while the musical lines move among and between the instrument families to exploit the variety of orchestral timbres. 4th NOCTURNE is suited for the concert hall among a program of impressionist or French music, an exploration of lesser known works, or wherever a charming and brief movement would be fitting.Instrumentation: 2d1,1+1,2+1,2 2,2(Bb or C),3,1 Glock/Chimes, Perc StringsFind more music and news at wheatmyermusic.com/ and www.facebook.com/WheatMyerMusic.
$45.00
41.56 €
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Orchestra
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Erik Satie
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4th Nocturne
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WheatMyer Music
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SheetMusicPlus
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