Originally composed for piano duet (1 piano, 4 hands), Debussy's 1889 composition, "In the Boat," from his Petite Suite, has also been orchestrated by Henri Büsser. This is the piano solo version of "En Bateau."
Claude Debussy's Petite Suite was composed between 1886 and 1889 after a commission by Durand for piano music for skilled amateurs. It was first performed in 1889 by Debussy and Durand together. The four movements transcribed in this full score are: En Bateau, Cortege, Menuet and Ballet. I have always loved this piece because of its lush melodies, sheer exuberance and timeless quality. It has been transcribed for many orchestral and chamber groups in the past, but I felt it lent itself especially well to guitar trio. I made this arrangement to bring it to a modern generation of skilled amateurs, this time on acoustic guitar. TAB is provided to help with note placement. Individual movements and parts are available via my Score Exchange page (Lisa Marie Gabriel) and back tracks are also for sale on Tradebit (Persimew).
Consisting of four movements, this work for one piano/four hands shows the influence of the French lyric opera composers Gounod and Massenet. Debussy composed this work before he had fully developed his Impressionistic style, and with its clarity of patterns and conciseness of form, Debussy pays a kind of homage to the French clavecinists. Dr. Hinson has included translations of French terms, notes on performance and a discussion of the duet performance.
This new book on Debussy's music comprises analytical studies of individual works not widely examined previously, including the Fantaisie for piano and orchestra, La demoiselle élue, Nuages, and Gigues. A discussion of the tonal structure of the first movement of La mer finds new relevance in the overused term symphonic in relation to Debussy's position in the history of French orchestral music. An extensive essay documents Debussy's aural images in his propensity for recycling his own musical ideas and quoting the music of other composers. A final lighthearted chapter, Debussy and Ravel: How to Tell Them Apart, systematically addresses this century-old critics' conundrum.
Paris at the turn of the 20th century was obsessed with the interrelations of the arts. It was a time when artists and writers spoke of poetry as music, sounds as colors, and paintings as symphonies. The music of Claude Debussy, with its unique textures and dazzling colors, was the perfect counterpart to the bold new styles of painting in France. Paul Roberts probes the sources of Debussy's artistic inspiration, relating the "impressionist" titles to the artistic and literary ferment of the time. He also draws on his own performing experience to touch on all the principal technical problems for a performer of Debussy's piano music. His many suggestions about interpreting the music will be particularly valuable to performers as well as listeners.
National Association of College Wind and Percussion Instructors
Contains over 5000 entries of works for harp in combination with up to eight other instruments, songs and other vocal and choral works with harp accompaniment, and harp concertos and other concerted works in which the harp plays a solo role. This chamber music volume contains citations of harp music published between 1800 and 2000 in a classified arrangement, with the first eight sections subdivided by original works and arrangements: 1) Duets; 2) Trios; 3) Quartets; 4) Quintets; 5) Sextets; 6) Septets; 7) Octets; 8) Nonets; 9) Solo voice with harp; 10) Solo voices (2 or more) with harp; 11) Harp with chorus; and 12) Harp concertos. Each entry includes information needed to accurately identify a work, including uniform titles when needed, publisher information, pagination when available, and complete contents listings for anthologies. Following the main sections is an index of names and titles. Finally, there is an index of music playable on non-pedal or "folk" harps. Designed to complement Harp Music Bibliography: Compositions for Solo Harp and Harp Ensemble (Bloomington: Indiana University Press, 1995) and Harp Music Bibliography Supplement: Compositions for Solo Harp and Ensemble.
The first comprehensive catalog of cello music!! END OF YEAR SALE: the HARDCOVER edition is on sale for 95 Euros (reduced from 149 Euros), with free postage at www.cellocompanion.com. (= the same price of the Lulu paperback edition!)Over 35 years of compilation has resulted in the very first comprehensive catalogue of cello music, including approximately 45,000 titles by 15,000 composers. Listed alphabetically by composer are works for cello solo, cello and piano, cello and orchestra, duos, cello ensemble music, solo cello with chamber ensemble, two or more soloists and orchestra, cello and voice, methods and studies. An index by instrumentation is also included. This unique project to compile all music ever written for cello solo - published or unpublished, in print or out of print - is a reference work that will immediately become every cellist's companion.
This superbly authoratitive new work provides a comprehensive A-Z guide to some 1000 years of Western music. It explores in detail the lives and achievements of a vast range of composers, as well as looking at such key topics as music history (from medieval plainchant to contemporary minimalism), performers, theory and jargon. Throught Griffiths skilfully blends lightly worn scholarship with personal insight, whether examining the emotional colouring that different musical keys achieve or charting the rise and development of the symphony.