Free-scores.com : Debussy, Claude - "La fille aux Cheveux de Lin" for Viola & Harp (Alto et Harpe)

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CRITÈRES : La fille aux cheveux de lin: Sur la luzerne en fleur, L.33 (8) (Debussy, Claude)

ALTO › Debussy, Claude

"La fille aux Cheveux de Lin" for Viola & Harp
L.33
Claude Debussy
Alto et Harpe

VoirPDF : "La fille aux Cheveux de Lin" for Viola & Harp (2 pages - 102.2 Ko)1 558x⬇

VoirPDF : Alto Part (80.58 Ko)

VoirPDF : Harpe Part (84.31 Ko)

MP3 : Audio principal (84.31 Ko)127x⬇ 988x

La fille aux Cheveux de Lin for Viola & Harp

MP3 (1.66 Mo) :

(par , )119x⬇ 239x

La fille aux Cheveux de Lin for Viola & Harp

MP3 (1.68 Mo) :

(par , )85x⬇ 156x

Vidéo :

Compositeur	Debussy, Claude (1862 - 1918)
Instrumentation	Alto et Harpe
Partition centrale	La fille aux cheveux de lin: Sur la luzerne en fleur (8 partitions)
Genre	Romantique
Arrangeur Editeur	MAGATAGAN, MICHAEL (1960 - )
Date	1909-10
Droit d'auteur	Public Domain
	Ajoutée par magataganm, 16 Jui 2014
The eighth number in Claude Debussy's first book of piano Preludes, a volume the composer worked on between about 1907 and 1910, is the celebrated La fille aux cheveux de lin (The Girl with the Flaxen Hair), two pages of delicate, superbly-crafted music that rival the Clair de lune from the Suite bergamasque and the Prelude to the Afternoon of a Faun as the most widely recognized entry in the composer's catalog. One of Debussy's happiest decisions when composing his Preludes is, sadly,...(+) The eighth number in Claude Debussy's first book of piano Preludes, a volume the composer worked on between about 1907 and 1910, is the celebrated La fille aux cheveux de lin (The Girl with the Flaxen Hair), two pages of delicate, superbly-crafted music that rival the Clair de lune from the Suite bergamasque and the Prelude to the Afternoon of a Faun as the most widely recognized entry in the composer's catalog. One of Debussy's happiest decisions when composing his Preludes is, sadly, one that has been all but undone by publishers. Nowadays one finds the Preludes' picturesque little descriptions (such as "girl with the flaxen hair") at the top of each piece in bold, assertive type. When Debussy put the pieces to paper, however, he placed the descriptions at the end of each piece, as hints, even questions -- these are not the miniature, concrete-subjected tone poems we are sometimes led to believe. Indeed, the title La fille aux cheveux de lin is so famous that it can sometimes distract from the fact that the piece is as perfectly poised and flawlessly balanced a work of piano music as one might hope for. The unaccompanied melody at the opening glistens (it is really just an arpeggio, so guilelessly drawn that one marvels at the effect it has). The mild climax in the middle of the piece is fine china -- radiant but ever so brittle, always in danger of being irreparably cracked or even smashed by an over-zealous pianist. The uncertain parallel fourths of the final pianissimo "murmuring" (called thus by Debussy) are turned on their heads after four bars, rising up into the warm sun of one last sonorous G flat major chord. Although originally created for Flute and Piano, I created this arrangement for Viola & Concert (Pedal) Harp.

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