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--INSTRUMENTS--
ACCORDION
AUTOHARP
BAGPIPE
BANJO
BASS
BASSOON
BOOKS
BOUZOUKI
BUGLE
CHORAL - VOCAL…
CLARINET
CORNET
DIDGERIDOO
DJ GEAR
DRUM
DULCIMER
ENGLISH HORN
EUPHONIUM
FLUTE
FRENCH HORN
GUITAR
HANDBELLS
HARMONICA
HARP
HARPSICHORD
LAP STEEL GUIT…
LUTE
MANDOLIN
MARCHING BAND
MARIMBA
MUSIC COURSE
OBOE
OCARINA
ORCHESTRA - BA…
ORGAN
PANPIPES
PERCUSSION
PIANO
RECORDER
SAXOPHONE
SYNTHESIZER K…
TROMBONE
TRUMPET
TUBA
UKULELE
VIBRAPHONE
VIOLA
VIOLIN - FIDDL…
VIOLONCELLO - …
XYLOPHONE
ZITHER
Canon in D - Violin
Not classified
285
Piano & keyboards
Piano solo
311
Easy Piano
130
Organ
17
1 Piano, 4 hands
14
Piano, Voice
13
C Instruments
6
2 Pianos, 4 hands
5
Piano Accompaniment
3
Accordion
2
Piano, Vocal and Guitar
2
Big Note Piano
2
1 Piano, 6 hands
1
Solo instrument and Organ
1
+ 8 instrumentations
-
Retract
Guitars
Guitar
32
Guitar notes and tablatures
25
4 Guitars (Quartet)
9
Melody line, (Lyrics) and Chords
4
Ukulele
2
Dulcimer
2
Banjo
2
3 Guitars (trio)
1
Guitar Ensemble
1
Ukulele Ensemble
1
Mandolin
1
2 Guitars (duet)
1
+ 7 instrumentations
-
Retract
Voice
Choral SATB
27
Choral 2-part
24
Choral 3-part
15
Vocal duet, Piano
7
Choral Instrumental Pak
6
Choral Unison
5
Choral TTBB
2
Choral SSAA
1
Vocal duet
1
+ 4 instrumentations
-
Retract
Woodwind
Flute and Piano
53
Saxophone Quartet: 4 saxophones
50
2 Saxophones (duet)
49
Clarinet and Piano
45
Flute, Oboe, Clarinet, Bassoon
36
Oboe, Piano (duet)
36
Flute
35
2 Flutes (duet)
34
Woodwind Quintet: flute, oboe, bassoon, clarinet, horn
34
2 Clarinets (duet)
30
Alto Saxophone and Piano
28
Clarinet
26
Tenor Saxophone and Piano
25
3 Saxophones (trio)
23
Saxophone Quintet: 5 Saxophones
23
Clarinet Quartet: 4 clarinets
20
Oboe (band part)
19
Alto Saxophone
18
Flute, Clarinet (duet)
18
2 Oboes (duet)
16
Soprano Saxophone and Piano
14
Saxophone
12
Saxophone (band part)
12
Flute Quartet: 4 flutes
10
Flute, Clarinet and Bassoon.
10
Tenor Saxophone
10
Flute, Oboe, Clarinet (trio)
8
Baritone Saxophone, Piano
8
3 Clarinets (trio)
8
Oboe, Clarinet (duet)
6
Oboe
6
Flute Trio: 3 flutes
6
Oboe, Bassoon (duet)
6
Flute, Cello, Piano (trio)
6
2 Saxophones, Piano
5
Descant (Soprano) Recorder
5
Clarinet Quintet: 5 clarinets
5
English Horn
4
Flute, Oboe (duet)
4
Flute and Guitar
4
Flute, Violoncello
4
Clarinet, Bassoon (duet)
4
Recorder
4
2 Flutes, Piano
4
Oboe, Clarinet, Bassoon (trio)
4
Soprano Saxophone
3
Flute, Clarinet, Piano (trio)
3
Clarinet, Harp (duet)
3
Flute, Oboe, Bassoon
3
English horn, Piano
3
Bass Clarinet, Piano
3
Saxophone, Clarinet (duet)
2
Flute ensemble
2
Clarinet, Cello (duet)
2
Oboe, Trumpet (duet)
2
Baritone Saxophone
2
3 Oboes
2
Oboe, Harp
2
Flute Quintet : 5 flutes
2
2 Oboes, Piano
2
Piccolo
2
Clarinet, Cello, Piano (trio)
2
2 Clarinets, Piano
2
Flute, Trumpet (duet)
2
Saxophone and Harp
2
3 Recorders (trio)
2
Treble (Alto) Recorder
2
Oboe, Flute
1
Flute, Organ (duet)
1
5 Recorders
1
Clarinet (band part)
1
Flute, Trombone (duet)
1
Clarinet, Guitar (duet)
1
Flute, Viola and Piano
1
Flute (band part)
1
Recorder Quartet
1
Saxophone, Bassoon (duet)
1
Clarinet Ensemble
1
Flute, Cello, Guitar
1
Flute, Oboe, Piano (trio)
1
Flute, Bassoon, and Piano
1
Oboe, Guitar (duet)
1
Flute, Saxophone (duet)
1
Pennywhistle
1
Oboe, Cello and Piano
1
Tenor Recorder
1
Flute, Clarinet, Horn and Bassoon (Quartet)
1
+ 82 instrumentations
-
Retract
Woodbrass
Trumpet, Piano
43
Brass Quintet: 2 trumpets, horn, trombone, tuba
32
2 Trumpets (duet)
32
Trombone and Piano
28
Trumpet
27
2 Trombones (duet)
23
French Horn and Piano
19
Trombone
18
French horn
17
Tuba
16
Tuba and Piano
16
Brass Quartet
15
2 French horns (duet)
15
Brass Quartet: 2 trumpets, horn, trombone
14
Trumpet, Trombone (duet)
10
Brass quartet : 2 trumpets, trombone, tuba
9
Euphonium
5
Brass Quartet: 4 horns
5
2 Tubas (duet)
5
Trumpet, Saxophone (duet)
4
Euphonium, Piano (duet)
4
English Horn
4
Brass Quartet: 4 trumpets
4
Trumpet, Trombone, Piano
4
Trombone, Tuba (duet)
3
Trumpet, Horn (duert)
3
3 Trombones (trio)
3
Horn, Tuba (duet)
3
Brass Quartet: 4 trombones
3
English horn, Piano
3
Trumpet, Tuba (duet)
3
3 Trumpets (trio)
3
2 French horns, Piano
2
Trombone, cello (duet)
2
Trumpet, Cello (duet)
1
Trombone ensemble
1
Trombone, Horn (duet)
1
Horn, Cello and Piano
1
Horn, Cello (duet)
1
Bass Clef Instruments
1
Trumpet ensemble
1
Trumpet, Bassoon (duet)
1
2 Trumpets, Keyboard (piano or organ)
1
2 Trombones, Piano
1
3 French horns (trio)
1
Trumpet (band part)
1
Tuba and Organ
1
+ 42 instrumentations
-
Retract
Strings
Cello, Piano
52
Cello
45
2 Cellos (duet)
36
Viola, Piano
33
Viola
31
Harp
26
2 Violas (duet)
24
4 Cellos
14
Double Bass
13
String trio
9
Double bass, Piano (duet)
8
String Quartet: 2 violins, viola, cello
7
Viola, Cello (duet)
7
String Trio: 3 cellos
6
2 Double basses (duet)
5
2 Violas, Piano
4
2 Harps (duet)
4
Viola (band part)
4
Cello, String Bass (duet)
3
2 Cellos, Piano
3
String Quartet : 4 violas
2
String Trio: 3 violas
2
3 Harps
1
Harp and Organ
1
3 double basses
1
Viola and Harp
1
Cello, Organ
1
Viola and Bassoon
1
Harp, Flute (duet)
1
4 Double Basses
1
+ 25 instrumentations
-
Retract
Orchestra & Percussion
Concert band
52
String Orchestra
19
Brass ensemble
10
Orchestra
10
Handbells
8
Chamber Orchestra
6
Percussion Ensemble
2
Jazz Ensemble
2
Marimba
2
Xylophone, Piano
1
+ 5 instrumentations
-
Retract
Others
Instruments
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LUTE, THEOR…
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Canon in D - Violin
Orchestra
Sheetmusic to print
10 sheet music found
<
1
Canongia - Clarinet Concerto No.4 in D minor
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Orchestra
#
Classical
#
José Avelino Canongia
#
J
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Canongia - Clarinet Concerto N
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J.G. Cuco Barber
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SheetMusicPlus
Full Orchestra - Digital Download SKU: A0.1309878 Composed by José Avelino Canongia. Arranged by J.G. Cucó Barber. 19th Century,Classical,Romantic ...
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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
Canon in D Major - Orchestra (Score and all parts)
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Orchestra
#
INTERMEDIATE
#
Classical
#
Johann Pachebel
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Murilo Frias
#
Canon in D Major - Orchestra
#
Murilo Frias
#
SheetMusicPlus
Full Orchestra - Level 3 - Digital Download Composed by Johann Pachebel. Arranged by Murilo Frias. Baroque, Classical, Sacred, Wedding, World. Score an...
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Full Orchestra - Level 3 - Digital Download Composed by Johann Pachebel. Arranged by Murilo Frias. Baroque, Classical, Sacred, Wedding, World. Score and parts. 24 pages. Murilo Frias #6381101. Published by Murilo Frias
$8.99
Memorable Themes for Orchestra - Set One
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Orchestra
#
Classical
#
Frederic Chopin, Johann Pachel
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Daniel Ashcroft
#
Memorable Themes for Orchestra
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DanielAshcroftMusic
#
SheetMusicPlus
Full Orchestra - Digital Download SKU: A0.811410 Composed by Frederic Chopin, Johann Pachelbel, and Ludwig van Beethoven. Arranged by Daniel Ashcroft. Co...
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Full Orchestra - Digital Download SKU: A0.811410 Composed by Frederic Chopin, Johann Pachelbel, and Ludwig van Beethoven. Arranged by Daniel Ashcroft. Contemporary. Score and parts. 803 pages. DanielAshcroftMusic #118855. Published by DanielAshcroftMusic (A0.811410). Set One of Memorable Themes for Orchestra, comprising Beethoven's Ode To Joy, Pachelbel's Canon in D and Chopin's Waltz No 1 'Grande Valse Brillante'. A detailed score and complete set of parts for each work is included. Each work is also available individually on Sheet Music Plus in Score and Parts, Score only or Parts only formats.
$90.00
Pachelbel's Canon in D - Score Only
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Orchestra
#
Classical
#
Johann Pachelbel
#
Daniel Ashcroft
#
Pachelbel's Canon in D - Score
#
DanielAshcroftMusic
#
SheetMusicPlus
Composed by Johann Pachelbel (1653-1706). Arranged by Daniel Ashcroft. For Full Orchestra. Baroque Period. Score. Published by DanielAshcroftMusic ...
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Composed by Johann Pachelbel (1653-1706). Arranged by Daniel Ashcroft. For Full Orchestra. Baroque Period. Score. Published by DanielAshcroftMusic
$15.00
Pachelbel's Canon in D - Score and Parts
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Orchestra
#
Classical
#
Johann Pachelbel
#
Daniel Ashcroft
#
Pachelbel's Canon in D - Score
#
DanielAshcroftMusic
#
SheetMusicPlus
Composed by Johann Pachelbel (1653-1706). Arranged by Daniel Ashcroft. For Full Orchestra. Baroque Period. Score,Set of Parts. Published by DanielAshcroftMusic ...
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Composed by Johann Pachelbel (1653-1706). Arranged by Daniel Ashcroft. For Full Orchestra. Baroque Period. Score,Set of Parts. Published by DanielAshcroftMusic
$40.00
Lanny Allen: A Mighty Fortress Is Our God (with "Canon in D") (COMPLETE) - orchestra/band
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Orchestra
#
INTERMEDIATE
#
Sacred music
#
Lanny Allen
#
Virtualsheetmusic
Instantly printable sheet music by Johann Pachelbel for orchestra/band of MEDIUM skill level. / sacred,hymn
Instantly printable sheet music by Johann Pachelbel for orchestra/band of MEDIUM skill level. / sacred,hymn
$43.99
Pachelbel's Canon in D
#
Orchestra
#
Classical
#
Johann Pachelbel
#
Daniel Ashcroft
#
Pachelbel's Canon in D
#
DanielAshcroftMusic
#
SheetMusicPlus
Composed by Johann Pachelbel (1653-1706). Arranged by Daniel Ashcroft. Baroque Period. Performance. Published by DanielAshcroftMusic (S0.74553). - Performance -...
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Composed by Johann Pachelbel (1653-1706). Arranged by Daniel Ashcroft. Baroque Period. Performance. Published by DanielAshcroftMusic (S0.74553). - Performance - Baroque Period - DanielAshcroftMusic
$5.00
Claude Debussy ‒ Estampes, Orchestra Suite, Orchestrated by Arkady Leytush, No. 2 La soirée dans
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Orchestra
#
Classical
#
Claude Debussy
#
Arkady Leytush
#
Claude Debussy ‒ Estamp
#
Arkady Leytush
#
SheetMusicPlus
Full Orchestra - Digital Download SKU: A0.1008374 Composed by Claude Debussy. Arranged by Arkady Leytush. 20th Century. Score and parts. 24 pages. Arkady...
(+)
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
Claude Debussy ‒ Estampes, Orchestra Suite, Orchestrated by Arkady Leytush No. 1 Pagodes (Pagodas
#
Orchestra
#
Classical
#
Claude Debussy
#
Arkady Leytush
#
Claude Debussy ‒ Estamp
#
Arkady Leytush
#
SheetMusicPlus
Full Orchestra - Digital Download SKU: A0.1008372 Composed by Claude Debussy. Arranged by Arkady Leytush. 20th Century. Score and parts. 24 pages. Arkady...
(+)
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
Claude Debussy ‒ Estampes, Orchestra Suite, Orchestrated by Arkady Leytush, No. 3 Jardins sous la
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Orchestra
#
Classical
#
Claude Debussy
#
Arkady Leytush
#
Claude Debussy ‒ Estamp
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Arkady Leytush
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SheetMusicPlus
Full Orchestra - Digital Download SKU: A0.1008375 Composed by Claude Debussy. Arranged by Arkady Leytush. 20th Century. Score and parts. 39 pages. Arkady...
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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
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