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You've selected:
Distant Echoes
Sheetmusic to print
14 sheet music found
<
1
Distant Echoes - Zachary Bruno
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Piano solo
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INTERMEDIATE
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New Age
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Contemporary
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Zachary Bruno
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Distant Echoes - Zachary Bruno
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Before the Rain
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SheetMusicPlus
Piano Solo - Level 3 - Digital Download SKU: A0.945533 Composed by Zachary Bruno. 20th Century,Contemporary,New Age. Score. 5 pages. Before the Rain #594...
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Piano Solo - Level 3 - Digital Download SKU: A0.945533 Composed by Zachary Bruno. 20th Century,Contemporary,New Age. Score. 5 pages. Before the Rain #5946319. Published by Before the Rain (A0.945533). Sheet music instant download of Distant Echoes from Zachary Bruno’s Before the Rain album released in 2013. Key of Eb Major (3 flats) – Level 3 of 5 – early intermediate/intermediate.
$5.95
Distant Echoes
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Piano solo
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INTERMEDIATE
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New Age
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Contemporary
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Michael Logozar
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Distant Echoes
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Logozar Music
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SheetMusicPlus
Piano Solo - Level 3 - Digital Download SKU: A0.871021 Composed by Michael Logozar. 20th Century,Contemporary,New Age. Score. 5 pages. Logozar Music #342...
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Piano Solo - Level 3 - Digital Download SKU: A0.871021 Composed by Michael Logozar. 20th Century,Contemporary,New Age. Score. 5 pages. Logozar Music #3425883. Published by Logozar Music (A0.871021). Key of B major, 4/4 time signature. Intermediate skill level.Recorded by Michael Logozar on his album Wonder. Sounds like Jim Brickman, David Nevue, Michele McLaughlin, George Winston, Yiruma and Philip Wesley.
$5.50
Carson Cooman: Fourth Piano Sonata
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Piano solo
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ADVANCED
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Carson Cooman
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Carson Cooman: Fourth Piano So
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Musik Fabrik Music Publishing
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SheetMusicPlus
Piano Solo - Level 5 - Digital Download SKU: A0.533606 Composed by Carson Cooman. Concert,Contemporary,Standards. Score. 16 pages. Musik Fabrik Music Pub...
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Piano Solo - Level 5 - Digital Download SKU: A0.533606 Composed by Carson Cooman. Concert,Contemporary,Standards. Score. 16 pages. Musik Fabrik Music Publishing #3030525. Published by Musik Fabrik Music Publishing (A0.533606). I. Mourning at SunsetII. Beyond Distant EchoesIII. Whispers of MortalityFourth Piano Sonata (2005) was commissioned by and is dedicated to pianist Donna Amato.The work is in three movements, each using the exact same musical material. Eachmovement presents a trajectory towards a greater integration of the disparate pieces ofmaterial.The first movement, Mourning at Sunset, presents the basic material in clearly definedblocks. An opening section of forceful, declamatory chords alternates with a more lyricalsection of interlocking lines. The forceful music returns before a slow, desolate section ispresented. This builds to a small climax before dying down again. The opening then returns.The second movement, Beyond Distant Echoes, is slow and ethereal. Sounds of distant gongsalternate with brittle, spasmodic interjections.The third movement, Whispers of Mortality, is inspired by the finale of Frederic Chopin'sPiano Sonata in B-flat minor. It is fast and fleeting and too short. The musical materialhas transformed into pure running roulades of raw notes. The movement evaporates into theuppermost register.
$19.95
Traditional Patterns
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Piano solo
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INTERMEDIATE
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Donald Ashwander
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Traditional Patterns
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The Donald Ashwander Estate
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SheetMusicPlus
Piano Solo - Level 3 - Digital Download SKU: A0.1414362 Composed by Donald Ashwander. Classical,Contemporary,Folk. Score. 26 pages. The Donald Ashwander ...
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Piano Solo - Level 3 - Digital Download SKU: A0.1414362 Composed by Donald Ashwander. Classical,Contemporary,Folk. Score. 26 pages. The Donald Ashwander Estate #996164. Published by The Donald Ashwander Estate (A0.1414362). Donald Ashwander's Traditional Patterns is a remarkable 25-page musical journey inspired by the rich tapestry of American folk art. Through this suite of eight pieces, Ashwander masterfully weaves together melodies that evoke a myriad of emotions and imagery.The suite opens with Dove in the Window, a gentle yet haunting composition that pays homage to the Sacred Harp tradition with its modal echoes and soul-stirring melodies. From there, the journey continues with Crow Tracks, a jaunty march that seamlessly transitions into the exuberant revelry of a hoe-down.Road to California paints a vivid picture of early westward treks, with its march-like rhythm in the beloved 6/8 time signature of the 19th century. Meanwhile, Drunkard's Path explores shifting meters, mirroring the lurching and stumbling of the town drunk on a Saturday night.Sunshine and Shadow offers a gentle yet vivacious waltz, showcasing Ashwander's talent for capturing the true essence of American country music. Pine Trees utilizes juxtapositions of 3/4 and 4/4 measures, evoking the distant echoes of church singing amidst the tranquil scenery.Goose in the Pond is a celebration of rural dance, bursting with extroverted energy and lyrical evocations of banjo plucking. Finally, the suite concludes with The Moonflower Vine, a magical and solemn piece reminiscent of midsummer nights filled with enchantment and mystery.Through Traditional Patterns, Donald Ashwander invites pianists to immerse themselves in the rich history and evocative imagery of American folk art, as each composition unfolds like a vibrant patchwork quilt, revealing new layers of beauty and meaning with every note.
$9.95
The Shadow of the Falling Lead - Score Only
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String Orchestra
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ADVANCED
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Apostolos Paraskevas
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The Shadow of the Falling Lead
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Silver Sickle Publications
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SheetMusicPlus
String Orchestra - Level 5 - Digital Download SKU: A0.1350504 By Apostolos Paraskevas. By Apostolos Paraskevas. 21st Century,Contemporary,Multicultural,W...
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String Orchestra - Level 5 - Digital Download SKU: A0.1350504 By Apostolos Paraskevas. By Apostolos Paraskevas. 21st Century,Contemporary,Multicultural,World. 30 pages. Silver Sickle Publications #935314. Published by Silver Sickle Publications (A0.1350504). In the echoes of history, where the ravages of war leave indelible scars on the fabric of humanity, there emerges a haunting melody that seeks to articulate the unspeakable pain and devastation wrought by the shadow of falling lead. The Shadow of the Falling Lead is a musical composition born out of a deep and poignant reflection on the profound impact of bombing during wartime.As the symphony unfolds, it endeavors to traverse the emotional landscape of those whose lives have been forever altered by the relentless rain of destruction. Each note serves as an empathetic brushstroke, painting the canvas of despair with the hues of sorrow, resilience, and the human spirit's enduring will to survive.The title itself evokes the grim reality of warfare, where the shadow of falling lead becomes an ominous specter, casting darkness over the lives it touches. This composition seeks to transcend the boundaries of language, inviting listeners to immerse themselves in the somber beauty of the music and connect with the shared humanity that unites us all.As we embark on this musical journey, may The Shadow of the Falling Lead serve as a solemn reminder of the cost of conflict and the imperative to strive for a world where the echoes of such devastation become but distant memories, replaced by the harmonious chords of peace and understanding.A solo violin ends this journey as a mother lamenting for her lost children. Â
$25.00
Mobile for prepared piano
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Piano solo
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INTERMEDIATE/ADVANCED
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Contemporary
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Michelle Agnes Magalhaes
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Mobile for prepared piano
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Michelle Agnes Magalhaes
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SheetMusicPlus
Piano Solo - Level 4 - Digital Download SKU: A0.944160 Composed by Michelle Agnes Magalhaes. Contemporary. Score. 17 pages. Michelle Agnes Magalhaes #598...
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Piano Solo - Level 4 - Digital Download SKU: A0.944160 Composed by Michelle Agnes Magalhaes. Contemporary. Score. 17 pages. Michelle Agnes Magalhaes #5989239. Published by Michelle Agnes Magalhaes (A0.944160). ABOUT MOBILE (by Ricardo Descalzo, pianist) Few compositions have impressed me as much in my life as this genius work by the Brazilian composer, pianist and improviser. I remember that when I found it a few years ago I did not give credit to what I was listening and I could not imagine how those sounds were produced without any electronic manipulation. The idea of using cylindrical neodymium magnets inside the piano, shows that there are no limits in the imagination of the composers and that the resources to be used in our instrument are unlimited, even if there is an increasingly frequent number of people in our professional environment who hate these practices. The idea of combining precise writing with improvised fragments seems to me to fit perfectly with the spirit of the work, which was born from the improvisational world of the composer herself. Mobile is a tribute to John Cage (hence the classic screws and washers) and is inspired by the sculpture of Richard Lippold Gemini that, at the same time, served as inspiration for the Sonatas XIV and XV of the American composer. Mobile evokes an imaginary metal sculpture, a sound automaton and its cyclic movements. The result is a gorgeous universe of bells, ghostly echoes and distant ritual drums. Mobile is an essential part of my concert programs since it entered my life and one of the pieces that every year I work with my students in Musikene. I’m sure that it will become a classic of new piano music. I can only say: thanks, Michelle for creating something so beautiful, so original and so pleasant to play.
$8.00
Forgotten Ballrooms
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Piano solo
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INTERMEDIATE
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Ragtime
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Donald Ashwander
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Forgotten Ballrooms
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The Donald Ashwander Estate
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SheetMusicPlus
Piano Solo - Level 3 - Digital Download SKU: A0.1295707 Composed by Donald Ashwander. Ragtime. Score. 6 pages. The Donald Ashwander Estate #886005. Publi...
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Piano Solo - Level 3 - Digital Download SKU: A0.1295707 Composed by Donald Ashwander. Ragtime. Score. 6 pages. The Donald Ashwander Estate #886005. Published by The Donald Ashwander Estate (A0.1295707). Forgotten Ballrooms, pays tribute to the burgeoning preservation movement in America that has breathed new life into abandoned and historically significant structures. In the not-so-distant past, only a select few possessed the sophistication to recognize the beauty and historical significance of seemingly ordinary places such as derelict railway depots or 1920s filling stations. Today, however, there are people discovering, restoring, and utilizing these architectural gems. This newfound reverence for the past has given rise to a unique breed of enthusiasts who engage in what can only be described as ballroom archaeology.Forgotten Ballrooms takes inspiration from this rarefied and dedicated movement of ballroom archaeologists. Throughout the country, these individuals venture into the hidden corners of history, opening doors to ghostly rooms that resonate with the echoes of bygone dramas and memories long past. As the pianist embarks on this musical journey, they evoke the palpable atmospheres of these once-vibrant spaces, now shrouded in the mists of time.The composition’s syncopated rhythms, playful melodies, and intricate harmonies pay homage to the era when these ballrooms were the centers of social life and entertainment. Yet, there is an underlying sense of nostalgia and longing, as if the music itself yearns to recapture the forgotten stories and dances of the past.Through Ashwander’s musical tribute, we are reminded of the enduring power of history, culture, and the resolute spirit of those who seek to preserve the memories and grandeur of America's forgotten ballrooms.The final page of the sheet music contains special program notes by Donald Ashwander.
$5.95
One Hundred Years of Fanfares
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Concert band
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ADVANCED
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Contemporary
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Elizabeth Raum
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One Hundred Years of Fanfares
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Elizabeth Raum
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SheetMusicPlus
Concert Band - Level 5 - Digital Download SKU: A0.1030882 Composed by Elizabeth Raum. Contemporary. Score and parts. 58 pages. Elizabeth Raum #38933. Pub...
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Concert Band - Level 5 - Digital Download SKU: A0.1030882 Composed by Elizabeth Raum. Contemporary. Score and parts. 58 pages. Elizabeth Raum #38933. Published by Elizabeth Raum (A0.1030882). This Fanfare is meant to commemorate the Centenary of the Canadian province of Saskatchewan with the events of the first 100 years being represented as echoes of fanfares. The piece begins with a clarion call from the brass, the fanfares of the present culminating in the Maestoso. Then the music becomes more distant, fanfares of the past played by woodwinds and muted brass. The transition brings us back to the present with the return to the full band’s salute to Saskatchewan’s Centennial.
$30.00
Claude Debussy ‒ Estampes, Orchestra Suite, Orchestrated by Arkady Leytush, No. 2 La soirée dans
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Orchestra
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Classical
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Claude Debussy
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Arkady Leytush
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Claude Debussy ‒ Estamp
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Arkady Leytush
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SheetMusicPlus
Full Orchestra - Digital Download SKU: A0.1008374 Composed by Claude Debussy. Arranged by Arkady Leytush. 20th Century. Score and parts. 24 pages. Arkady...
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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
Claude Debussy ‒ Estampes, Orchestra Suite, Orchestrated by Arkady Leytush No. 1 Pagodes (Pagodas
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Orchestra
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Classical
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Claude Debussy
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Arkady Leytush
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Claude Debussy ‒ Estamp
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Arkady Leytush
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SheetMusicPlus
Full Orchestra - Digital Download SKU: A0.1008372 Composed by Claude Debussy. Arranged by Arkady Leytush. 20th Century. Score and parts. 24 pages. Arkady...
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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
Claude Debussy ‒ Estampes, Orchestra Suite, Orchestrated by Arkady Leytush, No. 3 Jardins sous la
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Orchestra
#
Classical
#
Claude Debussy
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Arkady Leytush
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Claude Debussy ‒ Estamp
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Arkady Leytush
#
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
A Distant Memory (from Echoes)
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Piano solo
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Contemporary
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Richard P John
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A Distant Memory
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Richard P John
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SheetMusicPlus
Composed by Richard P John. 21st Century. Score. 3 pages. Published by Richard P John (S0.57627). - Score - 21st Century - Richard P John...
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Composed by Richard P John. 21st Century. Score. 3 pages. Published by Richard P John (S0.57627). - Score - 21st Century - Richard P John
$3.00
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