Chamber Orchestra - Level 4 - Digital Download SKU: A0.1080705 Composed by Claude Debussy/Robert Orledge. 20th Century,Romantic Period,Standards. Score and parts. 30 pages. Musik Fabrik Music Publishing #4727447. Published by Musik Fabrik Music Publishing (A0.1080705). Instrumentation2 flûtes/2 flutescor anglais (doublant hautbois/doubling oboe)clarinette en La/clarinet in Abasson/bassooncor en Fa/horn in Fpercission (1 éxecutant - timbales (3)/cymbale suspendue, tambour de basque)/percussion (1 performer - timpani (3)/suspended cymbal, tambourine)harpe/harp9 cordes/9 strings (2.2.2.2.1)durée/duration: 5 minutes 30 secconds (environ/approx.) Une versions pour violon et piano ainsi qu’une version pour violon et orchestre (31CA(hb)23/2100/timb/perc/hpe/cordes)est également disponibile/A version for violin and piano as well as a version for violin and orchestra (31EH(ob)23/2100/timp/perc/strings) is also available.______________________Prmière: Edmond Agapian, violin with the Calagray (CA) Youth orchestra, cond. Gareth Jones, University of Calgary, 28 Janaury, 2011Première of the version for violin and 17 instruments: Frédéric Moisan, violin Orchestre 21 cond. Paolo Bellomio, Unveristy of Montreal, Canada, 2 March 2012Preface:In the early 1890s, Debussy composed the opening of a lyrical piece in E major for violin and piano, perhaps as a shorter companion piece for the violin Nocturne he was planning for the Belgian violinist Eugène Ysaÿe. After Debussy’s death in 1918, his second wife Emma often gave away sketch pages to performers or composers as memorials to her beloved husband , and this particular page was given to the Cuban born pianist and composer Joaquin Nin (1879-1949). It came up for sale in the catalogue of the British antiquarian dealer Lisa Cox in 2010 and although it might possibly be an early song for contralto and piano, the more dynamic idea in bar 12 strongly suggests the violin, especially as it begins on an open D string. Moreover, there is no text and in pieces of this length, Debussy usually wrote at least one word in, if only to remind himself where he had got to in any song. So my starting point was a complete 12-bar melody gently undulating in the violin’s lowest register over a sensual accompaniment, rising to a climax in bar 12 and giving me a contrasting idea that I could use as a link between sections and in the cadenza. As the B section (bars 14-26) derives directly from Debussy’s opening theme by metamorphosis, my own additions were restricted to the central section (bars 27-57) - comprising a new scherzando idea (C) and the more lyrical D (bars 36-46). C returns at bar 47, followed by the opening sections in reverse order, so that the Sérénade begins and ends with Debussy’s material and is cast in arch form (ABCDCBA). Robert OrledgeBrighton, 19 June 2019Robert Orledge was born in Bath in 1948 and educated at Clare College, Cambridge, where he gained his doctorate for his study of the composer Charles KÅ“chlin in 1973.   Between 1971 and 1991 He rose from Lecturer to Professor in the Music Department of the University of Liverpool, publishing books on Gabriel Fauré, Claude Debussy, Charles KÅ“chlin and Erik Satie, as well as numerous articles, editions and reviews.   As a historical musicologist, Professor Orledge specialized in the way composers composed, ,and since taking early retirement in 2004, he has concentrated on completing and orchestrating Debussy’s unfinished works, and especially his theatre projects. His completion of Debussy’s opera The Fall of the House of Usher (1908-17) was successfully premiered at the Bregenz Opera Festival in Austria in August 2006 and has since been performed in America, Portugal Germany and Holland, as well as being broadcast throughout Europe. A DVD of the Bregenz premier is available on Capriccio 93517, produced by Phylida Lloyd and conducted by Lawrence Foster. His completion of the Chinese ballet No-ja-li ou Le Palais du Silence (1914) was also premiered in 2006 in Los Angeles and ot.

Chamber Orchestra - Level 1 - Digital Download SKU: A0.1007141 Composed by Charles McCreery. 20th Century,Children,Contemporary. Score and parts. 46 pages. St Maur Music #5024433. Published by St Maur Music (A0.1007141). This song is an orchestral version of one of a series of ‘Fourteen Tolkien Songs’. A comment on the collection by an Oxford piano teacher: ‘For those who only know Tolkien via the recent blood-and-thunder films, this song-cycle by Charles McCreery will give a very different angle on the classic saga. Here we find a gentle and ethereal world, where rhythms lilt and words echo. The twelve songs, suitable for choir, evoke a dreamy, water-colour landscape with no harsh sounds, the tunes are singable and in a traditional style that Tolkien would surely have approved. Dr Julia Gasper, LGSM   A general comment on Charles McCreery’s music by a violinist and composer in the USA: ‘Charles McCreery’s beautifully melodic, intricately textured compositions are infused with classical, romantic and folk idioms.’ Samantha Gillogly   ‘Galadriel’s Song’ is appropriate for either women’s or children’s voices, and is potentially of interest to anyone who is familiar with the works of J.R.R. Tolkien. The three vocal parts and the individual orchestral parts can all be printed out separately at the end of the full score. The MP3 which plays from this page is of a version of the song which can be heard on the stmaurmusic channel on YouTube (https://www.youtube.com/user/stmaurmusic).            On the front cover is a photograph of leaves in Wytham Woods, Oxford, and at the end of the full score is a photograph of the sea off Treyarnon Bay, Cornwall .

Chamber Orchestra - Level 4 - Digital Download SKU: A0.817154 Composed by Richard Decker. 21st Century,Contemporary,Contest,Festival,Jazz,Pop. 41 pages. Charles Decker Music Press #5740917. Published by Charles Decker Music Press (A0.817154). This very accessible and moderately difficult original jazz-influenced, lush sounding ballad for studio orchestra featuring solo flugelhorn creates lasting memories for performers and audiences. New York State School Music News review: This slow ballad has an effective legato flow with remarkably colorful orchestration … a very original and playable creation. The audio file is an actual studio orchestra performance of the entire work and not a computer playback of the score. See also the piano reduction accompaniment for Quiet Times at Charles Decker Music Press. See 50+ homogeneous brass group editions for horn, trumpet and trombone ensembles and more than 70 mixed brass ensemble publications with Charles Decker Music Press at Sheet Music Plus for inexperienced to advanced musicians with music ranging from the Renaissance to contemporary new works for trios, quartets, quintets, brass choir and brass band. Many of the mixed brass ensemble editions include alternate and substitute parts being alternate C trumpet parts for B-flat trumpet parts, flugelhorn/trumpet substitute for horn, horn substitute for trombone and treble clef euphonium substitute for trombone. Check out our Music of Black Composers Series with Charles Decker Music Press at Sheet Music Plus with 25 arrangements for mixed brass ensembles ranging from early jazz to symphonic works with composers Samuel Coleridge-Taylor, R. Nathaniel Dett, William Grant Still, Will Marion Cook, James Reese Europe, James Johnson and others. All ensemble publications include recordings of the entire edition.

Chamber Orchestra - Level 4 - Digital Download SKU: A0.534650 Composed by Clémence de Grandval. Romantic Period. Score and parts. 25 pages. Musik Fabrik Music Publishing #5721669. Published by Musik Fabrik Music Publishing (A0.534650). Maria-Félicie-Clémence de Grandval (1828–1907) was born on January 28, 1828 at Saint-Rémy-des-Monts, France and died on January 15, 1907 in Paris.After the death of her mother, Louise Adèle du Temple de Mésières, her father the Baron de Reiset, a military officer remarried with an Englishwoman and moved his family to London. After beginning her musical studiesprivately, she studied the piano with the German composer Friedrich von Flotow, who was a family friend. Returning to France, she studied the piano briefly with Chopin and composition with Camille Saint-Saëns. At first writing mostly sacred music, most of her public success was due to her comic operas: la Comtesse Eva, la Pénitente, Piccolino and Mazeppa. She also wrote orchestral music, chamber music, and over 60 songs (to poets such as Sully-Prudhomme, Michel Carré, Henri Meilhac, Georges Hartmann, Charles Grandmougin and Louis Gallet.) She is chieflyknown today for her music for wind instruments, especially for the oboe.Scored for 2222/2000/strings. The score and complete parts are for sale as a seperate item.

Chamber Orchestra - Level 4 - Digital Download SKU: A0.534651 Composed by Clémence de Grandval. Romantic Period. Score and parts. 73 pages. Musik Fabrik Music Publishing #5721673. Published by Musik Fabrik Music Publishing (A0.534651). Maria-Félicie-Clémence de Grandval (1828–1907) was born on January 28, 1828 at Saint-Rémy-des-Monts, France and died on January 15, 1907 in Paris.After the death of her mother, Louise Adèle du Temple de Mésières, her father the Baron de Reiset, a military officer remarried with an Englishwoman and moved his family to London. After beginning her musical studiesprivately, she studied the piano with the German composer Friedrich von Flotow, who was a family friend. Returning to France, she studied the piano briefly with Chopin and composition with Camille Saint-Saëns. At first writing mostly sacred music, most of her public success was due to her comic operas: la Comtesse Eva, la Pénitente, Piccolino and Mazeppa. She also wrote orchestral music, chamber music, and over 60 songs (to poets such as Sully-Prudhomme, Michel Carré, Henri Meilhac, Georges Hartmann, Charles Grandmougin and Louis Gallet.) She is chieflyknown today for her music for wind instruments, especially for the oboe.Scored for 2222/2000/strings, this item is the score and complete parts.  The score only is availabel as a seperate item.