SKU: HL.50247740
UPC: 073999740998. 5.25x7.5x0.34 inches.
SKU: TM.05066SC
Ballet. Overture, Serenade, Dialogue en Musique, Ballet, Menuet Chante, 1st Air des Garcons Tailleurs, 2nd Air de Garcons, Final du Act III, Air a Boibe, Marche & 1st Entree de Ballet (Ceremonie turque) , Air de Muphti, Entree du Ballet, Entree de Ballet, Air de Danse.
SKU: TM.05066SET
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.Slavonic 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 BeethovenSymphony No. 4 in E Minor: IV Johannes BrahmsLa mer: I, II, III Claude DebussySymphony 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-KorsakovSymphony 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.MFCD017B
8.27 x 11.69 inches.
Contains Le Roi Lear: Prelude,Premiere Fanfare, and La Mort de Cordelia,Toomai des elephants, Rodrigue et Chimene: Prelude a l'acte 1p. Le Martyre de Saint Sebastien: La Passion , and No-ja-li ou Le Palais du SilenceFrom 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 Pelleas et Melisande 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 Orphee-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 Sebastien and La Boite a joujoux by his 'angel of corrections' ['l'ange des Corrections'] Andre 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 Andre 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.
