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Anon - german -14th century
Orchestra
Sheetmusic to print
18 sheet music found
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1
Canongia - Clarinet Concerto No.4 in D minor
Orchestra
Full Orchestra - Digital Download SKU: A0.1309878 Composed by José Avelino Canon…
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Full Orchestra - Digital Download SKU: A0.1309878 Composed by José Avelino Canongia. Arranged by J.G. Cucó Barber. 19th Century,Classical,Romantic Period. 125 pages. J.G. Cuco Barber #899024. Published by J.G. Cuco Barber (A0.1309878). Work Title Clarinet Concerto No.4 in D minorComposer Canongia, José AvelinoKey D minorMovements/Sections 3 movements: Allegro agitato Adagio Allegro Dedication à S. M. I. la Duchesse de BraganeComposer Time Period RomanticPiece Style RomanticInstrumentation clarinet, orchestraInstrDetail2 flutes, 2 oboes, 2 clarinets, 2 bassoons2 horns, 2 trumpets, trombonetimpani, strings.
$45.00
41.49 €
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Orchestra
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José Avelino Canongia
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Canongia - Clarinet Concerto No.4 in D minor
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J.G. Cuco Barber
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SheetMusicPlus
Canongia - Clarinet Concerto No.1 in G minor
Orchestra
Full Orchestra - Digital Download SKU: A0.1300191 Composed by José Avelino Canon…
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Full Orchestra - Digital Download SKU: A0.1300191 Composed by José Avelino Canongia. Arranged by J.G. Cucó Barber. 19th Century,Classical,Romantic Period. Score and Parts. 153 pages. J.G. Cuco Barber #889928. Published by J.G. Cuco Barber (A0.1300191). Work Title Clarinet Concerto No.1 in G minorAlternative Title Premier Concerto pour la Clarinette avec OrchestreComposer Canongia, José AvelinoKey G minorMovements/Sections 3 movements: Allegro Maestoso Adagio Rondo, Tempo di Polacca Dedication MM les Professeurs et Amateurs de cet Instrument [clarinet]Average Duration 25 minutesComposer Time Period RomanticPiece Style RomanticInstrumentation clarinet, orchestra;InstrDetail flute, 2 oboes, bassoon, 2 horns, trombone, strings.
$45.00
41.49 €
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Orchestra
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José Avelino Canongia
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Canongia - Clarinet Concerto No.1 in G minor
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J.G. Cuco Barber
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SheetMusicPlus
Canongia - Clarinet Concerto No.2 in B flat major
Orchestra
Full Orchestra - Digital Download SKU: A0.1302485 Composed by José Avelino Canon…
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Full Orchestra - Digital Download SKU: A0.1302485 Composed by José Avelino Canongia. Arranged by J.G. Cucó Barber. 19th Century,Classical,Romantic Period. Score and Parts. 153 pages. J.G. Cuco Barber #892105. Published by J.G. Cuco Barber (A0.1302485). Work Title Clarinet Concerto No.2 in B flat majorAlternative Title Deuxieme Concerto pour la Clarinette Avec OrchestreComposer Canongia, José AvelinoKey B flat majorMovements/Sections 3 movements: Allegro maestoso Andantino sostenuto Allegro vivace Dedication Pierre 1er. Empereur du Bresil et Roi de PortugalAverage Duration 18 minutesComposer Time Period RomanticPiece Style RomanticInstrumentation clarinet, orchestraInstrDetail 2 flutes, 2 oboes, 2 clarinets, 2 bassoons2 horns, 2 trumpets, bass trombone, timpani, strings.
$45.00
41.49 €
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Orchestra
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José Avelino Canongia
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Canongia - Clarinet Concerto No.2 in B flat major
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J.G. Cuco Barber
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SheetMusicPlus
Canongia - Air varié for Clarinet & Orchestra
Orchestra
Full Orchestra - Digital Download SKU: A0.1297680 Composed by José Avelino Canon…
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Full Orchestra - Digital Download SKU: A0.1297680 Composed by José Avelino Canongia. Arranged by J.G. Cucó Barber. 19th Century,Classical,Romantic Period. Score and Parts. 143 pages. J.G. Cuco Barber #887655. Published by J.G. Cuco Barber (A0.1297680). Work Title Air varié pour la Clarinette avec acc. de Grande OrchestreComposer Canongia, José AvelinoKey F minorMovements/Sections1 section(Introduction: Allegro - Theme: Andante - variações 1-4 - Allegro - Adagio - variações 5 + 6 - Coda)First Publication 1805-16Dedication Maria da Glória, Rainha de PortugalAverage Duration 20 minutesComposer Time Period RomanticPiece Style ClassicalInstrumentation solo: clarinetorchestra: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, trombone, timpani, strings
$45.00
41.49 €
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Orchestra
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José Avelino Canongia
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Canongia - Air varié for Clarinet & Orchestra
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J.G. Cuco Barber
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SheetMusicPlus
Canongia - Clarinet Concerto No.3 in E flat major
Orchestra
Full Orchestra - Digital Download SKU: A0.1305630 Composed by José Avelino Canon…
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Full Orchestra - Digital Download SKU: A0.1305630 Composed by José Avelino Canongia. Arranged by J.G. Cucó Barber. 19th Century,Classical,Romantic Period. Score and Parts. 136 pages. J.G. Cuco Barber #895083. Published by J.G. Cuco Barber (A0.1305630). Work Title Clarinet Concerto No.3 in E flat majorComposer Canongia, José AvelinoKey E flat majorMovements/Sections 3 movements: Allegro maestoso Andantino Allegro Dedication à S. M. Don Fernando second Roi de PortugalAverage Duration 19 minutesComposer Time Period RomanticPiece Style RomanticInstrumentation Solo: clarinet (Bâ™)Orchestra: 2 flutes, 2 oboes, 2 clarinets (Bâ™), 2 bassoons, 2 horns (F), 2 trumpets (Bâ™), trombone, timpani, strings.
$45.00
41.49 €
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Orchestra
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José Avelino Canongia
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Canongia - Clarinet Concerto No.3 in E flat major
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J.G. Cuco Barber
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SheetMusicPlus
Ponder Anew
Orchestra
Full Orchestra - Digital Download SKU: A0.976722 Composed by LOBE DEN HERREN. Arran…
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Full Orchestra - Digital Download SKU: A0.976722 Composed by LOBE DEN HERREN. Arranged by Robert Myers. Christian,Contemporary,Sacred. Score and parts. 64 pages. WheatMyer Music #4808643. Published by WheatMyer Music (A0.976722). Joachim Leander's Praise to the LORD, the Almighty, as translated by Catherine Winkworth, has consistently been one of the most published hymns in the English language since the mid-20th Century. Its anonymously composed tune, LOBE DEN HERREN, almost exclusively paired with this text since the 17th Century, is also much loved. Even J.S. Bach found it suitable to feature in his 137th cantata. The title of this arrangement, Ponder Anew, as taken from the commonly used third stanza of the hymn, Ponder anew what the Almighty can do, invites one to consider afresh the attributes and works of Almighty God as one listens to this completely new setting of the tune. This arrangement for orchestra features three variations of the complete hymn tune utilizing metrical and harmonic changes to maintain focus on the tune and its text. These are bracketed via repetitions of the first five tune pitches in harmonic planing over a crescendoed pedal tone producing steadily increasing tension with unexpected resolutions of the beginning and concluding phrases. The music in not particularly difficult and should be readily playable by high school or higher level musicians. Yet, both musicians and audience will find the work interesting and enjoyable with music that reflects the majesty and mystery of its subject. Robert Myers S.D.G.INSTRUMENTATION Picc, Fl1, 2 Oboe 1, 2 Bb Cl 1, 2 + Bass Cl Bsn 1 Hn 1, 2 Tpt 1, 2, 3 Tbn 1, 2, 3 Tuba Timpani Perc. 1 (glock, crash cym, sus cym, ride cym, mark tree, claves, tam tam) Perc. 2 or Drum Set (snare, bass drum, toms (lo/mid/hi), crash cym, finger cym or triangle, ride cym, sys cym) Vln 1, 2 VlaVC DB
$75.00
69.14 €
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Orchestra
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LOBE DEN HERREN
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Ponder Anew
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WheatMyer Music
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SheetMusicPlus
Mendelssohn Unfinished Symphony No. 6 C-Major (1845) - Completed
Orchestra
Full Orchestra - Level 5 - Digital Download SKU: A0.1311951 Composed by Gerd Prenge…
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Full Orchestra - Level 5 - Digital Download SKU: A0.1311951 Composed by Gerd Prengel. Arranged by Adrian Gaigu. 19th Century. 221 pages. Gerd Prengel #900836. Published by Gerd Prengel (A0.1311951). In 1845 Felix Mendelssohn was working on 2 movements for a 6th symphony in C-Major (shortly before he begann working on his Elijah oratorion). This is an attempt to complete them in his style and for the first time. I. Allegro ma non troppoFor the first movement a full score of the first 2 minutes (79 measures) exist and additionally sketches for further passages were included and elaborated here: m. 81 - 93: transition to the 2nd theme m. 107 - 116: 2nd theme m. 146 - 150 ending of the exposition m. 152 - 165: beginning of the development m. 196 - 204: canonic passage 11:57 II. Andante cantabile The very melodious sketches for the first 2:15 minutes were worked out to a second movement with variations on the main theme and a more passionate middle part. This publication includes the score and parts and is addressed to any conductors and orchestras willing to play unknown, excellent music by Mendelssohn put in a context true to his idiom. Total duration: 23 min. MP3:www.gerdprengel.de/Mendelssohn_unfinished_symphony_1.mp3www.gerdprengel.de/Mendelssohn_unfinished_symphony_2.mp3
$100.00
92.19 €
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Orchestra
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Gerd Prengel
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Mendelssohn Unfinished Symphony No. 6 C-Major
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Gerd Prengel
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SheetMusicPlus
Millennium Suite (Full Orchestra)
Orchestra
Full Orchestra - Level 4 - Digital Download SKU: A0.725191 By Paul Barker Music. By…
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Full Orchestra - Level 4 - Digital Download SKU: A0.725191 By Paul Barker Music. By Paul Barker Music. 20th Century,21st Century,Contemporary,Contest,Festival,Patriotic. Score and Parts. 95 pages. Paul Barker Music #5316471. Published by Paul Barker Music (A0.725191). The Millennium Suite is a contemporary symphonic work in three contrasting movements for Full Orchestra, Organ, Harpsichord (or Keyboard substitutes) and Orchestral Percussion. The piece begins with the triumphantly bold Festival Fanfare commanding immediate attention with memorable melodic lines and complex harmonic layers. The second movement is a beautiful, yet rousing Anthem laced with emotive themes and warm dissonance. Finally, we are introduced to movement three which is a playful, colourful Scherzo. This movement adds zest and sparkle through spritely use of canon and counterpoint on a fast-paced melodic and rhythmic ‘chase’ around the orchestra! Includes both Conductor Score and Parts. Also available for String Orchestra, Piano & Orchestral Percussion. ​Duration: 6:30 Level: Advanced (UK Grade 7+ & USA 3+) Occasion: Concert - Formal/Informal - Competitions - Orchestral Clinics - Graduations Orchestration: Full Orchestra - Keyboards - Orchestral Percussion
$37.95
34.99 €
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Orchestra
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Paul Barker Music
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Millennium Suite
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Paul Barker Music
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SheetMusicPlus
T'WAS IN THE MOON OF WINTERTIME(GOD REST YE MERRY GENTLEMEN)FOR FULL ORCHESTRA
Orchestra
Full Orchestra - Level 3 - Digital Download SKU: A0.837255 Composed by Garth M. Wil…
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Full Orchestra - Level 3 - Digital Download SKU: A0.837255 Composed by Garth M. Williams (Socan). Arranged by Garth M. Williams (Socan). 20th Century,Christmas,Concert. Score and parts. 19 pages. Garth M. Williams (Socan) #2889573. Published by Garth M. Williams (Socan) (A0.837255). Twas In The Moon of Wintertime originated as a French Folksong from the sixteenth century, with words written by Jean de Brebeuf. Garth Williams has taken this melody and has presented it using a number of different forms, the canon being most dominant. Once this melody is established he introduces God Rest Ye Merry Gentlemen and indeed, finishes the composition with considerable exuberance. The score is presented with an additional Third Violin part if violas are in short supply.
$15.95
14.7 €
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Orchestra
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Garth M
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T'WAS IN THE MOON OF WINTERTIME(GOD REST YE MERRY GENTLEMEN)FOR FULL ORCHESTRA
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Garth M. Williams
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SheetMusicPlus
John Paul Jones - Symphonic Overture (instrumental parts)
Orchestra
Full Orchestra - Level 3 - Digital Download SKU: A0.971716 Composed by WAGSTAFF, Ju…
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Full Orchestra - Level 3 - Digital Download SKU: A0.971716 Composed by WAGSTAFF, Julian. 20th Century,Contemporary,Holiday,Musical/Show,Patriotic. Score and parts. 201 pages. Julian Wagstaff #3421021. Published by Julian Wagstaff (A0.971716). The Symphonic Overture (for orchestra) has its roots in Julian Wagstaff's stage musical John Paul Jones, which premiered in Edinburgh, Scotland in 2001 and was revived professionally with the Scottish Chamber Orchestra in 2010. Essentially a tragedy of ambition, the musical tells the story of the son of a Scottish gardener who became a hero of the American Revolution as the father of the American navy.The work is in three clearly discernible sections: The first interlaces the Scots jig in 6/8 (which opens the musical) with the anthemic 'Freedom Arise' theme in 4/4 (which closes it), by means of metric modulation. The second, slower section is essentially a canon and variation on the 'Home Again' ballad from Act I of the show, while the third and final section is a radical development of the 'Battle of Flamborough Head' sequence from Act I of the musical. For more information visit www.julianwagstaff.com or www.johnpauljonesmusical.com.
$69.99
64.52 €
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Orchestra
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WAGSTAFF, Julian
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John Paul Jones - Symphonic Overture
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Julian Wagstaff
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SheetMusicPlus
Horseshoe Curve
Orchestra
Full Orchestra - Level 4 - Digital Download SKU: A0.755129 Composed by Sy Brandon. …
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Full Orchestra - Level 4 - Digital Download SKU: A0.755129 Composed by Sy Brandon. 20th Century,Contemporary. Score and parts. 157 pages. Sy Brandon #3397035. Published by Sy Brandon (A0.755129). Horseshoe Curve was composed for the Altoona Area High School Orchestra, Kelly Detwiller, director. This composition is in three movements. The first movement, Man Versus Nature, is moderate and intense, paying tribute to the designers and laborers for the Horseshoe Curve project. It uses parts of three railroad songs, Drill, Ye Tarriers by Thomas Casey, I’ve Been Working on the Railroad, and Dinah. The introduction uses phrases from I’ve Been Working on the Railroad that are disguised by ending on a different note than the traditional song. The main body of the movement uses phrases of Drill, Ye Tarriers that are interrupted by phrases of the other two songs as well as original material by the composer. It developes in intensity as the movement progresses, but ends softly, suggesting the ongoing labor of the project. The second movement, Doorway to the West is a celebration of the completion of the project. It uses She’ll Be Coming ’Round the Mountain in fragments, in canon, and as a basis for a hoe down and a waltz variation. The celebration becomes wild at the end as all ideas come together at once. The third movement, Growth and Opportunity is slow and expansive in the beginning with a quicker section at the end. It depicts the growth of Altoona as a result of Horseshoe Curve. The initial idea that appears in the celli is expanded and developed, therefore evolving into a constant stream of new, but related, ideas.The score prints on legal size paper and the parts on letter.
$39.99
36.87 €
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Orchestra
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Sy Brandon
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Horseshoe Curve
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Sy Brandon
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SheetMusicPlus
Claude Debussy ‒ Estampes, Orchestra Suite, Orchestrated by Arkady Leytush, No. 2 La soirée dans
Orchestra
Full Orchestra - Digital Download SKU: A0.1008374 Composed by Claude Debussy. Arran…
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Full Orchestra - Digital Download SKU: A0.1008374 Composed by Claude Debussy. Arranged by Arkady Leytush. 20th Century. Score and parts. 24 pages. Arkady Leytush #4849775. Published by Arkady Leytush (A0.1008374). 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
23.05 €
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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. 2 La soirée dans
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Arkady Leytush
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SheetMusicPlus
Claude Debussy ‒ Estampes, Orchestra Suite, Orchestrated by Arkady Leytush No. 1 Pagodes (Pagodas
Orchestra
Full Orchestra - Digital Download SKU: A0.1008372 Composed by Claude Debussy. Arran…
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Full Orchestra - Digital Download SKU: A0.1008372 Composed by Claude Debussy. Arranged by Arkady Leytush. 20th Century. Score and parts. 24 pages. Arkady Leytush #4849769. Published by Arkady Leytush (A0.1008372). 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. Th.
$25.00
23.05 €
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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. 1 Pagodes
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Arkady Leytush
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SheetMusicPlus
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
23.05 €
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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
John Paul Jones - Symphonic Overture (score)
Orchestra
Full Orchestra - Digital Download SKU: A0.971701 Composed by WAGSTAFF, Julian. 20th…
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Full Orchestra - Digital Download SKU: A0.971701 Composed by WAGSTAFF, Julian. 20th Century,Contemporary,Holiday,Musical/Show,Patriotic. Score and parts. 58 pages. Julian Wagstaff #14603. Published by Julian Wagstaff (A0.971701). The Symphonic Overture (for orchestra) has its roots in Julian Wagstaff's stage musical John Paul Jones, which premiered in Edinburgh, Scotland in 2001 and was revived professionally with the Scottish Chamber Orchestra in 2010. Essentially a tragedy of ambition, the musical tells the story of the son of a Scottish gardener who became a hero of the American Revolution as the father of the American navy.The work is in three clearly discernible sections: The first interlaces the Scots jig in 6/8 (which opens the musical) with the anthemic 'Freedom Arise' theme in 4/4 (which closes it), by means of metric modulation. The second, slower section is essentially a canon and variation on the 'Home Again' ballad from Act I of the show, while the third and final section is a radical development of the 'Battle of Flamborough Head' sequence from Act I of the musical. For more information visit www.julianwagstaff.com or www.johnpauljonesmusical.com.
$14.99
13.82 €
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Orchestra
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WAGSTAFF, Julian
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John Paul Jones - Symphonic Overture
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Julian Wagstaff
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SheetMusicPlus
Jesus, My Lord, My God, My All
Orchestra
Full Orchestra - Level 5 - Digital Download SKU: A0.1195854 Composed by Anonymous. …
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Full Orchestra - Level 5 - Digital Download SKU: A0.1195854 Composed by Anonymous. Arranged by Joshua Choe. 19th Century,Christian,Classical,Easter,Sacred. 33 pages. JMJ Arrangements #795028. Published by JMJ Arrangements (A0.1195854).
$24.99
23.04 €
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Orchestra
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Anonymous
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Jesus, My Lord, My God, My All
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JMJ Arrangements
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SheetMusicPlus
Star Trek (r) The Motion Picture for Orchestra
Orchestra
Full Orchestra - Advanced Intermediate - Digital Download Arranged by Javier Mart&iac…
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Full Orchestra - Advanced Intermediate - Digital Download Arranged by Javier Martínez Maya. Score, Set of Parts. 90 pages. Published by Arte Nova Music Lab
Star Trek is an American science fiction media franchise originating from the 1960s television series Star Trek, created by Gene Roddenberry. That series, now often known as "The Original Series", debuted on September 8, 1966, and aired for three seasons on NBC. It followed the voyages of the starship USS Enterprise, a space exploration vessel built by the United Federation of Planets in the 23rd century, on a mission "to explore strange new worlds, to seek out new life and new civilizations, to boldly go where no man has gone before". In creating Star Trek, Roddenberry was inspired by C. S. Forester'sHoratio Horn blower series of novels, Jonathan Swift's 1726 novel Gulliver's Travels, the 1956 film Forbidden Planet, and television westerns such asWagon Train.<br> <br> The Star Trek canon includes the Original Series, nine spin-off television series, and a film franchise; further adaptations also exist in several media. After the conclusion of the Original Series, the adventures of its characters continued in the 22-episode Star Trek: The Animated Series and six feature films. A television revival beginning in the 1980s saw three sequel series and a prequel: Star Trek: The Next Generation, following the crew of a new starshipEnterprise a century after the original series; Star Trek: Deep Space Nine and Star Trek: Voyager, set in the same era as the Next Generation; andEnterprise, set before the original series in the early days of human interstellar travel. The adventures of the Next Generation crew continued in four additional feature films. In 2009, the film franchise underwent a reboot, creating an alternate continuity known as the Kelvin timeline; three films have been set in this continuity. The newest Star Trek television revival, beginning in 2017, includes the series Star Trek: Discovery, Picard, Short Treks, and Lower Decks, streaming exclusively on digital platforms. At least two additional television series are in development: Star Trek: Strange New Worlds and Star Trek: Prodigy.<br> <br> Taken from https://en.wikipedia.org/wiki/Star_Trek
$60.00
55.31 €
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Orchestra
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Star Trek
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Arte Nova Music Lab
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SheetMusicPlus
Celtic Arms (full orchestra set)
Orchestra
Composed by Thomas Moore, anonymous, Dion Boucicault, anonymous, Edward Harrigan, David Br…
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Composed by Thomas Moore, anonymous, Dion Boucicault, anonymous, Edward Harrigan, David Braham, Louis Lambert. Arranged by Nick Raspa. For Full Orchestra. 20th Century,Celtic,St. Patrick's Day. Intermediate. Score,Set of Parts. Published by NJR Music
$54.00
49.78 €
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Orchestra
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Thomas Moore, anonymous, Dion Boucicault, anonymous, Edward Harrigan, David Braham, Louis Lambert
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Celtic Arms
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NJR Music
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SheetMusicPlus
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