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You've selected:
Le Petit Bal `a La Cour
Sheetmusic to print
5 sheet music found
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1
Le Petit Bal `a La Cour (Les Enfans De Brunswick). 2nd Set
Le Petit Bal `a La Cour (Les Enfans De Brunswick). 2nd Set
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Piano solo
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G
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(2) La Fete de Claremont
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Le Petit Bal `a La Cour
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Johns Hopkins University Sheridan Libraries
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SheetMusicPlus
Piano - Digital Download SKU: LV.9514 Composed by G. Redler. Parlors, Children & adults, Children dancing, Wealth, Servants, Kilts, Manners & customs. Le...
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Piano - Digital Download SKU: LV.9514 Composed by G. Redler. Parlors, Children & adults, Children dancing, Wealth, Servants, Kilts, Manners & customs. Lester S. Levy Collection. 6 pages. Published by Johns Hopkins University Sheridan Libraries (LV.9514). Le Petit Bal `a La Cour (Les Enfans De Brunswick). 2nd Set. (1) La Fete des Enfans de Brunswick; (2) La Fete de Claremont; (3) Le Chasseur de Windsor; (4) La Fete Champetre; (5) Le Chateau de Windsor. Pour le Piano Forte Par G. Redler. Published [n.d.] by Leoni Lee & Coxhead, Music Sellers to Her Majesty, Queen Victoria, 48 Albemarle St. in London. Composition of five da capo movements with piano instrumentation. Subject headings for this piece include Parlors, Children & adults, Children dancing, Wealth, Servants, Kilts, Manners & customs. About The Lester S. Levy CollectionThe Lester S. Levy Collection of Sheet Music consists of over 29,000 pieces of American popular music. Donated to Johns Hopkins University Sheridan Libraries, the collection's strength is its thorough documentation of nineteenth-century American through popular music. This sheet music has been provided by Project Gado, a San Francisco Bay Area startup whose mission is to digitize and share the world's visual history.WARNING: These titles are provided as historical documents. Language and concepts within reflect the opinions and values of the time and may be offensive to some.
$5.99 ≈
5.57€
Ravel - "Mother Goose" (Ma Mère l’Oye), arranged for Piano solo
Ravel - "Mother Goose" (Ma Mère l’Oye), - Piano solo
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Piano solo
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ADVANCED
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Maurice Ravel
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Len Rhodes
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Ravel - "Mother Goose"
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Len Rhodes Music
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SheetMusicPlus
Piano Solo - Level 5 - Digital Download SKU: A0.739953 Composed by Maurice Ravel. Arranged by Len Rhodes. 20th Century,Concert,Holiday,Wedding. Score. 8 ...
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Piano Solo - Level 5 - Digital Download SKU: A0.739953 Composed by Maurice Ravel. Arranged by Len Rhodes. 20th Century,Concert,Holiday,Wedding. Score. 8 pages. Len Rhodes Music #3570051. Published by Len Rhodes Music (A0.739953). Len Rhodes has transcribed Ravel's orchestral suite for piano solo. In his book Impressionism, author Pierre Courthion writes how Ravel's Mother Goose Suite seems like a musical commentary to Monet's Waterlilies. Len has titled his transcription - Reflections - containing the main movements from Mother Goose (Ma Mère l’Oye), with beautifully crafted segue's that create uninterrupted flow from movement to movement. Ravel originally wrote this ballet as a charming, delicate and imaginative suite of fairytale pieces. This transcription is a continuous work featuring - (i) the Prelude, (ii) Pavane de la Belle au Bois dormant (Pavane of the Sleeping Beauty), (iii) Les entretiens de la Belle et de la Bête (Conversation of Beauty and the Beast), (iv) Petit Poucet (Little Tom Thumb), and Le jardin féerique (The Fairy Garden). It is suitable for the more advanced (ABRSM grade 6/7) pianist, but will be appreciated by all lovers of Ravel, and Ma Mère l’Oye in particular. The music contains some larger chords so not entirely suitable for small hands. This is an extended work - 8 pages of music.
$5.99 ≈
5.57€
Automania - Galop / March - L.P. Laurendeau
Automania - Galop / March - L.P. Laurendeau
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Louis-Philippe Laurendeau
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Ivan Marini
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Automania - Galop / March - L.
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www.dalsegno.eu
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SheetMusicPlus
Digital Download SKU: A0.1071621 Composed by Louis-Philippe Laurendeau. Arranged by Ivan Marini. 20th Century,Folk,Patriotic,Standards. Full Performance....
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Digital Download SKU: A0.1071621 Composed by Louis-Philippe Laurendeau. Arranged by Ivan Marini. 20th Century,Folk,Patriotic,Standards. Full Performance. Duration 129. Www.dalsegno.eu #4580299. Published by www.dalsegno.eu (A0.1071621). (en/fr)Galop (march-like dance) composed by Canadian L.P. Laurendeau and arranged for modern band by Ivan Marini.The title refers to the automobile mania that swept in the USA and Canada during the first years of the 20th century.Grade 2 1/2, suitable for smaller ensembles and marching bands too.Galop (danse rapide) composé par le Québécois L.P. Laurendeau et adapté pour la moderne orchestre d'harmonie par Ivan Marini.Le titre fait référence à la manie automobile qui a balayé les États-Unis et le Canada au cours des premières années du XXe siècle.Grade 2 1/2, convenant aussi aux petits ensembes et aux défilées.Sheet music (Full Score, Condensed Score and Card size Parts) availableOther transpositions, missing parts or custom settings available for free at simply request. Feel free to contact me at info@dalsegno.eu for any other setting!Please, check my other works at www.sheetmusicplus.com/publishers/3025323or visit www.dalsegno.eu
$1.99 ≈
1.85€
Automania - Galop / March - L.P. Laurendeau for Concert or Marching Band
Automania - Galop / March - L.P. Laurendeau for Concert or Marching Band
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Concert band
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INTERMEDIATE
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Louis-Philippe Laurendeau
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Ivan Marini
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Automania - Galop / March - L.
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www.dalsegno.eu
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SheetMusicPlus
Concert Band - Level 3 - Digital Download SKU: A0.770383 Composed by Louis-Philippe Laurendeau. Arranged by Ivan Marini. 20th Century,Contest,Festival,Fo...
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Concert Band - Level 3 - Digital Download SKU: A0.770383 Composed by Louis-Philippe Laurendeau. Arranged by Ivan Marini. 20th Century,Contest,Festival,Folk,Holiday,Patriotic. Score and parts. 26 pages. Www.dalsegno.eu #4579941. Published by www.dalsegno.eu (A0.770383). (en/fr)Galop (march-like dance) composed by Canadian L.P. Laurendeau and arranged for modern band by Ivan Marini.The title refers to the automobile mania that swept in the USA and Canada during the first years of the 20th century.Grade 2 1/2, suitable for smaller ensembles and marching bands too.Galop (danse rapide) composé par le Québécois L.P. Laurendeau et adapté pour la moderne orchestre d'harmonie par Ivan Marini.Le titre fait référence à la manie automobile qui a balayé les États-Unis et le Canada au cours des premières années du XXe siècle.Grade 2 1/2, convenant aussi aux petits ensembes et aux défilées.Full Score and Condensed Score.Card size Parts for:Piccolo, Flute 1+2, Oboe (or Soprano Sax)Clarinet 1+2, Bass Clarinet, Alto Sax 1+2, Tenor Sax, Baritone SaxBb Trumpet 1+2+3, F/Eb Horn 1+2, Trombone 1+2+3Euphonium BC (also Bassoon) and TC, TubaTimpani, Bells, Percussion (SD, BD, Cym.)Other arrangements, missing parts or custom settings available at simply request.Duration: ca. 2'15'' minutes, 26 pages. Feel free to contact me at info@dalsegno.eu for any other setting!Please, check my other works at www.sheetmusicplus.com/publishers/3025323or visit www.dalsegno.eu
$9.99 ≈
9.29€
Debussy Inconnu: Album of works for the piano by Claude Debussy completed by Robert Orledge, Vol. 1
Debussy Inconnu: Album of works for the piano by Claude Debussy completed by Robert Orledge, Vol. 1
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Piano solo
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INTERMEDIATE/ADVANCED
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Classical
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Claude Debussy/Robert Orledg
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Debussy Inconnu: Album of work
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Musik Fabrik Music Publishing
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SheetMusicPlus
Piano Solo - Advanced Intermediate - Digital Download Composed by Claude Debussy/Robert Orledge. 20th Century, Impressionistic, Repertoire, Recital. ...
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Piano Solo - Advanced Intermediate - Digital Download Composed by Claude Debussy/Robert Orledge. 20th Century, Impressionistic, Repertoire, Recital. Score. 71 pages. Published by Musik Fabrik Music Publishing
Contains A Night in the House of Usher Un Jour affreux avec Le Diable dans le beffroi, Les accords de septième regrettent!!!, Petite Valse,Fêtes galantes, and Prélude à ‘L’Histoire de Tristan’
From Robert Orledge's notes:
My interest in the wonderful music of Claude Debussy began in the 1980s when I researched and published a book with Cambridge University Press entitled Debussy and the Theatre. During the course of my studies in Paris, I was amazed to discover that Debussy planned over 50 theatrical works but only finished two of these entirely by himself (the opera Pelléas et Mélisande in 1893–1902 and the ballet Jeux for Diaghilev’s Ballets Russes in 1912–13). Of the rest, many were never started musically (like Siddartha and Orphée-roi with the Oriental scholar Victor Segalen, 1907); some had a few tantalising sketches (like the Edgar Allan Poe opera Le Diable dans le beffroi, 1902–03); some were half-finished (like his other Poe opera La Chute de la Maison Usher, 1908–17); while others were musically complete but had their orchestrations completed by other composers (like Khamma, by Charles Koechlin, 1912–13; or Le Martyre de Saint Sébastien and La Boîte à joujoux by his ‘angel of corrections’ [‘l’ange des Corrections’] André Caplet in 1911 and 1919 respectively).
For it has to be admitted that what some scholars call Debussy’s ‘compulsive achievement’ could equally well be viewed as laziness, especially as far as the minute detail required for calligraphing his orchestral scores was concerned. It was as if creating the music itself was of greater importance than controlling its final sound, even if Debussy was an imaginative orchestrator when he found the time and energy to do it. It also seems true that Debussy also preferred inventing ideas to turning them into complete pieces. However, despite the lack of detail in many of his sketches (missing clefs, key signatures, dynamics, phrasing, etc.) the notes themselves are surprisingly accurate, whether or not they can be compared with a later draft. Thus, a large number of sketches exist for his Chinese ballet No-ja-li ou Le Palais du Silence and it is not too difficult to see which parts of Georges de Feure’s 1913 scenario (see below) inspired which ideas. But Debussy hardly made any attempt to join them together after the first few bars.
It was usually up to his publisher, Jacques Durand, to find solutions when Debussy risked a breach of contract. Debussy was supposed to supervise the orchestrations completed by others, but this supervision was usually very light and restricted to quiet, sensitive moments in which problems were easier to spot. Far from jealously guarding every one of his created notes, as Ravel did, Debussy once even went as far as to ask Koechlin to ‘write a ballet for him that he would sign’ on 26 March 1914 when he was hard-pressed to fulfil his lucrative contract for No-ja-li with André Charlot at the Alhambra Theatre in London. In the end, Debussy (through Durand) sent Charlot the symphonic suite Printemps instead, whose orchestration had been completed by Henri Busser in the Spring of 1912.
So, when I was offered early retirement as Professor of Music at Liverpool University in 2004, I seized the opportunity it would give me to spend time trying to reconstruct some of Debussy’s lost potential masterpieces from his existing sketches and drafts—then orchestrating them in Debussy’s style when this was appropriate. I had begun this mission in 2001 with the most promising project, the missing parts of Scene 2 of La Chute de la Maison Usher and the sheer joy it gave me at every stage persuaded me to tackle other projects, especially when Debussy experts were unable to identify exactly where I took over from Debussy (and vice versa) in Usher.
$38.95 ≈
36.21€
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1
Le Petit Bal `a La Cour
