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Suite from the opera "Hamlet", op. 64a
Orchestra
Full Orchestra - Level 4 - Digital Download SKU: A0.1370573 Composed by Adrian Gagi…
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Full Orchestra - Level 4 - Digital Download SKU: A0.1370573 Composed by Adrian Gagiu. 21st Century,Classical,Opera. 312 pages. Adrian Gagiu #954918. Published by Adrian Gagiu (A0.1370573). Score and parts of a Suite of orchestral excerpts from Hamlet (2017), a neo-romantic opera in 3 acts (libretto by Gene Tyburn, after Shakespeare), ranging between tragedy, irony and nostalgia: 1. Overture (Largo - Allegro assai e con brio) in D minor to Hamlet (2017). Dramatic composition, developing in sonatina form the main leitmotifs and themes of the opera (and the famous Folia theme in the beginning).2. Intermezzo No. 1 'The Players': humorous and ironic excerpt in B flat major for wind orchestra, accompanying the entrance of the players/actors.3. Intrada ('The Court'): orchestral march in E flat major, illustrating the entrance of the royal court.4. 'The Play': orchestral 'melodrama' in B flat major, illustrating in a satirical manner the play within the play and transforming bits by John Stepan Zamecnik for the silent movies of early 20th century.5. Intermezzo No. 2 'Polonius Chasing Hamlet': a symphonic scherzo in A flat major, illustrating Hamlet as he playfully grabs Polonius' hat and then is chased by him.6. 'Hamlet's Exile', linking together a postlude in F minor and an interlude in C major for string orchestra: after having accidentally killed Polonius, Hamlet feels sorry for him and then leaves in exile.7. Introduction to Act 3, in C minor: after having secretly returned from his exile in England, Hamlet arrives in the graveyard near Elsinore.8. Dead March in C minor: the funeral procession for Ophelia.9. The final chorus, in D major: after the horrors and crimes and Hamlet fulfilling his duty at his life's price, soothing hope returns.Total duration 33 min. Performing Rights Organization: SOCAN. The mp3 audio clip is the Overture.
$100.00
90.19 €
#
Orchestra
#
Adrian Gagiu
#
Suite from the opera "Hamlet", op. 64a
#
Adrian Gagiu
#
SheetMusicPlus
Korsakov: Flight of the Bumblebee for Soprano Sax & Piano
Soprano Saxophone and Piano
Piano,Soprano Saxophone - Level 5 - Digital Download SKU: A0.549256 Composed by Nik…
(+)
Piano,Soprano Saxophone - Level 5 - Digital Download SKU: A0.549256 Composed by Nikolay Andreyevich Rimsky-Korsakov. Arranged by James M. Guthrie, ASCAP. Instructional,Romantic Period,Standards. Score and part. 15 pages. Jmsgu3 #3473699. Published by jmsgu3 (A0.549256). Flight of the Bumblebee from Korsakov's Tale of Tsar Saltan Score: 9 pages, Solo part: 3 pages, Piano accompaniment part: 3 pages. Duration: ca. 1:15 Amaze your listeners with this short but stunning recital encore! Korsakov: Flight of the Bumblebee Flight of the Bumblebee is, to be sure, an orchestral interlude composed by Nikolai Rimsky-Korsakov for his opera The Tale of Tsar Saltan. Korsakov, of course, intended to musically portray the chaotic flying pattern of a bumblebee. Nowadays, this piece is one of the comparatively more famous classical works because it frequently appears from time to time in popular culture. In the opera, the piece appears notably at the close of Act III, Tableau 1. This is when the magic Swan-Bird, in fact, changes the Prince (the son of the Tsar) into a bee so he can fly away to visit his father. Interestingly, at this point in the drama, his father, in effect, does not know that he is alive.  Korsakov Background Nikolai Rimsky-Korsakov (1844 –1908) was a uniquely famous composer from Russia. He was likewise a member of an infamous assembly of composers called The Five. Korsakov was furthermore an expert in orchestration. His correspondingly most famous orchestral compositions-Capriccio Espagnol, the Russian Easter Festival Overture, and the Scheherazade suite-are important monuments of the standard music repertoire.  Also, comparatively very important are his suites and excerpts from his 15 operas. Korsakov was moreover fond of using Russian folklore and fairy tales in his music, such as Scheherazade. Nationalistic Style Korsakov believed, similarly to fellow outspoken composer Balakirev, in creating a nationalistic, Russia-centric style of classical music. The new style was in fact called Orientalism. It similarly relied on native Russian materials, exotic scales, and experimental harmonic, melodic and rhythmic procedures. This practice, conversely, ran counter to the developments in Western musical culture. Musical Developments Nevertheless, Korsakov developed an appreciation of Western musical techniques after he became a professor of musical composition, harmony, and orchestration at the Saint Petersburg Conservatory in 1871. Moreover, he undertook a rigorous three-year program of self-education and mastered Western methods, incorporating them in conjunction with the influences of Mikhail Glinka and other members of The Five. His techniques of composition and orchestration were additionally enriched by his exposure to the works of Richard Wagner. Naval Service Korsakov combined his music career accordingly with a career in the Russian military. He was in the first place an officer in the Russian Navy. In due time, he was appointed as a civilian Inspector of Naval Bands. As a result, Korsakov expanded his knowledge of woodwind and brass playing, which in turn heightened his capabilities in orchestration. Legacy Korsakov in due time contributed a significant number of Russian nationalist works. He also prepared, from time to time, compositions by The Five for presentation. This brought their works straightaway into the active classical repertoire as well. He also shaped an entire generation of younger composers during his time as a music educator. Therefore, music historians consider Korsakov as the foremost engineer of what the public considers to be the Russian style of composition. He served, all in all, as a transitional figure between The Five and the classically trained composers who became the norm over time. In addition to the Russians, he forthwith influenced non-Russian composers such as Ravel, Debussy, Dukas, and Respighi. Â
$32.95
29.72 €
#
Soprano Saxophone and Piano
#
Nikolay Andreyevich Rimsky-Korsakov
#
Korsakov: Flight of the Bumblebee for Soprano Sax & Piano
#
jmsgu3
#
SheetMusicPlus
Korsakov: Flight of the Bumblebee for Viola & Piano
Viola, Piano
Piano,Viola - Level 5 - Digital Download SKU: A0.549240 Composed by Nikolay Andreye…
(+)
Piano,Viola - Level 5 - Digital Download SKU: A0.549240 Composed by Nikolay Andreyevich Rimsky-Korsakov. Arranged by James M. Guthrie, ASCAP. Instructional,Romantic Period,Standards. Score and part. 17 pages. Jmsgu3 #3473581. Published by jmsgu3 (A0.549240). Flight of the Bumblebee from Korsakov's Tale of Tsar Saltan Score: 11 pages, Solo part: 3 pages, Piano accompaniment part: 3 pages. Duration: ca. 1:15 Amaze your listeners with this short but great recital encore! Flight of the Bumblebee Flight of the Bumblebee is, to be sure, an orchestral interlude composed by Nikolai Rimsky-Korsakov for his opera The Tale of Tsar Saltan. Korsakov, of course, intended to musically portray the chaotic flying pattern of a bumblebee. Nowadays, this piece is one of the comparatively more famous classical works because it frequently appears from time to time in popular culture. In the opera, the piece appears notably at the close of Act III, Tableau 1. This is when the magic Swan-Bird, in fact, changes the Prince (the son of the Tsar) into a bee so he can fly away to visit his father. Interestingly, at this point in the drama, his father, in effect, does not know that he is alive.  Korsakov Background Nikolai Rimsky-Korsakov (1844 –1908) was a uniquely famous composer from Russia. He was likewise a member of an infamous assembly of composers called The Five. Korsakov was furthermore an expert in orchestration. His correspondingly most famous orchestral compositions-Capriccio Espagnol, the Russian Easter Festival Overture, and the Scheherazade suite-are important monuments of the standard music repertoire.  Also, comparatively very important are his suites and excerpts from his 15 operas. Korsakov was moreover fond of using Russian folklore and fairy tales in his music, such as Scheherazade. Nationalistic Style Korsakov believed, similarly to fellow outspoken composer Balakirev, in creating a nationalistic, Russia-centric style of classical music. The new style was in fact called Orientalism. It similarly relied on native Russian materials, exotic scales, and experimental harmonic, melodic and rhythmic procedures. This practice, conversely, ran counter to the developments in Western musical culture. Musical Developments Nevertheless, Korsakov developed an appreciation of Western musical techniques after he became a professor of musical composition, harmony, and orchestration at the Saint Petersburg Conservatory in 1871. Moreover, he undertook a rigorous three-year program of self-education and mastered Western methods, incorporating them in conjunction with the influences of Mikhail Glinka and other members of The Five. His techniques of composition and orchestration were additionally enriched by his exposure to the works of Richard Wagner. Naval Service Korsakov combined his music career accordingly with a career in the Russian military. He was in the first place an officer in the Russian Navy. In due time, he was appointed as a civilian Inspector of Naval Bands. As a result, Korsakov expanded his knowledge of woodwind and brass playing, which in turn heightened his capabilities in orchestration. Legacy Korsakov in due time contributed a significant number of Russian nationalist works. He also prepared, from time to time, compositions by The Five for presentation. This brought their works straightaway into the active classical repertoire as well. He also shaped an entire generation of younger composers during his time as a music educator. Therefore, music historians consider Korsakov as the foremost engineer of what the public considers to be the Russian style of composition. He served, all in all, as a transitional figure between The Five and the classically trained composers who became the norm over time. In addition to the Russians, he forthwith influenced non-Russian composers such as Ravel, Debussy, Dukas, and Respighi. Â
$32.95
29.72 €
#
Viola, Piano
#
Nikolay Andreyevich Rimsky-Korsakov
#
Korsakov: Flight of the Bumblebee for Viola & Piano
#
jmsgu3
#
SheetMusicPlus
Korsakov: Flight of the Bumblebee for Alto Sax & Piano
Alto Saxophone and Piano
Alto Saxophone,Piano - Level 5 - Digital Download SKU: A0.549254 Composed by Nikola…
(+)
Alto Saxophone,Piano - Level 5 - Digital Download SKU: A0.549254 Composed by Nikolay Andreyevich Rimsky-Korsakov. Arranged by James M. Guthrie, ASCAP. Instructional,Romantic Period,Standards. Score and part. 15 pages. Jmsgu3 #3473685. Published by jmsgu3 (A0.549254). Flight of the Bumblebee Flight of the Bumblebee is, to be sure, an orchestral interlude composed by Nikolai Rimsky-Korsakov for his opera The Tale of Tsar Saltan. Of course, Korsakov intended to portray a bumblebee's chaotic flying pattern musically. Nowadays, this piece is one of the comparatively more famous classical works because it frequently appears occasionally in popular culture. The piece appears notably in the opera at the close of Act III, Tableau 1. This is when the magic Swan-Bird changes the Prince (the son of the Tsar) into a bee so he can fly away to visit his father. Interestingly, at this point in the drama, his father, in effect, does not know that he is alive. Korsakov Background Nikolai Rimsky-Korsakov (1844 –1908) was a uniquely famous composer from Russia. He was likewise a member of an infamous assembly of composers called The Five. Korsakov was furthermore an expert in orchestration. His correspondingly most famous orchestral compositions- Capriccio Espagnol, the Russian Easter Festival Overture, and the Scheherazade suite- are essential monuments of the standard music repertoire. Also comparatively very important are his suites and excerpts from his 15 operas. Korsakov used Russian folklore and fairy tales, such as Scheherazade, in his music. Nationalistic Style Like fellow outspoken composer Balakirev, Korsakov believed in creating a nationalistic, Russia-centric style of classical music. The new style was called Orientalism. It similarly relied on native Russian materials, exotic scales, and experimental harmonic, melodic, and rhythmic procedures. This practice, conversely, ran counter to the developments in Western musical culture. Musical Developments Nevertheless, Korsakov developed an appreciation of Western musical techniques after he became a professor of musical composition, harmony, and orchestration at the Saint Petersburg Conservatory in 1871. Moreover, he undertook a rigorous three-year program of self-education. He mastered Western methods, incorporating them with the influences of Mikhail Glinka and other members of The Five. His techniques of composition and orchestration were additionally enriched by his exposure to the works of Richard Wagner. Naval Service Korsakov combined his music career accordingly with a career in the Russian military. He was in the first place an officer in the Russian Navy. In due time, he was appointed a civilian Inspector of Naval Bands. As a result, Korsakov expanded his knowledge of woodwind and brass playing, which heightened his orchestration capabilities. Legacy In due time, Korsakov contributed a significant number of Russian nationalist works. He also prepared, occasionally, compositions by The Five for presentation. This brought their works straightaway into the active classical repertoire as well. He also shaped an entire generation of younger composers as a music educator. Therefore, music historians consider Korsakov the foremost engineer of what the public considers the Russian composition style. He served as a transitional figure between The Five and the classically trained composers who became the norm over time. In addition to the Russians, he influenced non-Russian composers such as Ravel, Debussy, Dukas, and Respighi. Â
$32.95
29.72 €
#
Alto Saxophone and Piano
#
Nikolay Andreyevich Rimsky-Korsakov
#
Korsakov: Flight of the Bumblebee for Alto Sax & Piano
#
jmsgu3
#
SheetMusicPlus
You Cannot Pass the Mother By (Part 3 of Second Suite from Razumov) for wind quintet
Woodwind Quintet: flute, oboe, bassoon, clarinet, horn
Woodwind Ensemble,Woodwind Quintet - Level 3 - Digital Download SKU: A0.787233 Comp…
(+)
Woodwind Ensemble,Woodwind Quintet - Level 3 - Digital Download SKU: A0.787233 Composed by Greg Bartholomew. 20th Century,Concert,Contemporary,Standards. 11 pages. Burke & Bagley #48413. Published by Burke & Bagley (A0.787233). The Second Suite from Razumov derives from the second act of Razumov, Greg Bartholomew’s chamber opera based on the novel Under Western Eyes by Joseph Conrad. The opera tells the story of a young Russian, Razumov, who is caught up in the consequences when a fellow university student, Victor Haldin, assassinates a government minister. Themes for Part 1 are taken from the opening scene of Act Two, in which Haldin’s mother, in exile in Geneva and worried by the lack of news from her son, learns that Victor was the assassin and has now been caught and executed. Part 2 is an instrumental interlude. Part 3 is based on the scene in which Razumov is urged to visit Mrs. Haldin, an encounter Razumov dreads because it was he who informed on Haldin to the government. The final Part corresponds to the scene in which Razumov learns that news received from Russia has released him from suspicion for Haldin’s death by placing responsibility on an innocent man. The Suite was commissioned by a consortium of ensembles led by the Aeolian Winds of Pittsburgh, who presented the world premiere performance on November 9, 2008, at the First Baptist Church of Pittsburgh. For more information about the Suites from Razumov, visit www.gregbartholomew.com/suiteraz.html
$9.99
9.01 €
#
Woodwind Quintet: flute, oboe, bassoon, clarinet, horn
#
Greg Bartholomew
#
You Cannot Pass the Mother By
#
Burke & Bagley
#
SheetMusicPlus
Excerpt from the Lyric Suite
Guitar
Solo Guitar - Level 4 - Digital Download SKU: A0.899136 Composed by Alban Berg. Arr…
(+)
Solo Guitar - Level 4 - Digital Download SKU: A0.899136 Composed by Alban Berg. Arranged by Rod Whittle. Contemporary. Individual part. 4 pages. Maggie Creek Music #3874083. Published by Maggie Creek Music (A0.899136). For solo classical guitar; 4 pp; first part of 2nd movement of the Lyric SuiteAlban Berg 1885 -1935Berg was a student of Arnold Schoenberg, and came to prominence with compositions using the atonalism of that school. He incorporated chromaticism and an absence of tonality into his compositions with complete facility, if not to public acclaim. His creativity was interrupted by World War 1, during which he served in the Austrian Army. He returned to composition as a champion of modern music, with his opera Wozzeck (1923) bringing both fame and notoriety. He died of blood poisoning in 1935. Over the past century dissonance increased in the compositions of serious music to a point where the semitones had equal value, which is harmonically a kind of wall. Berg was an early innovator. However, if when strictly followed such serialism reaches an ultimate dissonance that effectively sees off melody and harmony as emotional and structural entities, that still leaves elements around form, dynamics and rhythm for the purposes of expression, and these together with adroit note selection prove to be surprisingly potent for articulation and cohesion. The Lyric Suite (1927), which uses Schoenberg's twelve-tone technique, is a case in point. The very name seems incongruous for an atonal work, yet lyric it is, and if the forms used are necessarily masked by the characteristics of serial writing they are not eliminated by them. In this excerpt a rondo form is used with the principle subject repeated on the third page (noted in the score) after a digression to more remote regions than this form usually adopts, due to the atonality. As well, Berg's writing is rarely purely atonal. In fact the integration of consonant elements are one of the music's most alluring features. It would be so easy, one feels, for melodic material to coagulate the mix, but in his hands the very opposite is generated, an increased clarity of mood. The music remains consistent, as it should, and the incorporation of (often only relatively) thematic material, if often arresting after so much dissonance, doesn't always always mean less intensity or gloom. It is simply effective, either way. Having said all that, it can hardly be denied that the substance of atonality (dissonance, clashing semitones, unharmonic bass) gives it a special suitability to express dark outlooks, and Berg is the author of Wozzeck and Lulu, no downtown musicals. It is hard to determine if Berg chose atonality because it could deliver the angst or because he was bored with obvious forms and romanticism. Probably both.
$5.00
4.51 €
#
Guitar
#
Alban Berg
#
4 pp
#
Excerpt from the Lyric Suite
#
Maggie Creek Music
#
SheetMusicPlus
Ah, My Children (part 1 of Second Suite from Razumov) for wind quintet
Woodwind Quintet: flute, oboe, bassoon, clarinet, horn
Woodwind Ensemble,Woodwind Quintet - Level 3 - Digital Download SKU: A0.787230 Comp…
(+)
Woodwind Ensemble,Woodwind Quintet - Level 3 - Digital Download SKU: A0.787230 Composed by Greg Bartholomew. 20th Century,Concert,Contemporary,Standards. 24 pages. Burke & Bagley #41307. Published by Burke & Bagley (A0.787230). The Second Suite from Razumov derives from the second act of Razumov, Greg Bartholomew’s chamber opera based on the novel Under Western Eyes by Joseph Conrad. The opera tells the story of a young Russian, Razumov, who is caught up in the consequences when a fellow university student, Victor Haldin, assassinates a government minister. Themes for Part 1 are taken from the opening scene of Act Two, in which Haldin’s mother, in exile in Geneva and worried by the lack of news from her son, learns that Victor was the assassin and has now been caught and executed. Part 2 is an instrumental interlude. Part 3 is based on the scene in which Razumov is urged to visit Mrs. Haldin, an encounter Razumov dreads because it was he who informed on Haldin to the government. The final Part corresponds to the scene in which Razumov learns that news received from Russia has released him from suspicion for Haldin’s death by placing responsibility on an innocent man. The Suite was commissioned by a consortium of ensembles led by the Aeolian Winds of Pittsburgh, who presented the world premiere performance on November 9, 2008, at the First Baptist Church of Pittsburgh. For more information about the Suites from Razumov, visit www.gregbartholomew.com/suiteraz.html
$9.99
9.01 €
#
Woodwind Quintet: flute, oboe, bassoon, clarinet, horn
#
Greg Bartholomew
#
Ah, My Children
#
Burke & Bagley
#
SheetMusicPlus
Interlude (Part 2 of Second Suite from Razumov) for wind quintet
Woodwind Quintet: flute, oboe, bassoon, clarinet, horn
Woodwind Ensemble,Woodwind Quintet - Level 3 - Digital Download SKU: A0.787231 Comp…
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Woodwind Ensemble,Woodwind Quintet - Level 3 - Digital Download SKU: A0.787231 Composed by Greg Bartholomew. 20th Century,Concert,Contemporary. 18 pages. Burke & Bagley #45587. Published by Burke & Bagley (A0.787231). The Second Suite from Razumov derives from the second act of Razumov, Greg Bartholomew’s chamber opera based on the novel Under Western Eyes by Joseph Conrad. The opera tells the story of a young Russian, Razumov, who is caught up in the consequences when a fellow university student, Victor Haldin, assassinates a government minister. Themes for Part 1 are taken from the opening scene of Act Two, in which Haldin’s mother, in exile in Geneva and worried by the lack of news from her son, learns that Victor was the assassin and has now been caught and executed. Part 2 is an instrumental interlude. Part 3 is based on the scene in which Razumov is urged to visit Mrs. Haldin, an encounter Razumov dreads because it was he who informed on Haldin to the government. The final Part corresponds to the scene in which Razumov learns that news received from Russia has released him from suspicion for Haldin’s death by placing responsibility on an innocent man. The Suite was commissioned by a consortium of ensembles led by the Aeolian Winds of Pittsburgh, who presented the world premiere performance on November 9, 2008, at the First Baptist Church of Pittsburgh. For more information about the Suites from Razumov, visit www.gregbartholomew.com/suiteraz.html
$9.99
9.01 €
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Woodwind Quintet: flute, oboe, bassoon, clarinet, horn
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Greg Bartholomew
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Interlude
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Burke & Bagley
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SheetMusicPlus
Suite from the Opera - Der Rosenkavalier - Bass Clarinet
A Clarinet Solo,B-Flat Clarinet Solo,Bass Clarinet Solo - Level 5 - Digital Download SK…
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A Clarinet Solo,B-Flat Clarinet Solo,Bass Clarinet Solo - Level 5 - Digital Download SKU: A0.1418570 Composed by Richard Strauss. Arranged by Martin Brown. Classical,Opera. Individual part. 7 pages. Martin Brown #1000142. Published by Martin Brown (A0.1418570). Being presented with the original bass clarinet part to play for a community orchestra, I instead opted to transpose the altissimo bass clarinet sections to the more manageable sopranoclarinet in A.Amateur and professional players alike may find this transposition useful.
$10.00
9.02 €
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Richard Strauss
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Suite from the Opera - Der Rosenkavalier - Bass Clarinet
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Martin Brown
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SheetMusicPlus
Rosenkavalier Suite
Concert band
Concert Band - Level 5 - Digital Download SKU: A0.1472273 Composed by Richard Strau…
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Concert Band - Level 5 - Digital Download SKU: A0.1472273 Composed by Richard Strauss. Arranged by Steven Nunes. Opera,Romantic Period. 391 pages. Nagamon Publications #1049975. Published by Nagamon Publications (A0.1472273). Richard Georg Strauss (11 June 1864 – 8 September 1949) was a German composer and conductor best known for his tone poems and operas. Considered a leading composer of the late Romantic and early modern eras, he has been described as a successor of Richard Wagner and Franz Liszt. Along with Gustav Mahler, he represents the late flowering of German Romanticism, in which pioneering subtleties of orchestration are combined with an advanced harmonic style.Der Rosenkavalier (The Knight of the Rose or The Rose-Bearer), Op. 59, is a comic opera in three acts by Richard Strauss to an original German libretto by Hugo von Hofmannsthal. It is loosely adapted from Louvet de Couvrai's novel Les amours du chevalier de Faublas and Molière's comedy Monsieur de Pourceaugnac.In 1945 Strauss allowed an orchestral Rosenkavalier Suite to be published, but apparently was not involved in creating it. It is likely that conductor Artur Rodziński arranged it, as he conducted the suite's first performance, in October 1944 by the New York Philharmonic.The suite begins with the opera's orchestral prelude, depicting the Marschallin's and Octavian's night of passion (vividly portrayed by whooping horns and saxophones). Next comes the appearance of Octavian as the Rosenkavalier, depicted in tender music; the sight of him looking so young makes the Marschallin realise that he will soon leave her for a younger woman. There follows the duet between Octavian and Sophie – in which their love for each other becomes ever more obvious, but this is abruptly interrupted by the discordant music associated with Ochs's clumsy arrival. Next the violins tentatively introduce the first waltz, followed by another given out by the solo violin, before the whole orchestra settles into waltz mode. A general pause and a violin solo leads into the nostalgic music where the Marschallin sadly realises she has lost Octavian. Then comes its ecstatic climax. The work closes with a singularly robust waltz, depicting Ochs at his most pompous, and a boisterous coda newly composed for the suite.The PDF contains the Full Score and a full set of parts.
$75.00
67.64 €
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Concert band
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Richard Strauss
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Rosenkavalier Suite
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Nagamon Publications
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SheetMusicPlus
Carmen Suite No. 1 for Clarinet Quartet
Clarinet Quartet: 4 clarinets
Clarinet, Woodwind Quartet - Advanced Intermediate - Digital Download Composed by Geo…
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Clarinet, Woodwind Quartet - Advanced Intermediate - Digital Download Composed by Georges Bizet (1838-1875). Arranged by Diego Marani. Romantic Period, Classical Period, Opera, Repertoire, Classroom. Score, Set of Parts. 86 pages. Published by Diego Marani
The Carmen Suites are two suites of orchestral music drawn from the music of Georges Bizet's 1875 opera Carmen and compiled posthumously by his friend Ernest Guiraud. They adhere very closely to Bizet's orchestration.<br> <br> This arrangement includes: 1) Prélude: Act I, Prélude: "Fate" motive - 2) Aragonaise: Interlude (Entr'acte) before Act I - 3) Intermezzo: Interlude (Entr'acte) before Act III - 4) Séguedille: Act I, Seguidilla (Carmen): Près des remparts de Séville - 5) Les Dragons d'Alcala: Interlude (Entr'acte) before Act II - 6) Les Toréadors: Theme from Prelude to Act I and Procession of the Toreadors from Act IV: Les voici! voici la quadrille des Toreros!<br> <br> The instrumentation of the clarinet quartet is: Bb Clarinet 1 or Eb Clarinet, Bb Clarinet 2, Bb Clarinet 3 or Eb Alto Clarinet, Bb Bass Clarinet.
$22.90
20.65 €
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Clarinet Quartet: 4 clarinets
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Georges Bizet (1838-1875)
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Carmen Suite No. 1 for Clarinet Quartet
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Diego Marani
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SheetMusicPlus
Dances from the Opera "On the Wings of the Scarlet Messenger" Suite for Orchestra
Orchestra
Full Orchestra - Level 4 - Digital Download SKU: A0.730404 Composed by James Nathan…
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Full Orchestra - Level 4 - Digital Download SKU: A0.730404 Composed by James Nathaniel Holland. Contemporary,Holiday,Musical/Show,Opera. Score and parts. 160 pages. James Nathaniel Holland #3218589. Published by James Nathaniel Holland (A0.730404). A suite in four movements for orchestra taken from the contemporary opera On the Wings of the Scarlet Messenger by American Costa Rican composer James Nathaniel Holland. The first, Dance of the Spirits is a percussionists dream evoking Southeast Asian flavor and energy. The second movement The Party: Intermezzo is a popular dance type of driving beat. The suite slows with the third movement with the haunting The Party: Art Imitates Life and a recap of the Spanish chorus here arranged for orchestra Bailen, Canten, Que Noche Bonita Perfect for New Year's Eve or New Year's Day concert. Use with the arrangement Bailen, Canten Que Noche Bonita with chorus or any of the stand alone arias from the opera. YouTube video presentation: https://youtu.be/QHzyUfKLI9MDuration 14:02 minutes.Instrumentation: picc, 12fl, 12ob, eh, 12cl, bcl, ts, 12bsn, 1234 hrn, 12 trp, trmb, btrmb, tim, perc( snare, hand cym, bd, ride cym with mallets, large gong, sm. gong, claves, castanets, tam., mid tom, tri., high hat) hrp, and stringsFull score in concert pitch with individual parts included. Full opera orchestral score and piano vocal score sold separately.Composer website: http://lacoronadelossantos.net/jamesnathanielholland.html .
$21.95
19.8 €
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Orchestra
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James Nathaniel Holland
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Dances from the Opera "On the Wings of the Scarlet Messenger" Suite for Orchestra
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James Nathaniel Holland
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SheetMusicPlus
Toreador's Song from "Carmen Suite No. 2" for Clarinet Quartet
Clarinet Quartet: 4 clarinets
Clarinet, Woodwind Quartet - Advanced Intermediate - Digital Download Composed by Geo…
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Clarinet, Woodwind Quartet - Advanced Intermediate - Digital Download Composed by Georges Bizet (1838-1875). Arranged by Diego Marani. Romantic Period, Classical Period, Opera, Repertoire, Classroom. Score, Set of Parts. 19 pages. Published by Diego Marani
The Carmen Suites are two suites of orchestral music drawn from the music of Georges Bizet's 1875 opera Carmen and compiled posthumously by his friend Ernest Guiraud. They adhere very closely to Bizet's orchestration.<br> <br> This arrangement includes: Chanson du Toréador – Act 2, introduction and aria (Escamillo): "Votre toast, je peux vous le rendre".<br> <br> The instrumentation of the clarinet quartet is: Bb Clarinet 1 or Eb Clarinet, Bb Clarinet 2, Bb Clarinet 3 or Eb Alto Clarinet, Bb Bass Clarinet.
$9.99
9.01 €
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Clarinet Quartet: 4 clarinets
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Georges Bizet (1838-1875)
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Toreador's Song from "Carmen Suite No. 2" for Clarinet Quartet
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Diego Marani
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SheetMusicPlus
Gypsy Dance from "Carmen Suite No. 2" for Clarinet Quartet
Clarinet Quartet: 4 clarinets
Clarinet, Woodwind Quartet - Advanced Intermediate - Digital Download Composed by Geo…
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Clarinet, Woodwind Quartet - Advanced Intermediate - Digital Download Composed by Georges Bizet (1838-1875). Arranged by Diego Marani. Romantic Period, Classical Period, Opera, Repertoire, Classroom. Score, Set of Parts. 31 pages. Published by Diego Marani
The Carmen Suites are two suites of orchestral music drawn from the music of Georges Bizet's 1875 opera Carmen and compiled posthumously by his friend Ernest Guiraud. They adhere very closely to Bizet's orchestration.<br> <br> This arrangement includes: Danse Bohème – Act 2, Gypsy Dance: "Les tringles des sistres tintaient".<br> <br> The instrumentation of the clarinet quartet is: Bb Clarinet 1 or Eb Clarinet, Bb Clarinet 2, Bb Clarinet 3 or Eb Alto Clarinet, Bb Bass Clarinet.
$12.90
11.63 €
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Clarinet Quartet: 4 clarinets
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Georges Bizet (1838-1875)
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Gypsy Dance from "Carmen Suite No. 2" for Clarinet Quartet
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Diego Marani
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SheetMusicPlus
Anthology for Operatic Female Voice
Piano, Vocal and Guitar
Guitar,Piano,Vocal,Voice - Level 5 - Digital Download SKU: A0.1083045 Composed by J…
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Guitar,Piano,Vocal,Voice - Level 5 - Digital Download SKU: A0.1083045 Composed by James Nathaniel Holland. 20th Century,Broadway,Classical,Musical/Show,Opera. Score. 238 pages. James Nathaniel Holland #687261. Published by James Nathaniel Holland (A0.1083045). 37 Operatic selections for Female Operatic Voice (Various Ranges: Â Coloratura, Soprano, Mezzo Soprano, Alto) Solo Arias or Duets in English, taken from the stageworks of 21st Century American composer James Nathaniel Holland. Â Standalone pieces range from moving to dramatic to comedic. Â Selections from the Holland operas of The Discontented Housewife, Menkaure, On the Wings of the Scarlet Messenger, The Imaginary Invalid, Canterbury Tales, A Lucky Star, Adagio Suite and more! Â Includes popular duets: Â Menkaure's Someone Tell Me Where My Daughter Is (as solo), On the Wings of the Scarlett Messenger's Go, Let Him Go, and The Hero and Damned's Duet, Day In Day Out, and Athena's Curse as a solo aria.
$22.95
20.7 €
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Piano, Vocal and Guitar
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James Nathaniel Holland
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Anthology for Operatic Female Voice
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James Nathaniel Holland
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SheetMusicPlus
Gallo: 3 movts. from his Trio Sonatas (Reworked as Pulcinella Suite Mvt.3 Scherzino )- clarinet trio
3 Clarinets (trio)
Clarinet Trio,Woodwind Ensemble Bass Clarinet - Level 5 - Digital Download SKU: A0.5537…
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Clarinet Trio,Woodwind Ensemble Bass Clarinet - Level 5 - Digital Download SKU: A0.553769 Composed by Domenico Gallo. Arranged by Ray Thompson. Baroque,Holiday,Wedding. 11 pages. RayThompsonMusic #4283761. Published by RayThompsonMusic (A0.553769). This music was originally attributed to Giovanni Pergolesi, as they were in a Mr R. Bremner's original 1780 London publication and also arranged by Hugo Riemann, and again wrongly attributed to Giovanni Pergolesi.It is actually made up of 3 different pieces: Gallo's 2nd Trio Sonata in Bb. Mvts I and III, and Trio Sonata No 8 in Eb.All 3 Gallo mvts were used by Igor Stravinsky in the 3rd mvt. Scherzinoof his Neo Classical Pulcinella Suite. There is few bars joining the 3 mvts...one is Stravinsky's own, one is from a Pergolesi Opera.The Pulcinella Suite for small chamber orchestra and 3 vocalists which was derived from the ballet, was written in 1922 and has no vocal parts. But even though Stravinsky used Pergolesi's(which were in this case Gallo's) melodies and bass lines with little change, he managed to put his own unmistakable stamp on the music through his use of modern harmonies and occasional rhythmic modifications.I have used transcriptions of the original pieces, but have transposed them into the keys used by Stravinsky. I have included the original Pergolesi Aria as the first link, and a scale passage of my own for the second.My arrangement is in the same format as Stravinsky's so is a complete work.I have another upload with the 3 separate movts in their original keys.This arrangement is interesting to play and  do not sound too dissimilar to Stravinsky's final work.It is arranged for clarinet trio (2 Bb and bass)https://youtu.be/PMC-84MmuYw
$11.95
10.78 €
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3 Clarinets (trio)
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Domenico Gallo
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Gallo: 3 movts. from his Trio Sonatas
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RayThompsonMusic
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SheetMusicPlus
Carmen Suite No. 2 for Clarinet Quartet
Clarinet Quartet: 4 clarinets
Clarinet, Woodwind Quartet - Advanced Intermediate - Digital Download Composed by Geo…
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Clarinet, Woodwind Quartet - Advanced Intermediate - Digital Download Composed by Georges Bizet (1838-1875). Arranged by Diego Marani. Romantic Period, Classical Period, Opera, Repertoire, Classroom. Score, Set of Parts. 99 pages. Published by Diego Marani
The Carmen Suites are two suites of orchestral music drawn from the music of Georges Bizet's 1875 opera Carmen and compiled posthumously by his friend Ernest Guiraud. They adhere very closely to Bizet's orchestration.<br> <br> This arrangement includes:<br> <br> Marche des Contrebandiers – Act 3, chorus: "Écoute, écoute, compagnon!"Habanera: Act 1, aria (Carmen) – "L'amour est un oiseau rebelle"Nocturne: Act 3, aria (Micaëla) – "Je dis que rien ne m'épouvante"Chanson du Toréador – Act 2, introduction and aria (Escamillo): "Votre toast, je peux vous le rendre"La Garde Montante – Act 1: "Avec la garde montante, nous arrivons, nous voilà!"Danse Bohème – Act 2, Gypsy Dance: "Les tringles des sistres tintaient"
$24.90
22.46 €
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Clarinet Quartet: 4 clarinets
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Georges Bizet (1838-1875)
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Carmen Suite No. 2 for Clarinet Quartet
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Diego Marani
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SheetMusicPlus
The Flying Dutchman
Picc. · 2 · 2 · Engl. Hr. · 2 · 2 - 2 Ventil-Hr. · 2 Natur-Hr. · 2
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Picc. · 2 · 2 · Engl. Hr. · 2 · 2 - 2 Ventil-Hr. · 2 Natur-Hr. · 2 Ventil-Trp. · 3 Pos. · Basstb. - P. - Str. Auf der Bühne: 3 Picc. (womöglich mehrfach besetzt) - 6 Hr. - Tamtam - Windschleuder - Digital Download SKU: S9.Q25915 Romantic Opera in 3 Acts. Composed by Richard Wagner. This edition: vocal/piano score. Initial release - Opera - theater. Wagner Urtext Piano/Vocal Scores. Downloadable, Piano reduction. Duration 135' 0. Schott Music - Digital #Q25915. Published by Schott Music - Digital (S9.Q25915). German • English.An important addition to our newly produced orchestral materials is the first publication of vocal scores of Wagner’s ten great operas, in every important version, based on the Complete Edition. * The score corresponds to the performance materials from the Complete Edition. * For practical use in rehearsal cues and bar numbers throughout. * The publisher has secured the services of renewed musicologists associated with the Richard Wagner Complete Edition who convey detailed information in critical forewords. * The forewords are given in three languages(German, English, French). * Uniform and attractive front cover designs with reproductions of paintings from the Wagner era underline the series design of the edition. DER FLIEGENDE HOLLÄNDER (Original version) With this edition, the original version of Wagner’s opera Der fliegende Holländer [The flying Dutchman] WWV 63 is made available to the public for the first time in piano score form. The score on which the edition is based was published in the Richard Wagner-Complete Edition 1983: Richard Wagner. Collected works Vol. 4, I-II, The Flying Dutchman. Romantic opera in three acts (original version 1841), edited by Isolde Vetter (Schott Music International, Mainz, RWA 104-10/RWA 104-20).†(Egon Voss, quoted from the foreword of the new Der fliegende Holländer vocal score) Original version and 1842-1880 version The original version of Der fliegende Holländer dates from 1841. Wagner, at the time a completely unknown Kapellmeister in France, trying to get a foothold in Paris, saw the opportunity for a stage work that would meet the fashion at the Paris Opera of performing several short works one after another. Der fliegende Holländer, conceived in 1840 and composed in 1841, seemed to him suited to the purpose. In 1841, even when Wagner no longer counted on a success in Paris, he still held to the conception of a one-act opera and offered the work to German opera houses under the title of “Romantic Opera in One Act and Three Scenesâ€. This version is set in Scotland, taking as the literary model for the opera Heinrich Heine’s novel fragment “From the Memoirs of Mr. Schnabelewopskiâ€, and the protagonists have English names. This version was never performed in Wagner’s lifetime. Beginning in 1842, the work went through a tale of constant revision: Even before the Dresden premiere (2nd January 1843) Wagner undertook fundamental alterations. He transposed the location from Scotland to Norway, changed character’s names as appropriate, divided the opera into three acts – not least due to considerations of scene changes – and transposed Senta’s Ballad from A minor to G minor. It was in this version that the score of the opera went to print in 1845. For a performance in 1860 he composed the later so-called ‘Tristan’ or ‘Redemption’ ending to the Overture. Until the very end of his life, Wagner contemplated a plan for a final score or a definitive vocal score: it never came to be, so that to this day, as with Tannhäuser, we still do not have Der fliegende Holländer in a final version. Based on the research conducted in the creation of the Complete Edition, our editions contain, in one case the original version of 1841, while the other essentially goes back to the first printing of the score of 1845, but with the addition of the source material for the retouchings dating from 1842 to 1889. VOCAL SCORES The original version of the opera was made available for the first time in a vocal score in 2005 (ED 8065). The completely revised new edition of the vocal score of the 1842-1880 version appeared in 2011 (ED 20531).Les opéras de Richard Wagner paraissent pour la première fois sous forme de piano-chant chez Schott en version originale. Sont déjà publiés dans la série : L’Or du Rhin, Lohengrin, Parsifal et Le Vaisseau fantôme (première version de 1841 et version 1842-1880). Les autres opéras de Wagner représentés à Bayreuth paraîtront d'ici 2013, année anniversaire de la naissance du compositeur.
$42.99
38.77 €
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Richard Wagner
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The Flying Dutchman
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Schott Music - Digital
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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
35.13 €
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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. 1
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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. 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
35.13 €
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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
Suite from "The Magic Flute" for Trombone Quartet
Brass Quartet: 4 trombones
Brass Ensemble Trombone - Level 5 - Digital Download SKU: A0.810943 Composed by Wol…
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Brass Ensemble Trombone - Level 5 - Digital Download SKU: A0.810943 Composed by Wolfgang Amadeus Mozart. Arranged by Ausman, Sonny. Classical,Concert. Score and parts. 16 pages. Gordon Cherry #3919059. Published by Gordon Cherry (A0.810943). Suite from The Magic Flute in 4 movements by W.A. Mozart, transcribed by Sonny Ausman of the Los Angeles Philharmonic.1. March of the Priests2. Fanfare3. Sarastro's Aria (featuring Bass Trombone or Bass vocalist)4. Chorus of the PriestsA new suite in 4 movements (including the famous 3 chord Fanfare) from Mozart's Magic Flute opera beautifully set for Trombone Quartet and Bass Trombone Solo or Bass Vocalist. The total work is about 10 minutes in length and is for moderately advanced players (good high school and up). The most famous of the movements is Sarastro's Aria which can be performed by a Bass Trombone (5th part) or Bass vocalist. The lyrics are in the original German and the movement is in the key of F (original). The Suite is of moderately advanced difficulty, in tenor and bass clefs. Endurance is not a problem. The highest note is a single high C in the 1st Trombone part. The other movements are delightful in beautiful choral style and will add depth to any recital or concert.
$15.00
13.53 €
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Brass Quartet: 4 trombones
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Wolfgang Amadeus Mozart
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Suite from "The Magic Flute" for Trombone Quartet
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Gordon Cherry
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SheetMusicPlus
Carmen Suite
Concert band
Concert Band - Level 4 - Digital Download SKU: A0.1287080 Composed by Georges Bizet…
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Concert Band - Level 4 - Digital Download SKU: A0.1287080 Composed by Georges Bizet. Arranged by Thomas PECHOT. 19th Century,Classical,Opera. Score and Parts. 132 pages. Thomas PECHOT #878087. Published by Thomas PECHOT (A0.1287080). Concert band PDF sheet music Several extra-parts for brass Several optional parts.Here is a medley of arias from the opera Carmen composed by Georges Bizet (1838-1875). This arrangement for concert band includes the following themes: Aragonaise, Séguedille, Habanera and Chanson du Toréador.More concert band PDF sheet music go to https://thomaspechot.com
$69.99
63.12 €
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Concert band
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Georges Bizet
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Carmen Suite
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Thomas PECHOT
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SheetMusicPlus
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