Prelude a "L'apres-midi d'un faune"

SKU: LM.27679

ISBN 9790230976794.

BACH : Prelude de la 3e partita pour violon - Prelude de la 1re suite pour violoncelle - BEETHOVEN : Quintette pour piano, hautbois, clarinette, basson et cor - Septuor pour clarinette, cor, basson et quatuor a cordes - Sonate Eroica pour piano - Trio pour clarinette, violoncelle et piano - BRAHMS : Quintette pour clarinette et quatuor a cordes - Trio pour clarinette, violoncelle et piano - DEBUSSY : Esquisse technique sur la Rhapsodie - Extraits de la Suite ecossaise, La Mer, Pelleas et Melisande, l'Apres-midi d'un faune - KLOSE : Tarentelle - KREUTZER : Binaire Ternaire - MAYSEDER : Valse - MOZART : Concerto n. 23 pour piano - Quintette pour clarinette et quatuor a cordes - Trio des quilles pour clarinette, alto et piano - PAGANINI : 24e caprice pour violon - RACHMANINOV : Concerto n. 2 pour piano - RODE : Courante - Etude pour violon - Marche - Pralltriller - Scherzo - ROSSINI : 1er et 6e quatuors pour flute ou hautbois, clarinette, cor et basson - SCHUBERT : Octuor pour clarinette, cor, basson quatuor a cordes et contrebasse - SCHUMANN : Kreisleriana Op.16 et Fantaisie Op.12 - SPOHR : Pendule - VERDI : La Force du destin.

SKU: CY.CC2582

One of the greatest works of the French impressionist era, Prelude a l'apres-midi d'un faune by Claude Debussy evokes mystery, stillness, lyricism, finesse, sensuality, nature, dreams and desires. Taken from a poem by Stephane Mallarme this work is considered by some to be a turning point of musical history as an awakening of modern music as it stretches the limits of tonality. The work was later choreographed in 1912 by Nijinsky.

This marvelous arrangement by Ralph Sauer is appropriate for advanced performers and is about 10 minutes in length.

SKU: CY.CC2951

ISBN 9790530057704.

One of the greatest works of the French impressionist era, Prelude a l'apres-midi d'un faune by Claude Debussy evokes mystery, stillness, lyricism, finesse, sensuality, nature, dreams and desires. Taken from a poem by Stephane Mallarme this work is considered by some to be a turning point of musical history as an awakening of modern music as it stretches the limits of tonality. The work was later choreographed in 1912 by Nijinsky.

This marvelous arrangement by Ralph Sauer is appropriate for advanced performers and is about 10 minutes in length.

SKU: BT.EMBZ40015

Debussy decided in 1892, at the age of thirty, to compose a work for orchestra after Mallarmé's poem, L'aprés-midi d'un faune. Originally he had thought of writing three movements (Prélude - Interlude - Paraphrase) but when the first movement was completed in September 1894 he came to the conclusion that the continuation would be superfluous.The Prélude was first performed in Paris with Gustave Doret as conductor on 22 December of the same year yet, as it achieved immediate succes it had to be repeated. Source for the present edition was the first printed score (1895) which had been revised by the composer. Debussy's original, French expressions and markings have been retained.

SKU: PR.11440719S

UPC: 680160011087. 8.5 x 11 inches.

Sambuca, which most people know today as a licorice-flavored liqueur, was the name the Greeks gave to a kind of sharp, shrill-sounding harp, of Eastern, possibly Jewish origin. The Greeks then gave this same name to a wooden flute made from the elder bush, and in the middle ages it was also associated with the viol, at least to the extent that the Hurdy-gurdy, an instrument shaped like a viol and played by means of a rotating wheel, was sometimes called a Sambuca rotata. Thus, the word Sambuca is tied up with the ancestors - in each case, ancestors of ow birth, as it were - of the modern harp, flute, and viola. Somehow, the present-day association with alcohol seems very meet, in that a certain objectionable quality seems to have gone with the name - in 1545 one George Ascham wrote, This I am sure... all maner of pypes, barbitons, sambukes... be condemned of Aristotle. The word Sambucistria - for a female Sambuca player - was used by Plutarch and others to evoke a feeling of foreign-inspired decadence [Grove's Dictionary of Musical Instruments, 1984]. Currier's work is truly a Sambuca sonata. Written for the three Sambuca instruments, Currier has first of all seemingly endeavoured to make the harp part particularly Sambuca-like (i.e., sharp and shrill) with its many nail and xylophonic effects, but more importantly, has used musical material that corresponds to the low-brow, somewhat Dionysian, indeed, today even Bacchanalian implication of the name - thus, rock music seems to inspire a great deal Currier's work [the Samba, an appropriately Bacchanalian Brazilian Carnival dance, in duple meter with syncopations, while apparently having no etymological connection to Sambuca, might seem to be musically involved, too]. The Sambuca which lies behind this rather drunken piece is probably the only musical instrument which became a model for an instrument of war; one Craxton wrote in 1489 that Sambuce is an engyn whiche is made in manere of a harpe able to perce a walle. But whether talking of the modern liqueur or the ancient instrument condemned of Aristotle and mentioned four times in the Book of Daniel, it is a shame that Debussy - inspired by the Dionysian side of classical culture (as in Prelude a l'apres-midi d'un faune) - seems to have remained ignorant Sambuca, a word which to some extent must lie behind all works for this wonderful instrumentation which he invented, and which I might seem to have striven unconsciously, equally ignorant, to make the sole basis of Currier's work - until, having completed this piece, written for harpist Marie-Pierre Langlamet, and rummaging around for a title, I chanced upon it in an old dictionary.

SKU: CF.B2241

ISBN 9780825885679. UPC: 798408085674. 9 X 12 inches.

SKU: FH.FLE01

ISBN 978-1-55440-300-4.

Unparalleled in scope, Overtones offers all the music flutists want in one complete series! This progressive collection includes fundamental repertoire and supporting materials such as Studies, Compact Discs, Orchestral Excerpts, and Technique. The richness of music carefully selected for this compilation will resonate with teachers and students at every level of study.This compilation of standard orchestral passages for flute is an indispensable resource for the developing years and beyond. Teachers and students will find this unrivalled volume essential for examination or audition preparation.

Slavo nic Dances, op. 46, no. 1 Antonin Dvorak
Symphony No. 100 in G Major (Military): II Franz Joseph Haydn
Le carnaval des animaux: Aquarium Camille Saint-Saens
HMS Pinafore: I'm Called Little Buttercup Arthur Sullivan
La forza del destino: Overture Giuseppe Verdi
Serse (Xerxes), HWV 40: Va godendo vezzoso e bello George Frideric Handel
Symphony No. 100 in G Major (Military): III Franz Joseph Haydn
Ma Vlast: II Bedrich Smetana
HMS Pinafore: When I Was a Lad Arthur Sullivan
Nutcracker Suite: Overture Pyotr Il'yich Tchaikovsky
Symphony No. 6 (Pastoral): III Ludwig van Beethoven
Symphony No. 9 in E Minor, op. 95 (New World): I Antonin Dvorak
Faust: Soldier's Chorus Charles Gounod
Peer Gynt Suite No. 1, op. 46: I Edvard Grieg
Symphony No. 102 in B flat Major: I Franz Joseph Haydn
Brandenburg Concerto No. 4, BWV 1049: III Johann Sebastian Bach
Carmen: La garde montante Georges Bizet
Petite suite: Ballet IV Claude Debussy
Symphony No. 100 in G Major (Military): IV Franz Joseph Haydn
Symphony No. 40 in G Minor, K 550: III Wolfgang Amadeus Mozart
Symphony No. 5: IV Ludwig van Beethoven
Carmen: Act 1, Prelude Georges Bizet
Faust Ballet Music: Danse antique Charles Gounod
Symphony No. 102 in B flat Major: IV Franz Joseph Haydn
Scheherazade, op. 35: IV Nicolai Rimsky-Korsakov
Symphony No. 6 (Pastoral): I, II Ludwig van Beethoven
Symphonie fantastique: V Hector Berlioz
Die Zauberfloete: Wie stark ist nicht dein Zauberton Wolfgang Amadeus Mozart
Bolero Maurice Ravel
Scheherazade, op. 35: I Nicolai Rimsky-Korsakov
Brandenburg Concerto No. 4, BWV 1049: I Johann Sebastian Bach
Symphonie fantastique: I Hector Berlioz
Carmen: Entr'acte (Prelude) Georges Bizet
Symphony No. 1 in C Minor: IV Johannes Brahms
Die Zauberfloete: Overture Wolfgang Amadeus Mozart
Symphony No. 8 in G Major: IV Antonin Dvorak
Leonore Overture No. 3, op. 72a Ludwig van Beethoven
Symphony No. 4 in E Minor: IV Johannes Brahms
La mer: I, II, III Claude Debussy
Symphony No. 4 (Italian): IV Felix Mendelssohn
Symphony No. 1 (Classical): II Sergei Prokofiev
Symphony No. 3 in E flat Major (Eroica): IV Ludwig van Beethoven
Prelude a l'apres-midi d'un faune Claude Debussy
Sinfonie Mathis der Maler: I, II Paul Hindemith
Incidental Music to A Midsummer Night's Dream, op. 61: Scherzo Felix Mendelssohn
Petroushka (1947 revision): Part 1 Igor Stravinsky
Symphony No. 4 in F Minor: III Pyotr Il'yich Tchaikovsky
Capriccio espagnol, op. 34: IV Nicolai Rimsky-Korsakov
Sympho ny No. 1 (Classical): IV Sergei Prokofiev
Concerto for Orchestra: I, II, III, IV, V Bela Bartok
Symphonic Metamorphosis after Themes by Carl Maria von Weber: II, III Paul Hindemith
Das Lied von der Erde: VI Gustav Mahler
Peter and the Wolf, op. 67 Sergei Prokofiev
Le carnaval des animaux: 10. Voliere Camille Saint-Saens
Daphnis et Chloe: Troisieme partie Maurice Ravel
Guillaume Tell: Overture Gioachino Rossini
Till Eulenspiegel's Merry Pranks Richard Strauss
Firebird Suite (1919 version) Igor Stravinsky
Symphony No. 9: IV Ludwig van Beethoven
Concerto for Orchestra: III Bela Bartok
Scheherezade, op. 35: IV Nicolai Rimsky-Korsakov
Semiramide: Overture Gioachino Rossini
Symphony No. 5, op. 47: I, II Dmitri Shostakovich.

About Overtones

Unparalleled in scope, Overtones offers all the music flutists want in one complete series! This progressive collection includes fundamental Repertoire and supporting materials such as Etudes, Compact Discs, Orchestral Excerpts, and Technique. The richness of music carefully selected for this compilation will resonate with teachers and students at every level of study and is the official series for those using The Royal Conservatory Music Development program.

SKU: FA.MFRO001P

8.27 x 11.69 inches.

Over the years 1908-16, Debussy had produced a viable scenario for Usher on his third attempt. Butwhen he came to making a complete draft of the music, he seems to have lost interest during Roderick Usher's long monologue, even though he was setting his own text. As in No-ja-li he jumped to the next passage that interested him, in this case the exciting final melodrama and the collapse of the Usher house itself. In the process of completing the missing half of the score, I discovered that by reusing Debussy's material for similar psychological situations across the opera, and by metamorphosing existing ideas (as Debussy does with Melisande's theme in his opera Pelleas et Melisande), the only things I really needed to add were linking material and any passages where fast music was required. So the 'nightmare scherzo', and Lady Madeline's escape from her coffin and her final bloody revenge on her brother are all mine, but most of the rest is existing Debussy in changing contexts (in which the Russian technique of 'changing backgrounds', both harmonic and textural, proved extremely useful, as it did to Debussy in his Prelude a l'apres-midi d'un faune). Eventually, both my completed ballet No-ja-li and the House of Usher were successfully premiered in 2006 and the latter soon began to find its way into the established repertoire in Europe and the US. To further support this, I transcribed some of the highlights of Debussy's score as A Night in the House of Usher for organ, and subsequently piano--with a focus on Scene 2 and the final, horrific and maca-bre melodrama. This climaxes in the double deaths of Roderick Usher and his Sister Madeline, together with the disintegration of the ill-fated House of Usher into the stagnant lake-all beneath a blood-red moon.In this form it was first performed by Ian Buckle in the Howard Assembly Rooms, Leeds in 2010.