Full Orchestra - Level 5 - Digital Download SKU: A0.1049004 Composed by An-lun Huang. 20th Century,Classical,Contemporary,Multicultural,Traditional,World. Score and parts. 61 pages. DoReMi Edition #653398. Published by DoReMi Edition (A0.1049004). Chinese Rhapsody No.3 was composed e in Toronto, Canada , 1988. Huang dedicated the piece to the Canadian Saxophonist Paul Brodie who premiered it in Parry sound of Ontario in the same year. Written in Saibei Folk Style, the music is divided into 5 movements without stop. As usual, Huang didn‘t use any folk song . But the typical taste of Huang’s “Zhang Jia Kou[張家�] accent� is pretty easy to be identified. With the concert virtuosity, the 1st movement is composed as an emotional Cadenza which expresses the profound affections to the land of Saibei. Using the same Alto Sax., the lyric 2nd movement is followed by a folk dance, the 3rd movement. Chang to a Soprano Saxophone, the 4th movement is sound like a dreamy nocturne which is interrupted by the percussions of the fiery 5th movement. The whole Rhapsody ends on a climax of the Chinese Northern west “wind and percussion “style�. Brodie found more than 300 trills in this piece. Perhaps this is the key to perform the music in real Chinese style. Huang has composed 5 versions of these pieces for different ensembles: saxophone solo with piano, or strings, or winds/brasses, or Chinese traditional orchestra, or symphony orchestra. The attached mp3 was performed by the German saxophonist Jurgen Demmler with pianist Peter Grabinger in 1996. Duration: 20’.

Full Orchestra - Level 5 - Digital Download SKU: A0.1040096 Composed by An-lun Huang. 20th Century,Contemporary,Multicultural,Traditional,World. Score and parts. 424 pages. DoReMi Edition #644919. Published by DoReMi Edition (A0.1040096). One of the Masterpieces of Chinese Music of 20th Century The magnificent cave art at Dunhuang, in Western China sets the stage for the ballet, “Dream of Dunhuang�. In the middle of the vast wastes of Western China, lies the oasis of Dunhuang, situated in today‘s Gansu Province. Since the Western Han Dynasty(202BC-8AC), Dunhuang was an important trading and cultural center on the famous “Silk Road’, the ribbon of communication which fostered the historic ties between East and West. In the East was China, source of treasured trading articles such as silk; in the West, the �road“ branched to Venice, and north to what is today‘s Russia. The mural led caves at Dunhuang, which were begun the Northern Wei dynasty(336AD), and developed over one thousand years into the Qing Dynasty, re presents one of the world‘s richest cultural treasures. Drawing on bothn Western(Indian and Persian) as well as Chinese tradition, the caves, of which 492 remain intact, were decorated as a mines of religious devotion, with the initiation of Buddhism into China. The subjects of the murals, such as devise, demons, apsaras and bodhisattvas, represent the entire pantheon of Buddhist mythology, yet are also significant in their representation of muti-racial and muti-cultural influences, standing as an important testament to the age old exchange between East and West. A fabricated fantasia, the story of the ballet was inspirited by the famous artist, maestro Chang Shu-hong, who dedicated his whole life to Dunhuang. One of the Huang An-lun‘s major compositions with the play written by Xu Qing-dong, the score of “Dream of Dunhuang� was completed in mid-1979. The ballet has been dedicated to the composer‘s closest friends, Canadian writers John Fraser and Elizabeth MacCallun. Up to the date this CD being released, the ballet has never got a chance to performed in mainland China. Nevertheless, its music has been wildly performed and warmly received around the world. The Singapore premiere of its suite No.1 was performed by the SSO, conducted by Maestro Lim Yao. It has been also chosen as one of the “Master Piece of Chinese Music in 20th Century� in 1993. The world premiere of the complete ballet was performed successfully by the Russian State Ballet of Moscow, directed by its artist director, Vyatcheslav Godeyev, in 1994. Choreographed by Chen Min, it was took place in Taiwan with the Taiwan Symphony Orchestra, conducted by maestro David C.H.Chen. In 2002, ROI of Hong Kong has released the CD of the whole ballet, performed by the Russian Philharmonic Orchestra of Moscow. This is also the audio file attached. Before this recording conducted by the composer himself, the entire score was also performed by the Bolshoi Symphony Orchestra of Moscow in1995. The YouTube video was the World Premiere in Taiwan by the Russia National Ballet with the Taiwan symphony Orchestra, conducted by David Chen in 1994. The ballet, “ Dream of Dunhuang� depicts two young artists seeking the ultimate experience in love and expression. This two lovers arrived at desert and with the guidance of the celestial maiden, they discover the miracles of Dunhuang. It‘s divided into three acts: Act I: Desert, Act II: Cave, and Act III: Mogao cave.

Full Orchestra - Level 5 - Digital Download SKU: A0.1373292 By Scores by Ken. By Ken Naidu. 21st Century,Contemporary,Film/TV,Multicultural,World. 37 pages. Scores by Ken #957637. Published by Scores by Ken (A0.1373292). Qilin | Scores by Ken About the PieceQilin, written by Ken Naidu, is an instrumental score with great Chinese influence and textures. It induces the feelings of Peace, Movement and Energy. It's a perfect score to portray a Chinese scene. About the Composer From the breathtaking landscapes of New Zealand, Ken weaves melodies and harmonies that captivate and transport listeners to another realm. Specialising in screen composition, and versatile jazz renditions, each piece is a unique auditory experience, meticulously crafted to resonate with the soul. Whether you're seeking a composition that tells a profound story or a vibrant jazz chart that dances with energy, Scores by Ken promises unparalleled originality and precision in every note.

Full Orchestra - Digital Download SKU: A0.1008375 Composed by Claude Debussy. Arranged by Arkady Leytush. 20th Century. Score and parts. 39 pages. Arkady Leytush #4885449. Published by Arkady Leytush (A0.1008375). Estampes (Engravings) is the title of the triptych of three pieces which Debussy put together in 1903. The first complete performance was given on 9 January 1904 in the Salle Erard, Paris, by the young Spanish pianist Ricardo Viñes, who was already emerging as the prime interpreter of the new French music of Debussy and Ravel. The first two pieces were completed in 1903, but the third derives from an earlier group of pieces from 1894, collectively titled Images, which remained unpublished until 60 years after Debussy’s death, when they were printed as Images (oubliées). Estampes marks an expansion of Debussy’s keyboard style: he was apparently spurred to fuse neo-Lisztian technique with a sensitive, impressionistic pictorial impulse under the impact of discovering Ravel’s Jeux d’eau, published in 1902. The opening movement, ‘Pagodes’, is Debussy’s first pianistic evocation of the Orient and is essentially a fixed contemplation of its object, as in a Chinese print. This static impression is partly caused by Debussy’s use of long pedal-points, partly by his almost constant preoccupation with pentatonic melodies which subvert the sense of harmonic movement. He uses such pentatonic fragments in many different ways: in delicate arabesques, in two-part counterpoint, in canon, harmonized in fourths and fifths and as an underpinning for pattering, gamelan-like ostinato writing. Altogether the piece reflects the decisive impression made on him by hearing Javanese and Cambodian musicians at the 1889 Paris Exposition, which he had striven for years to incorporate effectively in music. In its final bars the music begins to dissolve into elaborate filigree.Just as ‘Pagodes’ was his first Oriental piece, so ‘La soirée dans Grenade’ was the first of Debussy’s evocations of Spain-that preternatural embodiment of an ‘imaginary Andalusia’ which would inspire Manuel de Falla, the native Spaniard, to go back to his country and create a true modern Spanish music based on Debussyan principles. Debussy’s personal acquaintance with Spain was virtually non-existent (he had spent a day just over the border at San Sebastian) and it is possible that one model for the piece was Ravel’s Habanera. Yet he wrote of this piece (to his friend Pierre Louÿs, to whom it was dedicated), ‘if this isn’t the music they play in Granada, so much the worse for Granada!’-and there is no debate about the absolute authenticity of Debussy’s use of Spanish idioms here. Falla himself pronounced it ‘characteristically Spanish in every detail’. ‘La soirée dans Grenade’ is founded on an ostinato that echoes the rhythm of the habanera and is present almost throughout. Beginning and ending in almost complete silence, this dark nocturne of warm summer nights builds powerfully to its climaxes. The melodic material ranges from a doleful Moorish chant with a distinctly oriental character to a stamping, vivacious dance-measure, taking in brief suggestions of guitar strumming and perfumed Impressionist haze. There is even a hint of castanets near the end. The piece fades out in a coda that seems to distil all the melancholy of the Moorish theme and a last few distant chords of the guitar. â€˜Jardins sous la pluie’ is based on the children’s song ‘Nous n’rons plus au bois’ (We shan’t go to the woods): its original 1894 form was in fact entitled Quelques aspects de ‘Nous n’rons plus au bois’. The two versions are really two distinct treatments of the same set of ideas, but in ‘Jardins sous la pluie’ Estampes the earlier piece has been entirely rethought. The whole conception is more impressionistic, and subtilized. The teeming semiquaver motion is more all-pervasive, the tunes (for Debussy has added a second children’s song for treatment, ‘Do, do, l’enfant do’) more elusive and tinged sometimes with melancholy or nostalgia. The ending of the piece is entirely new. What it loses, perha.

Full Orchestra - Digital Download SKU: A0.1008372 Composed by Claude Debussy. Arranged by Arkady Leytush. 20th Century. Score and parts. 24 pages. Arkady Leytush #4849769. Published by Arkady Leytush (A0.1008372). Estampes (Engravings) is the title of the triptych of three pieces which Debussy put together in 1903. The first complete performance was given on 9 January 1904 in the Salle Erard, Paris, by the young Spanish pianist Ricardo Viñes, who was already emerging as the prime interpreter of the new French music of Debussy and Ravel. The first two pieces were completed in 1903, but the third derives from an earlier group of pieces from 1894, collectively titled Images, which remained unpublished until 60 years after Debussy’s death, when they were printed as Images (oubliées). Estampes marks an expansion of Debussy’s keyboard style: he was apparently spurred to fuse neo-Lisztian technique with a sensitive, impressionistic pictorial impulse under the impact of discovering Ravel’s Jeux d’eau, published in 1902. The opening movement, ‘Pagodes’, is Debussy’s first pianistic evocation of the Orient and is essentially a fixed contemplation of its object, as in a Chinese print. This static impression is partly caused by Debussy’s use of long pedal-points, partly by his almost constant preoccupation with pentatonic melodies which subvert the sense of harmonic movement. He uses such pentatonic fragments in many different ways: in delicate arabesques, in two-part counterpoint, in canon, harmonized in fourths and fifths and as an underpinning for pattering, gamelan-like ostinato writing. Altogether the piece reflects the decisive impression made on him by hearing Javanese and Cambodian musicians at the 1889 Paris Exposition, which he had striven for years to incorporate effectively in music. In its final bars the music begins to dissolve into elaborate filigree. Just as ‘Pagodes’ was his first Oriental piece, so ‘La soirée dans Grenade’ was the first of Debussy’s evocations of Spain-that preternatural embodiment of an ‘imaginary Andalusia’ which would inspire Manuel de Falla, the native Spaniard, to go back to his country and create a true modern Spanish music based on Debussyan principles. Debussy’s personal acquaintance with Spain was virtually non-existent (he had spent a day just over the border at San Sebastian) and it is possible that one model for the piece was Ravel’s Habanera. Yet he wrote of this piece (to his friend Pierre Louÿs, to whom it was dedicated), ‘if this isn’t the music they play in Granada, so much the worse for Granada!’-and there is no debate about the absolute authenticity of Debussy’s use of Spanish idioms here. Falla himself pronounced it ‘characteristically Spanish in every detail’. ‘La soirée dans Grenade’ is founded on an ostinato that echoes the rhythm of the habanera and is present almost throughout. Beginning and ending in almost complete silence, this dark nocturne of warm summer nights builds powerfully to its climaxes. The melodic material ranges from a doleful Moorish chant with a distinctly oriental character to a stamping, vivacious dance-measure, taking in brief suggestions of guitar strumming and perfumed Impressionist haze. There is even a hint of castanets near the end. The piece fades out in a coda that seems to distil all the melancholy of the Moorish theme and a last few distant chords of the guitar.  â€˜Jardins sous la pluie’ is based on the children’s song ‘Nous n’rons plus au bois’ (We shan’t go to the woods): its original 1894 form was in fact entitled Quelques aspects de ‘Nous n’rons plus au bois’. The two versions are really two distinct treatments of the same set of ideas, but in ‘Jardins sous la pluie’ Estampes the earlier piece has been entirely rethought. The whole conception is more impressionistic, and subtilized. The teeming semiquaver motion is more all-pervasive, the tunes (for Debussy has added a second children’s song for treatment, ‘Do, do, l’enfant do’) more elusive and tinged sometimes with melancholy or nostalgia. Th.

Full Orchestra - Digital Download SKU: A0.1008374 Composed by Claude Debussy. Arranged by Arkady Leytush. 20th Century. Score and parts. 24 pages. Arkady Leytush #4849775. Published by Arkady Leytush (A0.1008374). Estampes (Engravings) is the title of the triptych of three pieces which Debussy put together in 1903. The first complete performance was given on 9 January 1904 in the Salle Erard, Paris, by the young Spanish pianist Ricardo Viñes, who was already emerging as the prime interpreter of the new French music of Debussy and Ravel. The first two pieces were completed in 1903, but the third derives from an earlier group of pieces from 1894, collectively titled Images, which remained unpublished until 60 years after Debussy’s death, when they were printed as Images (oubliées). Estampes marks an expansion of Debussy’s keyboard style: he was apparently spurred to fuse neo-Lisztian technique with a sensitive, impressionistic pictorial impulse under the impact of discovering Ravel’s Jeux d’eau, published in 1902. The opening movement, ‘Pagodes’, is Debussy’s first pianistic evocation of the Orient and is essentially a fixed contemplation of its object, as in a Chinese print. This static impression is partly caused by Debussy’s use of long pedal-points, partly by his almost constant preoccupation with pentatonic melodies which subvert the sense of harmonic movement. He uses such pentatonic fragments in many different ways: in delicate arabesques, in two-part counterpoint, in canon, harmonized in fourths and fifths and as an underpinning for pattering, gamelan-like ostinato writing. Altogether the piece reflects the decisive impression made on him by hearing Javanese and Cambodian musicians at the 1889 Paris Exposition, which he had striven for years to incorporate effectively in music. In its final bars the music begins to dissolve into elaborate filigree.Just as ‘Pagodes’ was his first Oriental piece, so ‘La soirée dans Grenade’ was the first of Debussy’s evocations of Spain-that preternatural embodiment of an ‘imaginary Andalusia’ which would inspire Manuel de Falla, the native Spaniard, to go back to his country and create a true modern Spanish music based on Debussyan principles. Debussy’s personal acquaintance with Spain was virtually non-existent (he had spent a day just over the border at San Sebastian) and it is possible that one model for the piece was Ravel’s Habanera. Yet he wrote of this piece (to his friend Pierre Louÿs, to whom it was dedicated), ‘if this isn’t the music they play in Granada, so much the worse for Granada!’-and there is no debate about the absolute authenticity of Debussy’s use of Spanish idioms here. Falla himself pronounced it ‘characteristically Spanish in every detail’. ‘La soirée dans Grenade’ is founded on an ostinato that echoes the rhythm of the habanera and is present almost throughout. Beginning and ending in almost complete silence, this dark nocturne of warm summer nights builds powerfully to its climaxes. The melodic material ranges from a doleful Moorish chant with a distinctly oriental character to a stamping, vivacious dance-measure, taking in brief suggestions of guitar strumming and perfumed Impressionist haze. There is even a hint of castanets near the end. The piece fades out in a coda that seems to distil all the melancholy of the Moorish theme and a last few distant chords of the guitar. â€˜Jardins sous la pluie’ is based on the children’s song ‘Nous n’rons plus au bois’ (We shan’t go to the woods): its original 1894 form was in fact entitled Quelques aspects de ‘Nous n’rons plus au bois’. The two versions are really two distinct treatments of the same set of ideas, but in ‘Jardins sous la pluie’ Estampes the earlier piece has been entirely rethought. The whole conception is more impressionistic, and subtilized. The teeming semiquaver motion is more all-pervasive, the tunes (for Debussy has added a second children’s song for treatment, ‘Do, do, l’enfant do’) more elusive and tinged sometimes with melancholy or nostalgia. The ending of the piece is entirely new. What it loses, perha.