Download Digital Sheet Music of Dissolve for Orchestra

Dissolve
Orchestra

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 ViÃ±es, 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in 1903, but the third derives from an earlier group of pieces from 1894, collectively titled Images, which remained unpublished until 60 years after Debussyâ€™s death, when they were printed as Images (oubliÃ©es). Estampes marks an expansion of Debussyâ€™s keyboard style: he was apparently spurred to fuse neo-Lisztian technique with a sensitive, impressionistic pictorial impulse under the impact of discovering Ravelâ€™s Jeux dâ€™eau, published in 1902. The opening movement, â€˜Pagodesâ€™, is Debussyâ€™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 Debussyâ€™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 â€˜Pagodesâ€™ was his first Oriental piece, so â€˜La soirÃ©e dans Grenadeâ€™ was the first of Debussyâ€™s evocations of Spain-that preternatural embodiment of an â€˜imaginary Andalusiaâ€™ 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. Debussyâ€™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 Ravelâ€™s Habanera. Yet he wrote of this piece (to his friend Pierre LouÃ¿s, to whom it was dedicated), â€˜if this isnâ€™t the music they play in Granada, so much the worse for Granada!â€™-and there is no debate about the absolute authenticity of Debussyâ€™s use of Spanish idioms here. Falla himself pronounced it â€˜characteristically Spanish in every detailâ€™. â€˜La soirÃ©e dans Grenadeâ€™ 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. â€˜Jardins sous la pluieâ€™ is based on the childrenâ€™s song â€˜Nous nâ€™rons plus au boisâ€™ (We shanâ€™t go to the woods): its original 1894 form was in fact entitled Quelques aspects de â€˜Nous nâ€™rons plus au boisâ€™. The two versions are really two distinct treatments of the same set of ideas, but in â€˜Jardins sous la pluieâ€™ 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 childrenâ€™s song for treatment, â€˜Do, do, lâ€™enfant doâ€™) more elusive and tinged sometimes with melancholy or nostalgia. The ending of the piece is entirely new. What it loses, perha.

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 ViÃ±es, 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 Debussyâ€™s death, when they were printed as Images (oubliÃ©es). Estampes marks an expansion of Debussyâ€™s keyboard style: he was apparently spurred to fuse neo-Lisztian technique with a sensitive, impressionistic pictorial impulse under the impact of discovering Ravelâ€™s Jeux dâ€™eau, published in 1902. The opening movement, â€˜Pagodesâ€™, is Debussyâ€™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 Debussyâ€™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 â€˜Pagodesâ€™ was his first Oriental piece, so â€˜La soirÃ©e dans Grenadeâ€™ was the first of Debussyâ€™s evocations of Spain-that preternatural embodiment of an â€˜imaginary Andalusiaâ€™ 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. Debussyâ€™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 Ravelâ€™s Habanera. Yet he wrote of this piece (to his friend Pierre LouÃ¿s, to whom it was dedicated), â€˜if this isnâ€™t the music they play in Granada, so much the worse for Granada!â€™-and there is no debate about the absolute authenticity of Debussyâ€™s use of Spanish idioms here. Falla himself pronounced it â€˜characteristically Spanish in every detailâ€™. â€˜La soirÃ©e dans Grenadeâ€™ 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. â€˜Jardins sous la pluieâ€™ is based on the childrenâ€™s song â€˜Nous nâ€™rons plus au boisâ€™ (We shanâ€™t go to the woods): its original 1894 form was in fact entitled Quelques aspects de â€˜Nous nâ€™rons plus au boisâ€™. The two versions are really two distinct treatments of the same set of ideas, but in â€˜Jardins sous la pluieâ€™ 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 childrenâ€™s song for treatment, â€˜Do, do, lâ€™enfant doâ€™) more elusive and tinged sometimes with melancholy or nostalgia. Th.

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 ViÃ±es, 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 Debussyâ€™s death, when they were printed as Images (oubliÃ©es). Estampes marks an expansion of Debussyâ€™s keyboard style: he was apparently spurred to fuse neo-Lisztian technique with a sensitive, impressionistic pictorial impulse under the impact of discovering Ravelâ€™s Jeux dâ€™eau, published in 1902. The opening movement, â€˜Pagodesâ€™, is Debussyâ€™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 Debussyâ€™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 â€˜Pagodesâ€™ was his first Oriental piece, so â€˜La soirÃ©e dans Grenadeâ€™ was the first of Debussyâ€™s evocations of Spain-that preternatural embodiment of an â€˜imaginary Andalusiaâ€™ 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. Debussyâ€™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 Ravelâ€™s Habanera. Yet he wrote of this piece (to his friend Pierre LouÃ¿s, to whom it was dedicated), â€˜if this isnâ€™t the music they play in Granada, so much the worse for Granada!â€™-and there is no debate about the absolute authenticity of Debussyâ€™s use of Spanish idioms here. Falla himself pronounced it â€˜characteristically Spanish in every detailâ€™. â€˜La soirÃ©e dans Grenadeâ€™ 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. â€˜Jardins sous la pluieâ€™ is based on the childrenâ€™s song â€˜Nous nâ€™rons plus au boisâ€™ (We shanâ€™t go to the woods): its original 1894 form was in fact entitled Quelques aspects de â€˜Nous nâ€™rons plus au boisâ€™. The two versions are really two distinct treatments of the same set of ideas, but in â€˜Jardins sous la pluieâ€™ 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 childrenâ€™s song for treatment, â€˜Do, do, lâ€™enfant doâ€™) more elusive and tinged sometimes with melancholy or nostalgia. The ending of the piece is entirely new. What it loses, perha.

Claude Debussy/Robert Orledge: Prélude à L'Histoire de Tristan for orchestra, score only Orchestra

Full Orchestra - Advanced Intermediate - Digital Download Composed by Claude Debuss…(+)

Full Orchestra - Advanced Intermediate - Digital Download Composed by Claude Debussy/Robert Orledge. 20th Century, Impressionistic. Score. 19 pages. Published by Musik Fabrik Music Publishing
Scored for 21EH22/2200/timp/1perc/hp/strings Parts on rental.<br> <br> Debussy’s friendship with the versatile poet and playwright Gabriel Mourey began in 1899, and in July 1907, Mourey offered Debussy a libretto based on Le roman de Tristan - Joesph Bédier’s adaptation of a twelfth-century Breton romance by the Anglo-Norman poet known as Tomas - which had recently been published in Paris. Debussy enthusiastically outline the four-act plot to Victor Segalen that October, and the main differences from Wagner’s Tristan und Isolde are that none of the action takes place in Cornwal and that “Isolde of the white hands” is found guilty of cuckolding King Marc with Tristan, who has to rescue her from the leper colony in which she is abandoned in Act 1. She also betrays hi when he goes mad at the end.<br> <br> The idea of a Tristan that restorced its ‘legendary character’ and had no connections with Wagner, appealed to Debussy, who was extremely moved by the circumstances of Tristan’s death. Even if he thought that Mourey’s poetry was “not very lyrical and many passages do not exactly “invite” music”, he did work on the libretto and the music that summer and sent his pubisher Jacques Durand, ‘one of the 363 themes for the “Roman de Tristan”’ in a letter sent from Pourville on 23 August, 1907. The present prelude grows from this theme, together with the poignant Breton folksong “Le Faucon”. After a short atmospheric introduction, Debussy’s dance-like theme (which is definitely not a leitmotif) gradually gains momentum and after it reaches it ecstatic climas, representing the transient happiness of the lovers, it dissolves into an expressive coda and an elegiac close (all growing from Debussy’s opennning, off-stage trumpet calls), leaving us with the ultimate tragedy of their ill-fated advice.<br> <br> Unforunately, Mourey’s actual libretto has been lost and the project eventually foundered because Bédier’s cousin, Louis Artus, wanted Debussy to use the scenario he had prepared and copyrights for the stage, and would not allow him to proceed with Mourey’s version. Debussy, it need hardly be said, would never have dreamed of collaborating with the author of the vaudeville hit La culotte (The pants)!<br>
$19.95 18.36 € #Orchestra #Claude Debussy/Robert Orledge #Claude Debussy/Robert Orledge: Prélude à L'Histoire de Tristan for orchestra, score only # Musik Fabrik Music Publishing #SheetMusicPlus