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Spring Sketches
Sheetmusic to print
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1
Six Sketches For Piano
Piano solo
Piano Solo - Level 4 - Digital Download SKU: A0.930377 Composed by Sharie Kenny. St…
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Piano Solo - Level 4 - Digital Download SKU: A0.930377 Composed by Sharie Kenny. Standards. Score. 53 pages. Sharie Kenny #5734385. Published by Sharie Kenny (A0.930377). Six Sketches For Piano is a collection of late intermediate level pieces for solo piano combined into this suite by the composer. These 6 pieces were previously self-published through SheetMusicPlus.com between 2014-2019 as follows:Soaring, Mystic Lands, Come Spring, Iberian Journey, Contemplation, and Celebration.
$8.00
7.38 €
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Piano solo
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Sharie Kenny
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Six Sketches For Piano
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Sharie Kenny
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SheetMusicPlus
Beard Park Sketches for Woodwind Quintet
Woodwind Quintet: flute, oboe, bassoon, clarinet, horn
Woodwind Ensemble,Woodwind Quintet Bassoon,Clarinet,Flute,Horn,Oboe - Level 1 - Digital Do…
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Woodwind Ensemble,Woodwind Quintet Bassoon,Clarinet,Flute,Horn,Oboe - Level 1 - Digital Download SKU: A0.1302550 Composed by James Smith. Chamber,Contest,Festival. 18 pages. James Smith #892172. Published by James Smith (A0.1302550). Beard Park Sketches is a work depicting a place called Beard Park in Fayetteville, New York. The park is a place for residents to go and experience togetherfulness and peacefulness, no matter the time of year. In the fall it is a sanctuary of leaves, in winter an ice skating rick, and in spring a place for the community to gather an celebrate. This piece is designed for young performers in a woodwind quintet, but could also be used for a intermediate/advanced group looking for an easy addition to their concert repertoire. 3'45.
$12.99
11.98 €
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Woodwind Quintet: flute, oboe, bassoon, clarinet, horn
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James Smith
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Beard Park Sketches for Woodwind Quintet
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James Smith
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SheetMusicPlus
Nightscape
Easy Piano
Easy Piano - Level 3 - Digital Download SKU: A0.991552 Composed by Robert Dusek. Co…
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Easy Piano - Level 3 - Digital Download SKU: A0.991552 Composed by Robert Dusek. Concert,Contemporary,Standards. Score. 6 pages. DaCapo, LLC #3009871. Published by DaCapo, LLC (A0.991552). Nightscape is the first of four pieces for solo piano in the collection Spring Sketches. Appropriate for the late intermediate pianist, Nightscape along with the other solos in Spring Sketches fit the category of sounds hard but is easy to learn.
$4.99
4.6 €
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Easy Piano
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Robert Dusek
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Nightscape
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DaCapo, LLC
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SheetMusicPlus
Elegy
Piano solo
Piano Solo - Level 3 - Digital Download SKU: A0.991554 Composed by Robert Dusek. Co…
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Piano Solo - Level 3 - Digital Download SKU: A0.991554 Composed by Robert Dusek. Concert,Contemporary,Standards. Score. 5 pages. DaCapo, LLC #3009877. Published by DaCapo, LLC (A0.991554). Elegy is the last of four pieces for solo piano in the collection Spring Sketches. Appropriate for the late intermediate pianist, Elegy and the other solos in Spring Sketches fit the category of sounds hard but is easy to learn.
$4.99
4.6 €
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Piano solo
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Robert Dusek
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Elegy
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DaCapo, LLC
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SheetMusicPlus
A Game
Piano solo
Piano Solo - Level 3 - Digital Download SKU: A0.991555 Composed by Robert Dusek. Co…
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Piano Solo - Level 3 - Digital Download SKU: A0.991555 Composed by Robert Dusek. Concert,Contemporary,Standards. Score. 5 pages. DaCapo, LLC #3009875. Published by DaCapo, LLC (A0.991555). A Game is the third of four pieces for solo piano in the collection Spring Sketches. Appropriate for the late intermediate pianist, A Game and the other solos in Spring Sketches fit the category of sounds hard but is easy to learn.
$4.99
4.6 €
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Piano solo
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Robert Dusek
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A Game
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DaCapo, LLC
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SheetMusicPlus
Lullaby
Piano solo
Piano Solo - Level 3 - Digital Download SKU: A0.991553 Composed by Robert Dusek. Co…
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Piano Solo - Level 3 - Digital Download SKU: A0.991553 Composed by Robert Dusek. Concert,Contemporary,Standards. Score. 3 pages. DaCapo, LLC #3009873. Published by DaCapo, LLC (A0.991553). Lullaby is the second of four pieces for solo piano in the collection Spring Sketches. Appropriate for the late intermediate pianist, Lullaby aand the other solos in Spring Sketches fit the category of sounds hard but is easy to learn.
$4.99
4.6 €
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Piano solo
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Robert Dusek
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Lullaby
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DaCapo, LLC
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SheetMusicPlus
Spring Sketches
Piano solo
Composed by Robert Dusek. 21st Century, Contemporary Classical, Repertoire. 16 pages. Publ…
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Composed by Robert Dusek. 21st Century, Contemporary Classical, Repertoire. 16 pages. Published by DaCapo, LLC (S0.192743). - - 21st Century,Contemporary Classical,Repertoire - DaCapo, LLC
$11.99
11.05 €
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Piano solo
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Robert Dusek
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Spring Sketches
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DaCapo, LLC
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SheetMusicPlus
Debussy Inconnu: Album of works for the piano by Claude Debussy completed by Robert Orledge, Vol. 2
Piano solo
Piano Solo - Advanced Intermediate - Digital Download Composed by Claude Debussy/Ro…
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Piano Solo - Advanced Intermediate - Digital Download Composed by Claude Debussy/Robert Orledge. 20th Century, Impressionistic, Repertoire. Score. 76 pages. Published by Musik Fabrik Music Publishing
Contains Le Roi Lear: Prélude,Première Fanfare, and La Mort de Cordélia,Toomai des éléphants, Rodrigue et Chimène: Prélude à l’acte 1p. Le Martyre de Saint Sébastien: La Passion , and No-ja-li ou Le Palais du Silence<br> <br> From Robert Orledge's notes:<br> <br> My interest in the wonderful music of Claude Debussy began in the 1980s when I researched and published a book with Cambridge University Press entitled Debussy and the Theatre. During the course of my studies in Paris, I was amazed to discover that Debussy planned over 50 theatrical works but only finished two of these entirely by himself (the opera Pelléas et Mélisande in 1893–1902 and the ballet Jeux for Diaghilev’s Ballets Russes in 1912–13). Of the rest, many were never started musically (like Siddartha and Orphée-roi with the Oriental scholar Victor Segalen, 1907); some had a few tantalising sketches (like the Edgar Allan Poe opera Le Diable dans le beffroi, 1902–03); some were half-finished (like his other Poe opera La Chute de la Maison Usher, 1908–17); while others were musically complete but had their orchestrations completed by other composers (like Khamma, by Charles Koechlin, 1912–13; or Le Martyre de Saint Sébastien and La Boîte à joujoux by his ‘angel of corrections’ [‘l’ange des Corrections’] André Caplet in 1911 and 1919 respectively).<br> <br> For it has to be admitted that what some scholars call Debussy’s ‘compulsive achievement’ could equally well be viewed as laziness, especially as far as the minute detail required for calligraphing his orchestral scores was concerned. It was as if creating the music itself was of greater importance than controlling its final sound, even if Debussy was an imaginative orchestrator when he found the time and energy to do it. It also seems true that Debussy also preferred inventing ideas to turning them into complete pieces. However, despite the lack of detail in many of his sketches (missing clefs, key signatures, dynamics, phrasing, etc.) the notes themselves are surprisingly accurate, whether or not they can be compared with a later draft. Thus, a large number of sketches exist for his Chinese ballet No-ja-li ou Le Palais du Silence and it is not too difficult to see which parts of Georges de Feure’s 1913 scenario (see below) inspired which ideas. But Debussy hardly made any attempt to join them together after the first few bars.<br> <br> It was usually up to his publisher, Jacques Durand, to find solutions when Debussy risked a breach of contract. Debussy was supposed to supervise the orchestrations completed by others, but this supervision was usually very light and restricted to quiet, sensitive moments in which problems were easier to spot. Far from jealously guarding every one of his created notes, as Ravel did, Debussy once even went as far as to ask Koechlin to ‘write a ballet for him that he would sign’ on 26 March 1914 when he was hard-pressed to fulfil his lucrative contract for No-ja-li with André Charlot at the Alhambra Theatre in London. In the end, Debussy (through Durand) sent Charlot the symphonic suite Printemps instead, whose orchestration had been completed by Henri Busser in the Spring of 1912.<br> <br> So, when I was offered early retirement as Professor of Music at Liverpool University in 2004, I seized the opportunity it would give me to spend time trying to reconstruct some of Debussy’s lost potential masterpieces from his existing sketches and drafts—then orchestrating them in Debussy’s style when this was appropriate. I had begun this mission in 2001 with the most promising project, the missing parts of Scene 2 of La Chute de la Maison Usher and the sheer joy it gave me at every stage persuaded me to tackle other projects, especially when Debussy experts were unable to identify exactly where I took over from Debussy (and vice versa) in Usher.
$38.95
35.91 €
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Piano solo
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Claude Debussy/Robert Orledge
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Debussy Inconnu: Album of works for the piano by Claude Debussy completed by Robert Orledge, Vol. 2
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Musik Fabrik Music Publishing
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SheetMusicPlus
Debussy Inconnu: Album of works for the piano by Claude Debussy completed by Robert Orledge, Vol. 1
Piano solo
Piano Solo - Advanced Intermediate - Digital Download Composed by Claude Debussy/Ro…
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Piano Solo - Advanced Intermediate - Digital Download Composed by Claude Debussy/Robert Orledge. 20th Century, Impressionistic, Repertoire, Recital. Score. 71 pages. Published by Musik Fabrik Music Publishing
Contains A Night in the House of Usher Un Jour affreux avec Le Diable dans le beffroi, Les accords de septième regrettent!!!, Petite Valse,Fêtes galantes, and Prélude à ‘L’Histoire de Tristan’<br> <br> From Robert Orledge's notes:<br> <br> My interest in the wonderful music of Claude Debussy began in the 1980s when I researched and published a book with Cambridge University Press entitled Debussy and the Theatre. During the course of my studies in Paris, I was amazed to discover that Debussy planned over 50 theatrical works but only finished two of these entirely by himself (the opera Pelléas et Mélisande in 1893–1902 and the ballet Jeux for Diaghilev’s Ballets Russes in 1912–13). Of the rest, many were never started musically (like Siddartha and Orphée-roi with the Oriental scholar Victor Segalen, 1907); some had a few tantalising sketches (like the Edgar Allan Poe opera Le Diable dans le beffroi, 1902–03); some were half-finished (like his other Poe opera La Chute de la Maison Usher, 1908–17); while others were musically complete but had their orchestrations completed by other composers (like Khamma, by Charles Koechlin, 1912–13; or Le Martyre de Saint Sébastien and La Boîte à joujoux by his ‘angel of corrections’ [‘l’ange des Corrections’] André Caplet in 1911 and 1919 respectively).<br> <br> For it has to be admitted that what some scholars call Debussy’s ‘compulsive achievement’ could equally well be viewed as laziness, especially as far as the minute detail required for calligraphing his orchestral scores was concerned. It was as if creating the music itself was of greater importance than controlling its final sound, even if Debussy was an imaginative orchestrator when he found the time and energy to do it. It also seems true that Debussy also preferred inventing ideas to turning them into complete pieces. However, despite the lack of detail in many of his sketches (missing clefs, key signatures, dynamics, phrasing, etc.) the notes themselves are surprisingly accurate, whether or not they can be compared with a later draft. Thus, a large number of sketches exist for his Chinese ballet No-ja-li ou Le Palais du Silence and it is not too difficult to see which parts of Georges de Feure’s 1913 scenario (see below) inspired which ideas. But Debussy hardly made any attempt to join them together after the first few bars.<br> <br> It was usually up to his publisher, Jacques Durand, to find solutions when Debussy risked a breach of contract. Debussy was supposed to supervise the orchestrations completed by others, but this supervision was usually very light and restricted to quiet, sensitive moments in which problems were easier to spot. Far from jealously guarding every one of his created notes, as Ravel did, Debussy once even went as far as to ask Koechlin to ‘write a ballet for him that he would sign’ on 26 March 1914 when he was hard-pressed to fulfil his lucrative contract for No-ja-li with André Charlot at the Alhambra Theatre in London. In the end, Debussy (through Durand) sent Charlot the symphonic suite Printemps instead, whose orchestration had been completed by Henri Busser in the Spring of 1912.<br> <br> So, when I was offered early retirement as Professor of Music at Liverpool University in 2004, I seized the opportunity it would give me to spend time trying to reconstruct some of Debussy’s lost potential masterpieces from his existing sketches and drafts—then orchestrating them in Debussy’s style when this was appropriate. I had begun this mission in 2001 with the most promising project, the missing parts of Scene 2 of La Chute de la Maison Usher and the sheer joy it gave me at every stage persuaded me to tackle other projects, especially when Debussy experts were unable to identify exactly where I took over from Debussy (and vice versa) in Usher.
$38.95
35.91 €
#
Piano solo
#
Claude Debussy/Robert Orledge
#
Debussy Inconnu: Album of works for the piano by Claude Debussy completed by Robert Orledge, Vol. 1
#
Musik Fabrik Music Publishing
#
SheetMusicPlus
Balta ainava
Piano solo
Piano - intermediate - Digital Download (White Scenery (Winter)). Composed by Peteris…
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Piano - intermediate - Digital Download (White Scenery (Winter)). Composed by Peteris Vasks (1946-). This edition: single sheet. Downloadable. Duration 7 minutes. Schott Music - Digital #Q12485. Published by Schott Music - Digital
Peteris Vasks occupies a special position in the circle of Baltic composers. He is not only the most significant and popular composer ever to come out of Latvia. he always speaks to his listeners with a fervent intensity that seems to point to something higher. This higher aspect is without a doubt something that stands above the world of humanity but is also present within each person: divine nature.<br> <br> "I am deeply rooted in nature, in the nature of the North. It influences all of my music. The nature we know is also quite various. we have four very distinct seasons. The winter is very long, the summer very short and therefore all the more beautiful and longed for. The seasons in between are quite dramatic."<br> <br> The first of Peteris Vasks's Seasons pieces was not written with the intention of forming a complete cycle. For his friend, Talivaldis Deksnis, he composed in 1980 Balta ainava - White Landscape (Winter), in 1981 Rudens muzika - Autumn Music, and in 1995 the Pavasara muzika - Spring Music. In 2008, Zala ainava - Green Landscape (Summer) came into being, the piece which completed the cycle.<br> <br> In 2009, as a kind of "encore", Vasks wrote Vasaras vakara muzika - Music for a Summer Evening based on old sketches. this, of all the pieces, is the one most anchored in tradition. Only the two newest pieces - both of which have to do with summer - have a fixed metrical structure. The three earlier works are metrically free, notated without bar lines, which gives them an improvisatory character.<br> <br> Vasks says of the individual pieces in the cycle: "In Balta ainava everything is white. A new year begins. It is a quiet meditation, a new beginning, with only two themes.<br> <br> Pavasara muzika. Quasi una Sonata - the most demanding piece in this cycle - is intense, an impressive development. Spring comes slowly, with much drama. It is like a battle, until it is simply there. This multi-faceted piece, with its bird songs, lives from conflicts and dramatic intensification and ends in ecstatic rapture. Zala ainava is based on two themes. Our summer is very brief and offers a respite after the battles. And it is so beautiful! The music reflects joy and contentment. The first theme brings a kind of pure energy. the second is more devoted to tone painting. At the end, a five-note quotation from a well-known Latvian folksong about a drunkard is heard.<br> <br> Rudens muzika begins pianissimo on a quiet September day, in a peaceful, sunny atmosphere. Now the autumn storms sweep over the land. a gentle sadness settles on the people and on nature, which surrenders its splendor. After a last great storm, the snow comes again as a symbol of purified conclusion and a new beginning. Vasaras vakara muzika takes place at the quiet end of a summer day. The sun sets. Slowness. Memories of previous experiences surface. With the memories' appearance comes an increase in intensity. Towards the end, a kind of folksong is heard: 'We have survived the time of tyranny and retained our identity'. The ending is quiet, everything is asleep."<br> <br> Christoph Schluren<br> <br> Translation: John Patrick Thomas and W. Richard Rieves
$10.99
10.13 €
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Piano solo
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Peteris Vasks (1946-)
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Balta ainava
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Schott Music - Digital
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SheetMusicPlus
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