The Theatre Sheet Music to download and print

The Theatre

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.

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.

Night at the theatre CM2013 complete score and parts sheetmusic

#Night at the theatre CM2013 complete score and parts sheetmusic

Chopin.Concerto in e (1st theme, mov't 1) Piano solo

Piano Solo - Level 3 - Digital Download SKU: A0.803378 Composed by Frederic Chopin.…(+)

Piano Solo - Level 3 - Digital Download SKU: A0.803378 Composed by Frederic Chopin. Arranged by Paul Taylor. Contemporary. Score. 2 pages. Paul Taylor #6666251. Published by Paul Taylor (A0.803378). A setting of this beautiful melody with the orchestra and piano solo combined. Suggested pedaling is provided in the opening, and then ped. sim appears for the pianist to incorporate their own pedaling choices. Broadly speaking, this work is suitable for the intermediate pianist as a solo, and/or incidental music for church or the theatre.
$1.99 1.83 € #Piano solo #Frederic Chopin #Chopin.Concerto in e #Paul Taylor #SheetMusicPlus

Ophelias Schattentheater

S. (3 Trgl. Â· 3 Shimes Â· 2 Okedos Â· 2 OdaikosÂ· 2 SchwirrbÃ¶gen (h./t.)) (3 S…(+)

S. (3 Trgl. Â· 3 Shimes Â· 2 Okedos Â· 2 OdaikosÂ· 2 SchwirrbÃ¶gen (h./t.)) (3 Spieler) - Str. (1 Â· 1 Â· 1 Â· 1 Â· 0) narrator, string quartet and 2 percussionists - advanced - Digital Download SKU: S9.Q20908 Melodrama after a story by Michael Ende. Composed by Wilfried Hiller. This edition: score and parts. Downloadable, Score and parts. Duration 43' 0. Schott Music - Digital #Q20908. Published by Schott Music - Digital (S9.Q20908). German.This narrative is about the fate of Miss Ophelia who, with great ambition, tries to make a career as an actress, but only manages to become a prompter because of her small voice. Michael Ende tells a story about the leave-taking of the theatre world, about stray shadows, about the approaching death of Ophelia and about the transformation of her shadow theatre into a light stage. Wilfried HillerIn dieser ErzÃ¤hlung geht es um das Schicksal von FrÃ¤ulein Ophelia, die mit groÃŸer Ambition versucht, Karriere als Schauspielerin zu machen, es aber wegen ihrer zu kleinen Stimme nur zur Souffleuse schafft. Michael Ende erzÃ¤hlt Ã¼ber den Abschied von der Welt des Theaters, von herrenlosen Schatten, vom nahenden Tod Ophelias und von der Verwandlung ihres Schattentheaters in eine LichtbÃ¼hne. Wilfried Hiller.
$55.99 51.56 € #Wilfried Hiller #Ophelias Schattentheater #Schott Music - Digital #SheetMusicPlus

Two Aires From The Virtuous Wife, - instruments in four parts

Small Ensemble - Level 3 - Digital Download SKU: A0.835849 Composed by Henry Purcel…(+)

Small Ensemble - Level 3 - Digital Download SKU: A0.835849 Composed by Henry Purcell. Arranged by Paul Burnell. Baroque. Score and parts. 17 pages. Paul Burnell #5361303. Published by Paul Burnell (A0.835849). Two Aires From The Virtuous Wife, Henry Purcell, arranged by Paul Burnell for instruments in four parts.The download contains the score together with a set of parts.Duration (if Aire played twice) 3:30I Slow Aire, Z.611/3II Aire, Z.611/4The Aire may be played through completely twice and, if the ensemble contains many players on each part, the instrumentation may be varied the second time.The two movements have both been transposed up a tone from the original.The arrangement is suitable for multiple quartet combinations with parts available (and potential instrumentations suggested) as follows:Part 1: C, Eb (flute, oboe, alto recorder, Ebclarinet, violin 1)Part 2: C, Bb (oboe, tenor recorder, Bbclarinet, violin 2)Part 3: C - alto & bass clefs, Bb, Eb, F (Bbclarinet, bass recorder, alto saxophone, horn in F, viola) Part 4: C - bass clef, Bb, F (bassoon, great bass recorder, tenor saxophone, horn in F, 'cello)Part 4 may be played an octave lower than written.Any other appropriate instruments, even if not suggested above, may play.Although the score is presented with a layout appropriate for string quartet this does not indicate a preferred instrumentation.Programme note:In 1694 Henry Purcell composed a suite of short pieces to accompany the play The Virtuous Wife, or, Good Luck at Last by Thomas D'Urfey. The suite was later included in the posthumous 1697 publication 'A Collection of Ayres, Compos'd For the Theatre, and upon other Occasions''. This arrangement includes the 'Slow Aire' and 'Aire'.
$3.99 3.67 € #Henry Purcell #Two Aires From The Virtuous Wife, - instruments in four parts #Paul Burnell #SheetMusicPlus

Gus: The Theatre Cat (from Cats)

#Gus: The Theatre Cat

In The Theatre

In The Theatre Piano solo

Piano Solo - Level 4 - Digital Download SKU: A0.842043 Composed by Andrew Mc Donald…(+)

Piano Solo - Level 4 - Digital Download SKU: A0.842043 Composed by Andrew Mc Donald. Contemporary. Score. 4 pages. Andrew Mc Donald (Macka Records) #3557107. Published by Andrew Mc Donald (Macka Records) (A0.842043). In The Theatre is a piece of piano music meant for the theatre or cinema experience. Imagine sitting with your friends sipping a coke and munching on popcorn that goes everywhere on the floor as you take in the relaxing piano music. As you eagerly wait for the movie you can't help thinking you want to learn the piano too.
$4.99 4.59 € #Piano solo #Andrew Mc Donald #In The Theatre #Andrew Mc Donald #SheetMusicPlus

#In The Theatre

In The Shadows Orchestra

Full Orchestra - Digital Download SKU: A0.481449 Composed by Herman Finck. Arranged…(+)

Full Orchestra - Digital Download SKU: A0.481449 Composed by Herman Finck. Arranged by Kevin Riley. 20th Century,Broadway,Musical/Show. Score and parts. 82 pages. Published by Kevin Riley (A0.481449). Herman Finck (1872â€“1939) was born in London as Herman von de Vinck, the son of an immigrant Dutch musician. For over twenty years he conducted the orchestra at the Palace Theatre of Varieties, and he was musical director at the Theatre Royal, Drury Lane, in the 1920s during the heyday of big musical successes such as Rose Marie and Show Boat. He composed a great deal of music for musical plays and revues, as well as short orchestral pieces. It was for a skipping-rope routine for the Palace Theatreâ€™s troupe of John Tiller dancers that Finck composed the graceful little In the Shadows (1910), which went on to enjoy international success.
$50.00 46.04 € #Orchestra #Herman Finck #In The Shadows #Kevin Riley #SheetMusicPlus