{"title":"Peter Breiner","description":"\u003cdiv style=\"text-align: right;\"\u003e\u003cimg alt=\"Peter Breiner\" src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0033\/9273\/3273\/files\/breiner.jpg?v=1613681105\" style=\"margin-bottom: 30px; margin-left: 40px; float: right;\"\u003e\u003c\/div\u003e\n\u003cp\u003eHere is our collection of sheet music editions of works by Peter Breiner, containing the following sub-categories: \u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"\/collections\/dvoraks-greatest-melodies-arranged-for-piano\"\u003eDvořák’s greatest melodies arranged for piano\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"\/collections\/calm-romantic-piano-music\"\u003eCalm Romantic Piano Music\u003c\/a\u003e, including \u003ca href=\"\/collections\/caressing-your-soul-calm-romantic-piano-music\"\u003eCaressing Your Soul\u003c\/a\u003e and \u003ca href=\"\/collections\/mornings-evenings-and-late-nights-calm-romantic-piano-music\"\u003eMornings, Evenings and Late Nights\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"\/collections\/classical-string-quartet-arrangements\"\u003eClassical String Quartet Arrangements\u003c\/a\u003e and \u003ca href=\"\/collections\/christmas-string-quartet-arrangements\"\u003eChristmas String Quartet Arrangements\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003ca href=\"\/collections\/peter-breiner-songs-and-dances-from-the-silk-road\"\u003eSongs and Dances from the Silk Road\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"\/collections\/debussy-preludes-arranged-for-orchestra\"\u003e\u003c\/a\u003e\u003cmeta charset=\"utf-8\"\u003e\u003ca href=\"\/collections\/albeniz-iberia-orchestrated-by-peter-breiner\"\u003eAlbéniz: Iberia arranged for orchestra\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003ca href=\"\/collections\/brahms-hungarian-dances-arranged-for-orchestra\"\u003eBrahms Hungarian Dances arranged for orchestra\u003c\/a\u003e\u003ca href=\"\/collections\/debussy-preludes-arranged-for-orchestra\"\u003e\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"\/collections\/debussy-preludes-arranged-for-orchestra\"\u003eDebussy Préludes arranged for orchestra\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"\/collections\/janacek-opera-suites-for-orchestra\"\u003eJanáček Opera Suites for Orchestra\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"\/collections\/tchaikovsky-opera-suites-for-orchestra\"\u003e\u003c\/a\u003e\u003cmeta charset=\"utf-8\"\u003e\u003ca href=\"\/collections\/mussorgsky-orchestral-suites-by-peter-breiner\"\u003eMussorgsky Orchestral Suites\u003c\/a\u003e\u003ca href=\"\/collections\/tchaikovsky-opera-suites-for-orchestra\"\u003e\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"\/collections\/tchaikovsky-opera-suites-for-orchestra\"\u003eTchaikovsky Opera Suites for Orchestra\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003eView our \u003ca href=\"\/pages\/peter-breiner-biography\"\u003ebiography of Peter Breiner\u003c\/a\u003e.\u003c\/p\u003e","products":[{"product_id":"isaac-albeniz-peter-breiner-iberia-book-i","title":"Isaac Albéniz: Iberia (Book I) – arranged by Peter Breiner (PB001)","description":"\u003cp\u003eSheet music edition of the full score. Choose your format from the selection above.\u003cbr\u003e\u003cbr\u003ePerformance material available for hire. \u003c\/p\u003e\n\u003cp\u003e53 pages\u003cbr\u003e Duration: 18m\u003cbr\u003e Instrumentation: Book 1, No.1: Evocación – 2+1, 2+1,3d1, 2 - 4, 4, 0, 1 - timp - perc - hp - cel- str\u003cbr\u003e Book 1, No.2: \u003cspan\u003eEl Puerto\u003c\/span\u003e – 2+1, 2+1, 3d1, 2 - 4, 4, 4, 1 - timp - perc - hp - cel - str\u003cbr\u003e Book 1, No.3: El Corpus en Sevilla – 2+1, 2+1, 3d1, 2 - 4, 4, 4, 1 - timp - perc- hp - cel - str\u003c\/p\u003e\n\u003cp\u003eThe first book of the piano suite Iberia ,12 Nouvelles impressions en quatre cahiers (Twelve New Impressions in Four Books) was published in 1905 and dedicated to the widow of his friend, the composer Ernest Chausson, whose death in 1899 in a bicycle accident he had found particularly distressing. The first piece, Evocacion, is gently evocative, identifiably Spanish yet recognizably in the spirit of French music of the period. Marked Allegretto espressivo, its first theme is set over a syncopated accompaniment and leads to a secondary theme of clearer Spanish connotation. El Puerto takes its name from El Puerto de Santa Maria, a fishing-port near Câdiz. It is represented by a characteristic Spanish dance, with allusions to the technique of the guitar. The first book ends with Fête-Dieu à Séville, generally given in later editions as El Calpus en Sevilla, inspired by the Corpus Christi celebrations in Seville. The procession is heard approaching, with its band and the cries of its penitents, before it passes, leaving the street deserted, to the sound of distant church bells.\u003c\/p\u003e\n\u003chr\u003e\u003cp\u003eAudio Sample\u003c\/p\u003e\u003ciframe frameborder=\"0\" style=\"overflow:hidden\" scrolling=\"no\" width=\"100%\" height=\"50\" src=\"https:\/\/artaria.naxosmusiclibrary.com\/embedded\/player\/work?s=7284800\"\u003e\u003c\/iframe\u003e","brand":"Naxos Publishing","offers":[{"title":"Printed score","offer_id":44532790001841,"sku":"PB001","price":58.0,"currency_code":"USD","in_stock":true},{"title":"PDF Download (Score)","offer_id":44532790034609,"sku":"PB001-PDF","price":47.0,"currency_code":"USD","in_stock":true},{"title":"Hire performance material","offer_id":15751413170265,"sku":"PB001-HIRE","price":58.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0033\/9273\/3273\/products\/PB001_Albeniz_Iberia1_FS_Page_01_0327719e-51c8-4e33-aa1d-09ca2ca9fd59.png?v=1539766168"},{"product_id":"isaac-albeniz-peter-breiner-iberia-book-ii","title":"Isaac Albéniz: Iberia (Book II) – arranged by Peter Breiner (PB002)","description":"\u003cp\u003eSheet music edition of the full score. Choose your format from the selection above.\u003cbr\u003e\u003cbr\u003ePerformance material available for hire. \u003c\/p\u003e\n\u003cp\u003e61 pages\u003cbr\u003e Duration: 20m\u003cbr\u003e Instrumentation: Book 2, No.1: Rodeña – 3d1, 3d1, 3d1, 2 - 4, 2, 0, 0 - timp - perc - hp - cel - str\u003cbr\u003e Book 2, No.2: Almería – 3d1, 3d1, 3d1, ssax, 2 - 4, 2, 0, 1 - timp - perc - hp - str\u003cbr\u003e Book 2, No.3: Triana – 3d1, 3d1, 3d1, 2 - 4, 2, 3, 1 - timp - perc - hp - cel - str\u003c\/p\u003e\n\u003cp\u003eAlbéniz completed the second book of Iberia in 1896 and dedicated it to the pianist Blanche Selva. Rondena suggests in its title the music of Ronda, a general allusion, it may be supposed, to that region of south-western Spain. Its characteristic alternating rhythms relax into a gentler secondary theme, both elements to return in recapitulation. Almería, evoking a town on the south-eastern coast of Spain, has a similar typical asymmetry of rhythm, with expressively worked cross-rhythms in its secondary theme. This is followed by Triana, suggesting the gypsy district of Seville and its flamenco traditions.\u003c\/p\u003e\n\u003chr\u003e\u003cp\u003eAudio Sample\u003c\/p\u003e\u003ciframe frameborder=\"0\" style=\"overflow:hidden\" scrolling=\"no\" width=\"100%\" height=\"50\" src=\"https:\/\/artaria.naxosmusiclibrary.com\/embedded\/player\/work?s=7284810\"\u003e\u003c\/iframe\u003e","brand":"Naxos Publishing","offers":[{"title":"Printed score","offer_id":44532789903537,"sku":"PB002","price":69.0,"currency_code":"USD","in_stock":true},{"title":"PDF Download (Score)","offer_id":44532789936305,"sku":"PB002-PDF","price":55.0,"currency_code":"USD","in_stock":true},{"title":"Hire performance material","offer_id":15751441842265,"sku":"PB002-HIRE","price":69.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0033\/9273\/3273\/products\/PB002_Albeniz_Iberia2_FS_Page_01_af7f2ce9-9571-44ad-9641-39924bffcedb.png?v=1539766144"},{"product_id":"isaac-albeniz-peter-breiner-iberia-book-iii","title":"Isaac Albéniz: Iberia (Book III) – arranged by Peter Breiner (PB003)","description":"\u003cp\u003eSheet music edition of the full score. Choose your format from the selection above.\u003c\/p\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003e\u003cspan\u003ePerformance material available for hire.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e59 pages\u003cbr\u003e Duration: 20m\u003cbr\u003e Instrumentation: Book 3, No.1: El Albaicín – 3d1, 2+1, 3d1, 2 - 4, 4, 4, 0 - timp - perc - hp - cel - str\u003cbr\u003e Book 3, No.2: El Polo – 3d1, 2+1, 3d1, 2 - 4, 4, 3, 1 - timp - perc- hp - cel - str\u003cbr\u003e Book 3, No.3: Lavapiés – 3d1, 2+1, 3d1, 2 - 4, 4, 3, 1 - timp - perc - hp - cel - str\u003c\/p\u003e\n\u003cp\u003eThe third book was completed towards the end of 1896 and dedicated to Marguerite Hasselmans, although two of the pieces were originally intended for the Catalan pianist Joaquim Malats, whose performances particularly pleased the composer. El Albaicín, the gypsy quarter of Oranada, is depicted in a movement marked Allegro assai, ma melancolico which brings its own dynamic climax. El Polo, described as a dance and song from Andalusia, is, in its title at least, an example of flamenco, here preserving a typical air of melancholy, suggested in the initial instruction sanglotant (sobbing). Lavapiés is a district of Madrid that takes its name from the ritual washing of the feet on Maundy Thursday. The piece has something of the habanera about it in its depiction of street life in a poorer quarter of the city.\u003c\/p\u003e\n\u003chr\u003e\u003cp\u003eAudio Sample\u003c\/p\u003e\u003ciframe frameborder=\"0\" style=\"overflow:hidden\" scrolling=\"no\" width=\"100%\" height=\"50\" src=\"https:\/\/artaria.naxosmusiclibrary.com\/embedded\/player\/work?s=7284811\"\u003e\u003c\/iframe\u003e","brand":"Naxos Publishing","offers":[{"title":"Printed score","offer_id":44532789805233,"sku":"PB003","price":58.0,"currency_code":"USD","in_stock":true},{"title":"PDF Download (Score)","offer_id":44532789838001,"sku":"PB003-PDF","price":47.0,"currency_code":"USD","in_stock":true},{"title":"Hire performance material","offer_id":15751464124505,"sku":"PB003-HIRE","price":58.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0033\/9273\/3273\/products\/PB003_Albeniz_Iberia3_FS_Page_01_675c5a04-856f-4dbe-9710-becc87dc9b8d.png?v=1539766120"},{"product_id":"isaac-albeniz-peter-breiner-iberia-book-iv","title":"Isaac Albéniz: Iberia (Book IV) – arranged by Peter Breiner (PB004)","description":"\u003cp\u003eSheet music edition of the full score. Choose your format from the selection above.\u003cbr\u003e\u003cbr\u003ePerformance material available for hire. \u003c\/p\u003e\n\u003cp\u003e61 pages\u003cbr\u003e Duration: 19m\u003cbr\u003e Instrumentation: Book 4, No.1: Málaga – 2+1, 2+1, asax, 2+1, 2 - 4, 4, 4, 0 - timp - perc - hp - cel - str\u003cbr\u003e Book 4, No.2: Jerez – 2+1, 2+1, asax, 2+1, 2 - 4, 4, 3, 1 - timp - perc- hp - cel - str\u003cbr\u003e Book 4, No.3: Eritaña – 2+1, 2+1, 2+1, 2 - 4, 4, 4, 0 - timp - perc - hp - cel - str\u003c\/p\u003e\n\u003cp\u003elberia ends with three pieces written in 1907 and 1908. The set was dedicated to Madame Pierre Lalo, daughter-in-law of the composer Edouard Lalo. Malaga inevitably recalls the malagueña and relaxes into a secondary theme, all to be developed and recapitulated, following the abridged version of sonata form used in so many of these movements. It is followed by Jerez , the last of the pieces to be written, in similar form, with a melancholy first theme, interrupted by suggestions of guitar chords. The last piece, Eritaña takes its name from the Venta Eritaña, an inn in Seville, where flamenco was often heard. It was not originally intended to end the suite, but to come second, to be followed by a projected L'Albuféra, depicting Valencia in a jota valenciana. This last was never written and Eritaña took its place, providing a relatively light-hearted ending to a suite which represents a summary and the culmination of the achievement of Albéniz in Spanish music.\u003c\/p\u003e\n\u003chr\u003e\u003cp\u003eAudio Sample\u003c\/p\u003e\u003ciframe frameborder=\"0\" style=\"overflow:hidden\" scrolling=\"no\" width=\"100%\" height=\"50\" src=\"https:\/\/artaria.naxosmusiclibrary.com\/embedded\/player\/work?s=7284812\"\u003e\u003c\/iframe\u003e","brand":"Naxos Publishing","offers":[{"title":"Printed score","offer_id":44532789739697,"sku":"PB004","price":69.0,"currency_code":"USD","in_stock":true},{"title":"PDF Download (Score)","offer_id":44532789772465,"sku":"PB004-PDF","price":55.0,"currency_code":"USD","in_stock":true},{"title":"Hire performance material","offer_id":15751498727513,"sku":"PB004-HIRE","price":69.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0033\/9273\/3273\/products\/PB004_Albeniz_Iberia4_FS_Page_01_817501f4-e848-4656-aa48-c2a143be80fe.png?v=1539766096"},{"product_id":"claude-debussy-peter-breiner-24-preludes-no-1-danseuses-de-delphes","title":"Claude Debussy: 24 Préludes, No. 1: Danseuses de Delphes – arranged by Peter Breiner (PB018)","description":"\u003cp\u003eSheet music edition. Choose your format from the selection above.\u003c\/p\u003e\n\u003cp\u003e3 pages\u003cbr\u003e\nInstrumentation: 3d1, 2 + 1, 3d1, 2 - 4, 2, 0, 1- timp - perc - cel - hp- str.\u003c\/p\u003e\n\n\u003cp\u003eAs a composer Debussy must be regarded as one of the most important and influential figures of the earlier twentieth century. His musical language suggested new paths to be further explored, while his poetic and sensitive use of the orchestra and of keyboard textures opened still more possibilities. His opera Pelléas et Mélisande and his songs demonstrated a deep understanding of poetic language, revealed by his music, expressed in terms that are never overstated or exaggerated.\u003c\/p\u003e\n\n\u003cp\u003eDebussy’s poetic sensibility and his delicate use of keyboard nuances, developed from Chopin, is shown clearly enough in the two books of Préludes, the first completed in 1910 and the second in 1913. For the present recording the Slovak-born composer Peter Breiner has orchestrated the pieces, revealing even more of the latent intricacies of the Préludes, hidden inner melodies made subtly evident in orchestral guise. The Préludes were originally published with titles given only at the end of each piece, suggesting that these were not absolutely essential to the performer. Danseuses de Delphes (Dancers of Delphi), a title that suggests the influence of Satie, was inspired by a caryatid seen at the Louvre. Marked Lent et grave, the mystery of Delphi is solemnly evoked in a series of chords that make clear the static nature of the dancers at the oracle. This is followed by Voiles (Sails), which carries the direction Dans un rythme sans rigueur et caressant, a characteristic depiction of a calm and distant seascape, although the title may also mean ‘Veils’. It makes typical use of Debussy’s original harmonic idiom and the whole-tone scale. The third Prélude, Le vent dans la plaine (The wind on the plain), offers a delicate tissue of sound, reaching a climax before finally dying away to a sustained final note. “Les sons et les parfums tournent dans l’air du soir” is suggested by Baudelaire’s poem Harmonie du soir (Evening Harmony):\u003c\/p\u003e\n\n\u003cp\u003eVoici venir les temps où vibrant sur sa tige Chaque fleur s’évapore ainsi qu’un encensoir;\u003cbr\u003e\nLes sons et les parfums tournent dans l’air du soir; Valse mélancolique et langoureux vertige!\u003cbr\u003e\n(Here comes the time when, quivering on its stem, every flower melts away to vapour like a censer; sounds and scents turn in the evening air;\u003cbr\u003e\nsad waltz and languorous dizziness!)\u003c\/p\u003e\n\n\u003cp\u003eThe poetic association with Baudelaire indicates something of the mood of the piece, with its the final suggestions of a distant horn-call. Les collines d’Anacapri (The hills of Anacapri) is allusive in its depiction, with inner melodies now further clarified, while Des pas sur la neige (Footprints on the snow) offers a cold, snow-covered landscape, suggested by the recurrent rhythmic figure, which, as the composer directs, should be the musical equivalent of a sad and frozen countryside, an image that, in language at least, must suggest Verlaine’s Dans le vieu parc, solitaire et glacé\/Deux formes ont tout à l’heure passé (In the old park, lonely and frozen, two forms have just passed), the last of the Fêtes galantes that Debussy had set on various earlier occasions.\u003c\/p\u003e\n\n\u003cp\u003eThe mood changes with the menacing and stormy Ce qu’a vu le vent d’ouest (What the west wind has seen), followed by the gently expressive portrait of La fille aux cheveux de lin (The girl with flaxen hair), one of the most familiar of the Préludes, variously transcribed. La sérénade interrompue (The interrupted serenade) opens with a passage suggesting the preparation of the guitar for playing, an introduction to what follows, with rapidly repeated notes evoking the same instrument and Spain, the country with which it is generally associated. La cathédrale engloutie (The submerged Cathedral) returns to medieval France, with harmonies and modal writing derived from early organum, a device used at the opening of Pelléas. The textures evoke through the sea-mist the mystery of the ancient cathedral of Ys, its chant and the sound of its bells, drowned now beneath the waves that have engulfed it long since, according to legend. A mood of a very different kind is embodied in La danse de Puck (Puck’s dance), capricious and light-footed, presumably inspired by the Robin Good- fellow of Shakespeare’s A Midsummer Night’s Dream rather than Kipling’s creation, although it seems that Debussy was also familiar with the latter. The First Book ends with Minstrels, inspired, it has been said, by a black street-band that Debussy had heard in Eastbourne in 1905.\u003c\/p\u003e\n\n\u003cp\u003eIt seems that Debussy was determined to complete two books of twelve Préludes each. Apparently he regarded these as of uneven quality, a judgement in which others have concurred, and was apparently not happy to have them played one after the other. Nevertheless the two books of Préludes do make two effective and coherent wholes, whatever the composer’s original intentions, with the heart of each book at its very centre. The Second Book opens with Brouillards (Mists), in which some have seen the counterpart of paintings by Whistler or even by Turner. Feuilles mortes (Dead leaves) is marked Lent et mélancolique (Slow and melancholy) and is autumnal in its colours. The atmosphere is at once lightened by La Puerta del Vino (The Wine Gate), a habanera suggested by a postcard from Manuel de Falla showing the Alhambra gateway of the title. Debussy’s wide terms of extra-musical association appear again in “Les fées sont d’exquises danseuses” (“The Fairies are exquisite dancers”), its title apparently quoted from J. M. Barrie’s Peter Pan in Kensington, a book given to Debussy’s daughter Emma-Claude, known as Chou-Chou, with illustrations by Arthur Rackham. It was an illustration that gave the Prélude its title and character. Bruyères (Heaths), calm and gently expressive, paints a gentle picture of the open country, while General Lavine – eccentric, offers a cake-walk, depicting the American clown Edward Lavine, who appeared at the Marigny Theatre in the Champs-Elysées in 1910 and 1912.\u003c\/p\u003e\n\n\u003cp\u003eLa terrasse des audiences du clair de lune (The terrace of the audiences of moonlight) adapts a newspaper account of the coronation of King George V as Emperor of India, en- dowing the words of the report with an air of oriental mystery. With Ondine, the mermaid whose love of a mortal, who betrays her, brings him disaster, is again inspired by an Arthur Rackham illustration to a translation of Friedrich de la Motte Fouqué’s fairy-story Undine. Hommage à S. Pickwick Esq. P. P. M. P. C. is a tribute to Samuel Pickwick, the subsequent letters presumably standing for Perpetual President Member of the Pickwick Club. The English national anthem is heard below, as the piece opens, although what follows suggests the intrusion of Sam Weller in livelier adventures. Canope, very calm and gently sad, with its title an allusion to ancient Egypt, makes subtle use of the resonances implicit in the overtone series. It is followed by Les tierces alternées (Alternating thirds), the only Prélude with a title that only indicates its musical substance, originally a study in rapid thirds, but here with figuration adapted for the orchestra. The Préludes, now an orchestral showpiece, end with Feux d’artifice (Fireworks), a display of fireworks, suggesting a celebration in some city park, which allows, before the end, the distant sound of a fragment of the Marseillaise to be heard.\u003c\/p\u003e\n\n\u003cp\u003eKeith Anderson\u003c\/p\u003e\n\u003chr\u003e\u003cp\u003eAudio Sample\u003c\/p\u003e\u003ciframe frameborder=\"0\" style=\"overflow:hidden\" scrolling=\"no\" width=\"100%\" height=\"50\" src=\"https:\/\/artaria.naxosmusiclibrary.com\/embedded\/player\/track?s=RM7090_001\"\u003e\u003c\/iframe\u003e","brand":"Naxos Publishing","offers":[{"title":"PDF Download (Score)","offer_id":44532789674161,"sku":"PB018-PDF","price":21.0,"currency_code":"USD","in_stock":true},{"title":"Hire performance material","offer_id":15751899545689,"sku":"PB018-HIRE","price":26.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0033\/9273\/3273\/products\/PB018_Debussy_Prelude_No.1_FS_Page_1_b982b5c3-0446-4810-9385-140fa9593864.png?v=1540374699"},{"product_id":"claude-debussy-peter-breiner-24-preludes-no-2-voiles","title":"Claude Debussy: 24 Préludes, No. 2: Voiles – arranged by Peter Breiner (PB019)","description":"\u003cp\u003eSheet music edition. Choose your format from the selection above.\u003c\/p\u003e\n\u003cp\u003e7 pages\u003cbr\u003e\nDuration: 4m\u003cbr\u003e\nInstrumentation: 2 +1, 2 + 1, 2, 2 – 4, 4, 0, 1 – timp - perc - cel - 2 hp - str\u003c\/p\u003e\n\n\u003cp\u003eAs a composer Debussy must be regarded as one of the most important and influential figures of the earlier twentieth century. His musical language suggested new paths to be further explored, while his poetic and sensitive use of the orchestra and of keyboard textures opened still more possibilities. His opera Pelléas et Mélisande and his songs demonstrated a deep understanding of poetic language, revealed by his music, expressed in terms that are never overstated or exaggerated.\u003c\/p\u003e\n\n\u003cp\u003eDebussy’s poetic sensibility and his delicate use of keyboard nuances, developed from Chopin, is shown clearly enough in the two books of Préludes, the first completed in 1910 and the second in 1913. For the present recording the Slovak-born composer Peter Breiner has orchestrated the pieces, revealing even more of the latent intricacies of the Préludes, hidden inner melodies made subtly evident in orchestral guise. The Préludes were originally published with titles given only at the end of each piece, suggesting that these were not absolutely essential to the performer. Danseuses de Delphes (Dancers of Delphi), a title that suggests the influence of Satie, was inspired by a caryatid seen at the Louvre. Marked Lent et grave, the mystery of Delphi is solemnly evoked in a series of chords that make clear the static nature of the dancers at the oracle. This is followed by Voiles (Sails), which carries the direction Dans un rythme sans rigueur et caressant, a characteristic depiction of a calm and distant seascape, although the title may also mean ‘Veils’. It makes typical use of Debussy’s original harmonic idiom and the whole-tone scale. The third Prélude, Le vent dans la plaine (The wind on the plain), offers a delicate tissue of sound, reaching a climax before finally dying away to a sustained final note. “Les sons et les parfums tournent dans l’air du soir” is suggested by Baudelaire’s poem Harmonie du soir (Evening Harmony):\u003c\/p\u003e\n\n\u003cp\u003eVoici venir les temps où vibrant sur sa tige Chaque fleur s’évapore ainsi qu’un encensoir;\u003cbr\u003e\nLes sons et les parfums tournent dans l’air du soir; Valse mélancolique et langoureux vertige!\u003cbr\u003e\n(Here comes the time when, quivering on its stem, every flower melts away to vapour like a censer; sounds and scents turn in the evening air;\u003cbr\u003e\nsad waltz and languorous dizziness!)\u003c\/p\u003e\n\n\u003cp\u003eThe poetic association with Baudelaire indicates something of the mood of the piece, with its the final suggestions of a distant horn-call. Les collines d’Anacapri (The hills of Anacapri) is allusive in its depiction, with inner melodies now further clarified, while Des pas sur la neige (Footprints on the snow) offers a cold, snow-covered landscape, suggested by the recurrent rhythmic figure, which, as the composer directs, should be the musical equivalent of a sad and frozen countryside, an image that, in language at least, must suggest Verlaine’s Dans le vieu parc, solitaire et glacé\/Deux formes ont tout à l’heure passé (In the old park, lonely and frozen, two forms have just passed), the last of the Fêtes galantes that Debussy had set on various earlier occasions.\u003c\/p\u003e\n\n\u003cp\u003eThe mood changes with the menacing and stormy Ce qu’a vu le vent d’ouest (What the west wind has seen), followed by the gently expressive portrait of La fille aux cheveux de lin (The girl with flaxen hair), one of the most familiar of the Préludes, variously transcribed. La sérénade interrompue (The interrupted serenade) opens with a passage suggesting the preparation of the guitar for playing, an introduction to what follows, with rapidly repeated notes evoking the same instrument and Spain, the country with which it is generally associated. La cathédrale engloutie (The submerged Cathedral) returns to medieval France, with harmonies and modal writing derived from early organum, a device used at the opening of Pelléas. The textures evoke through the sea-mist the mystery of the ancient cathedral of Ys, its chant and the sound of its bells, drowned now beneath the waves that have engulfed it long since, according to legend. A mood of a very different kind is embodied in La danse de Puck (Puck’s dance), capricious and light-footed, presumably inspired by the Robin Good- fellow of Shakespeare’s A Midsummer Night’s Dream rather than Kipling’s creation, although it seems that Debussy was also familiar with the latter. The First Book ends with Minstrels, inspired, it has been said, by a black street-band that Debussy had heard in Eastbourne in 1905.\u003c\/p\u003e\n\n\u003cp\u003eIt seems that Debussy was determined to complete two books of twelve Préludes each. Apparently he regarded these as of uneven quality, a judgement in which others have concurred, and was apparently not happy to have them played one after the other. Nevertheless the two books of Préludes do make two effective and coherent wholes, whatever the composer’s original intentions, with the heart of each book at its very centre. The Second Book opens with Brouillards (Mists), in which some have seen the counterpart of paintings by Whistler or even by Turner. Feuilles mortes (Dead leaves) is marked Lent et mélancolique (Slow and melancholy) and is autumnal in its colours. The atmosphere is at once lightened by La Puerta del Vino (The Wine Gate), a habanera suggested by a postcard from Manuel de Falla showing the Alhambra gateway of the title. Debussy’s wide terms of extra-musical association appear again in “Les fées sont d’exquises danseuses” (“The Fairies are exquisite dancers”), its title apparently quoted from J. M. Barrie’s Peter Pan in Kensington, a book given to Debussy’s daughter Emma-Claude, known as Chou-Chou, with illustrations by Arthur Rackham. It was an illustration that gave the Prélude its title and character. Bruyères (Heaths), calm and gently expressive, paints a gentle picture of the open country, while General Lavine – eccentric, offers a cake-walk, depicting the American clown Edward Lavine, who appeared at the Marigny Theatre in the Champs-Elysées in 1910 and 1912.\u003c\/p\u003e\n\n\u003cp\u003eLa terrasse des audiences du clair de lune (The terrace of the audiences of moonlight) adapts a newspaper account of the coronation of King George V as Emperor of India, en- dowing the words of the report with an air of oriental mystery. With Ondine, the mermaid whose love of a mortal, who betrays her, brings him disaster, is again inspired by an Arthur Rackham illustration to a translation of Friedrich de la Motte Fouqué’s fairy-story Undine. Hommage à S. Pickwick Esq. P. P. M. P. C. is a tribute to Samuel Pickwick, the subsequent letters presumably standing for Perpetual President Member of the Pickwick Club. The English national anthem is heard below, as the piece opens, although what follows suggests the intrusion of Sam Weller in livelier adventures. Canope, very calm and gently sad, with its title an allusion to ancient Egypt, makes subtle use of the resonances implicit in the overtone series. It is followed by Les tierces alternées (Alternating thirds), the only Prélude with a title that only indicates its musical substance, originally a study in rapid thirds, but here with figuration adapted for the orchestra. The Préludes, now an orchestral showpiece, end with Feux d’artifice (Fireworks), a display of fireworks, suggesting a celebration in some city park, which allows, before the end, the distant sound of a fragment of the Marseillaise to be heard.\u003c\/p\u003e\n\n\u003cp\u003eKeith Anderson\u003c\/p\u003e\n\u003chr\u003e\u003cp\u003eAudio Sample\u003c\/p\u003e\u003ciframe frameborder=\"0\" style=\"overflow:hidden\" scrolling=\"no\" width=\"100%\" height=\"50\" src=\"https:\/\/artaria.naxosmusiclibrary.com\/embedded\/player\/track?s=RM7090_002\"\u003e\u003c\/iframe\u003e","brand":"Naxos Publishing","offers":[{"title":"PDF Download (Score)","offer_id":44532789641393,"sku":"PB019-PDF","price":21.0,"currency_code":"USD","in_stock":true},{"title":"Hire performance material","offer_id":15751929757785,"sku":"PB019-HIRE","price":26.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0033\/9273\/3273\/products\/PB019_Debussy_Prelude_No.2_FS_Page_1_7eaad352-002a-4b0b-b1e1-701e9caf0b1b.png?v=1539765785"},{"product_id":"claude-debussy-peter-breiner-24-preludes-no-3-le-vent-dans-le-plaine","title":"Claude Debussy: 24 Préludes, No. 3: Le vent dans le plaine – arranged by Peter Breiner (PB020)","description":"\u003cp\u003eSheet music edition. Choose your format from the selection above.\u003c\/p\u003e\n\u003cp\u003e14 pages\u003cbr\u003e\nDuration: 2m\u003cbr\u003e\nInstrumentation: 2+1, 2+1, 2 +1, 2+1 – 4,2,3,1  - cel - 2hp - str.\u003c\/p\u003e\n\n\u003cp\u003eAs a composer Debussy must be regarded as one of the most important and influential figures of the earlier twentieth century. His musical language suggested new paths to be further explored, while his poetic and sensitive use of the orchestra and of keyboard textures opened still more possibilities. His opera Pelléas et Mélisande and his songs demonstrated a deep understanding of poetic language, revealed by his music, expressed in terms that are never overstated or exaggerated.\u003c\/p\u003e\n\n\u003cp\u003eDebussy’s poetic sensibility and his delicate use of keyboard nuances, developed from Chopin, is shown clearly enough in the two books of Préludes, the first completed in 1910 and the second in 1913. For the present recording the Slovak-born composer Peter Breiner has orchestrated the pieces, revealing even more of the latent intricacies of the Préludes, hidden inner melodies made subtly evident in orchestral guise. The Préludes were originally published with titles given only at the end of each piece, suggesting that these were not absolutely essential to the performer. Danseuses de Delphes (Dancers of Delphi), a title that suggests the influence of Satie, was inspired by a caryatid seen at the Louvre. Marked Lent et grave, the mystery of Delphi is solemnly evoked in a series of chords that make clear the static nature of the dancers at the oracle. This is followed by Voiles (Sails), which carries the direction Dans un rythme sans rigueur et caressant, a characteristic depiction of a calm and distant seascape, although the title may also mean ‘Veils’. It makes typical use of Debussy’s original harmonic idiom and the whole-tone scale. The third Prélude, Le vent dans la plaine (The wind on the plain), offers a delicate tissue of sound, reaching a climax before finally dying away to a sustained final note. “Les sons et les parfums tournent dans l’air du soir” is suggested by Baudelaire’s poem Harmonie du soir (Evening Harmony):\u003c\/p\u003e\n\n\u003cp\u003eVoici venir les temps où vibrant sur sa tige Chaque fleur s’évapore ainsi qu’un encensoir;\u003cbr\u003e\nLes sons et les parfums tournent dans l’air du soir; Valse mélancolique et langoureux vertige!\u003cbr\u003e\n(Here comes the time when, quivering on its stem, every flower melts away to vapour like a censer; sounds and scents turn in the evening air;\u003cbr\u003e\nsad waltz and languorous dizziness!)\u003c\/p\u003e\n\n\u003cp\u003eThe poetic association with Baudelaire indicates something of the mood of the piece, with its the final suggestions of a distant horn-call. Les collines d’Anacapri (The hills of Anacapri) is allusive in its depiction, with inner melodies now further clarified, while Des pas sur la neige (Footprints on the snow) offers a cold, snow-covered landscape, suggested by the recurrent rhythmic figure, which, as the composer directs, should be the musical equivalent of a sad and frozen countryside, an image that, in language at least, must suggest Verlaine’s Dans le vieu parc, solitaire et glacé\/Deux formes ont tout à l’heure passé (In the old park, lonely and frozen, two forms have just passed), the last of the Fêtes galantes that Debussy had set on various earlier occasions.\u003c\/p\u003e\n\n\u003cp\u003eThe mood changes with the menacing and stormy Ce qu’a vu le vent d’ouest (What the west wind has seen), followed by the gently expressive portrait of La fille aux cheveux de lin (The girl with flaxen hair), one of the most familiar of the Préludes, variously transcribed. La sérénade interrompue (The interrupted serenade) opens with a passage suggesting the preparation of the guitar for playing, an introduction to what follows, with rapidly repeated notes evoking the same instrument and Spain, the country with which it is generally associated. La cathédrale engloutie (The submerged Cathedral) returns to medieval France, with harmonies and modal writing derived from early organum, a device used at the opening of Pelléas. The textures evoke through the sea-mist the mystery of the ancient cathedral of Ys, its chant and the sound of its bells, drowned now beneath the waves that have engulfed it long since, according to legend. A mood of a very different kind is embodied in La danse de Puck (Puck’s dance), capricious and light-footed, presumably inspired by the Robin Good- fellow of Shakespeare’s A Midsummer Night’s Dream rather than Kipling’s creation, although it seems that Debussy was also familiar with the latter. The First Book ends with Minstrels, inspired, it has been said, by a black street-band that Debussy had heard in Eastbourne in 1905.\u003c\/p\u003e\n\n\u003cp\u003eIt seems that Debussy was determined to complete two books of twelve Préludes each. Apparently he regarded these as of uneven quality, a judgement in which others have concurred, and was apparently not happy to have them played one after the other. Nevertheless the two books of Préludes do make two effective and coherent wholes, whatever the composer’s original intentions, with the heart of each book at its very centre. The Second Book opens with Brouillards (Mists), in which some have seen the counterpart of paintings by Whistler or even by Turner. Feuilles mortes (Dead leaves) is marked Lent et mélancolique (Slow and melancholy) and is autumnal in its colours. The atmosphere is at once lightened by La Puerta del Vino (The Wine Gate), a habanera suggested by a postcard from Manuel de Falla showing the Alhambra gateway of the title. Debussy’s wide terms of extra-musical association appear again in “Les fées sont d’exquises danseuses” (“The Fairies are exquisite dancers”), its title apparently quoted from J. M. Barrie’s Peter Pan in Kensington, a book given to Debussy’s daughter Emma-Claude, known as Chou-Chou, with illustrations by Arthur Rackham. It was an illustration that gave the Prélude its title and character. Bruyères (Heaths), calm and gently expressive, paints a gentle picture of the open country, while General Lavine – eccentric, offers a cake-walk, depicting the American clown Edward Lavine, who appeared at the Marigny Theatre in the Champs-Elysées in 1910 and 1912.\u003c\/p\u003e\n\n\u003cp\u003eLa terrasse des audiences du clair de lune (The terrace of the audiences of moonlight) adapts a newspaper account of the coronation of King George V as Emperor of India, en- dowing the words of the report with an air of oriental mystery. With Ondine, the mermaid whose love of a mortal, who betrays her, brings him disaster, is again inspired by an Arthur Rackham illustration to a translation of Friedrich de la Motte Fouqué’s fairy-story Undine. Hommage à S. Pickwick Esq. P. P. M. P. C. is a tribute to Samuel Pickwick, the subsequent letters presumably standing for Perpetual President Member of the Pickwick Club. The English national anthem is heard below, as the piece opens, although what follows suggests the intrusion of Sam Weller in livelier adventures. Canope, very calm and gently sad, with its title an allusion to ancient Egypt, makes subtle use of the resonances implicit in the overtone series. It is followed by Les tierces alternées (Alternating thirds), the only Prélude with a title that only indicates its musical substance, originally a study in rapid thirds, but here with figuration adapted for the orchestra. The Préludes, now an orchestral showpiece, end with Feux d’artifice (Fireworks), a display of fireworks, suggesting a celebration in some city park, which allows, before the end, the distant sound of a fragment of the Marseillaise to be heard.\u003c\/p\u003e\n\n\u003cp\u003eKeith Anderson\u003c\/p\u003e\n\u003chr\u003e\u003cp\u003eAudio Sample\u003c\/p\u003e\u003ciframe frameborder=\"0\" style=\"overflow:hidden\" scrolling=\"no\" width=\"100%\" height=\"50\" src=\"https:\/\/artaria.naxosmusiclibrary.com\/embedded\/player\/track?s=RM7090_003\"\u003e\u003c\/iframe\u003e","brand":"Naxos Publishing","offers":[{"title":"PDF Download (Score)","offer_id":44532789575857,"sku":"PB020-PDF","price":21.0,"currency_code":"USD","in_stock":true},{"title":"Hire performance material","offer_id":15751960789081,"sku":"PB020-HIRE","price":26.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0033\/9273\/3273\/products\/PB020_Debussy_Prelude_No.3_FS_Page_01_1c91dce6-1082-4ea5-aa4c-588df4d976e6.png?v=1539765762"},{"product_id":"claude-debussy-peter-breiner-24-preludes-no-4-les-sons-et-parfums-tournent-dans-l-air-du-soir","title":"Claude Debussy: 24 Préludes, No. 4: Les sons et parfums tournent dans l’air du soir – arranged by Peter Breiner (PB021)","description":"\u003cp\u003eSheet music edition. Choose your format from the selection above.\u003c\/p\u003e\n\u003cp\u003e7 pages\u003cbr\u003e\nDuration: 3m\u003cbr\u003e\nInstrumentation: 2+1, 2+1, 2+1, 2 – 4,4,0,0 – timp - perc - cel - hp - str.\u003c\/p\u003e\n\n\u003cp\u003eAs a composer Debussy must be regarded as one of the most important and influential figures of the earlier twentieth century. His musical language suggested new paths to be further explored, while his poetic and sensitive use of the orchestra and of keyboard textures opened still more possibilities. His opera Pelléas et Mélisande and his songs demonstrated a deep understanding of poetic language, revealed by his music, expressed in terms that are never overstated or exaggerated.\u003c\/p\u003e\n\n\u003cp\u003eDebussy’s poetic sensibility and his delicate use of keyboard nuances, developed from Chopin, is shown clearly enough in the two books of Préludes, the first completed in 1910 and the second in 1913. For the present recording the Slovak-born composer Peter Breiner has orchestrated the pieces, revealing even more of the latent intricacies of the Préludes, hidden inner melodies made subtly evident in orchestral guise. The Préludes were originally published with titles given only at the end of each piece, suggesting that these were not absolutely essential to the performer. Danseuses de Delphes (Dancers of Delphi), a title that suggests the influence of Satie, was inspired by a caryatid seen at the Louvre. Marked Lent et grave, the mystery of Delphi is solemnly evoked in a series of chords that make clear the static nature of the dancers at the oracle. This is followed by Voiles (Sails), which carries the direction Dans un rythme sans rigueur et caressant, a characteristic depiction of a calm and distant seascape, although the title may also mean ‘Veils’. It makes typical use of Debussy’s original harmonic idiom and the whole-tone scale. The third Prélude, Le vent dans la plaine (The wind on the plain), offers a delicate tissue of sound, reaching a climax before finally dying away to a sustained final note. “Les sons et les parfums tournent dans l’air du soir” is suggested by Baudelaire’s poem Harmonie du soir (Evening Harmony):\u003c\/p\u003e\n\n\u003cp\u003eVoici venir les temps où vibrant sur sa tige Chaque fleur s’évapore ainsi qu’un encensoir;\u003cbr\u003e\nLes sons et les parfums tournent dans l’air du soir; Valse mélancolique et langoureux vertige!\u003cbr\u003e\n(Here comes the time when, quivering on its stem, every flower melts away to vapour like a censer; sounds and scents turn in the evening air;\u003cbr\u003e\nsad waltz and languorous dizziness!)\u003c\/p\u003e\n\n\u003cp\u003eThe poetic association with Baudelaire indicates something of the mood of the piece, with its the final suggestions of a distant horn-call. Les collines d’Anacapri (The hills of Anacapri) is allusive in its depiction, with inner melodies now further clarified, while Des pas sur la neige (Footprints on the snow) offers a cold, snow-covered landscape, suggested by the recurrent rhythmic figure, which, as the composer directs, should be the musical equivalent of a sad and frozen countryside, an image that, in language at least, must suggest Verlaine’s Dans le vieu parc, solitaire et glacé\/Deux formes ont tout à l’heure passé (In the old park, lonely and frozen, two forms have just passed), the last of the Fêtes galantes that Debussy had set on various earlier occasions.\u003c\/p\u003e\n\n\u003cp\u003eThe mood changes with the menacing and stormy Ce qu’a vu le vent d’ouest (What the west wind has seen), followed by the gently expressive portrait of La fille aux cheveux de lin (The girl with flaxen hair), one of the most familiar of the Préludes, variously transcribed. La sérénade interrompue (The interrupted serenade) opens with a passage suggesting the preparation of the guitar for playing, an introduction to what follows, with rapidly repeated notes evoking the same instrument and Spain, the country with which it is generally associated. La cathédrale engloutie (The submerged Cathedral) returns to medieval France, with harmonies and modal writing derived from early organum, a device used at the opening of Pelléas. The textures evoke through the sea-mist the mystery of the ancient cathedral of Ys, its chant and the sound of its bells, drowned now beneath the waves that have engulfed it long since, according to legend. A mood of a very different kind is embodied in La danse de Puck (Puck’s dance), capricious and light-footed, presumably inspired by the Robin Good- fellow of Shakespeare’s A Midsummer Night’s Dream rather than Kipling’s creation, although it seems that Debussy was also familiar with the latter. The First Book ends with Minstrels, inspired, it has been said, by a black street-band that Debussy had heard in Eastbourne in 1905.\u003c\/p\u003e\n\n\u003cp\u003eIt seems that Debussy was determined to complete two books of twelve Préludes each. Apparently he regarded these as of uneven quality, a judgement in which others have concurred, and was apparently not happy to have them played one after the other. Nevertheless the two books of Préludes do make two effective and coherent wholes, whatever the composer’s original intentions, with the heart of each book at its very centre. The Second Book opens with Brouillards (Mists), in which some have seen the counterpart of paintings by Whistler or even by Turner. Feuilles mortes (Dead leaves) is marked Lent et mélancolique (Slow and melancholy) and is autumnal in its colours. The atmosphere is at once lightened by La Puerta del Vino (The Wine Gate), a habanera suggested by a postcard from Manuel de Falla showing the Alhambra gateway of the title. Debussy’s wide terms of extra-musical association appear again in “Les fées sont d’exquises danseuses” (“The Fairies are exquisite dancers”), its title apparently quoted from J. M. Barrie’s Peter Pan in Kensington, a book given to Debussy’s daughter Emma-Claude, known as Chou-Chou, with illustrations by Arthur Rackham. It was an illustration that gave the Prélude its title and character. Bruyères (Heaths), calm and gently expressive, paints a gentle picture of the open country, while General Lavine – eccentric, offers a cake-walk, depicting the American clown Edward Lavine, who appeared at the Marigny Theatre in the Champs-Elysées in 1910 and 1912.\u003c\/p\u003e\n\n\u003cp\u003eLa terrasse des audiences du clair de lune (The terrace of the audiences of moonlight) adapts a newspaper account of the coronation of King George V as Emperor of India, en- dowing the words of the report with an air of oriental mystery. With Ondine, the mermaid whose love of a mortal, who betrays her, brings him disaster, is again inspired by an Arthur Rackham illustration to a translation of Friedrich de la Motte Fouqué’s fairy-story Undine. Hommage à S. Pickwick Esq. P. P. M. P. C. is a tribute to Samuel Pickwick, the subsequent letters presumably standing for Perpetual President Member of the Pickwick Club. The English national anthem is heard below, as the piece opens, although what follows suggests the intrusion of Sam Weller in livelier adventures. Canope, very calm and gently sad, with its title an allusion to ancient Egypt, makes subtle use of the resonances implicit in the overtone series. It is followed by Les tierces alternées (Alternating thirds), the only Prélude with a title that only indicates its musical substance, originally a study in rapid thirds, but here with figuration adapted for the orchestra. The Préludes, now an orchestral showpiece, end with Feux d’artifice (Fireworks), a display of fireworks, suggesting a celebration in some city park, which allows, before the end, the distant sound of a fragment of the Marseillaise to be heard.\u003c\/p\u003e\n\n\u003cp\u003eKeith Anderson\u003c\/p\u003e\n\u003chr\u003e\u003cp\u003eAudio Sample\u003c\/p\u003e\u003ciframe frameborder=\"0\" style=\"overflow:hidden\" scrolling=\"no\" width=\"100%\" height=\"50\" src=\"https:\/\/artaria.naxosmusiclibrary.com\/embedded\/player\/track?s=RM7090_004\"\u003e\u003c\/iframe\u003e","brand":"Naxos Publishing","offers":[{"title":"PDF Download (Score)","offer_id":44532789051569,"sku":"PB021-PDF","price":21.0,"currency_code":"USD","in_stock":true},{"title":"Hire performance material","offer_id":15751990083673,"sku":"PB021-HIRE","price":26.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0033\/9273\/3273\/products\/PB021_Debussy_Prelude_No.4_FS_Page_1_a20e273e-98f0-4a71-88ec-4640302f581a.png?v=1539765742"},{"product_id":"claude-debussy-peter-breiner-24-preludes-no-5-les-collines-d-anacapri","title":"Claude Debussy: 24 Préludes, No. 5: Les collines d’Anacapri – arranged by Peter Breiner (PB022)","description":"\u003cp\u003eSheet music edition. Choose your format from the selection above.\u003c\/p\u003e\n\u003cp\u003e9 pages\u003cbr\u003e\nDuration: 3:30m\u003cbr\u003e\nInstrumentation: 2+1, 2+1, 2+1, 2 – 4, 2, 0, 1 – perc - cel - str.\u003c\/p\u003e\n\n\u003cp\u003eAs a composer Debussy must be regarded as one of the most important and influential figures of the earlier twentieth century. His musical language suggested new paths to be further explored, while his poetic and sensitive use of the orchestra and of keyboard textures opened still more possibilities. His opera Pelléas et Mélisande and his songs demonstrated a deep understanding of poetic language, revealed by his music, expressed in terms that are never overstated or exaggerated.\u003c\/p\u003e\n\n\u003cp\u003eDebussy’s poetic sensibility and his delicate use of keyboard nuances, developed from Chopin, is shown clearly enough in the two books of Préludes, the first completed in 1910 and the second in 1913. For the present recording the Slovak-born composer Peter Breiner has orchestrated the pieces, revealing even more of the latent intricacies of the Préludes, hidden inner melodies made subtly evident in orchestral guise. The Préludes were originally published with titles given only at the end of each piece, suggesting that these were not absolutely essential to the performer. Danseuses de Delphes (Dancers of Delphi), a title that suggests the influence of Satie, was inspired by a caryatid seen at the Louvre. Marked Lent et grave, the mystery of Delphi is solemnly evoked in a series of chords that make clear the static nature of the dancers at the oracle. This is followed by Voiles (Sails), which carries the direction Dans un rythme sans rigueur et caressant, a characteristic depiction of a calm and distant seascape, although the title may also mean ‘Veils’. It makes typical use of Debussy’s original harmonic idiom and the whole-tone scale. The third Prélude, Le vent dans la plaine (The wind on the plain), offers a delicate tissue of sound, reaching a climax before finally dying away to a sustained final note. “Les sons et les parfums tournent dans l’air du soir” is suggested by Baudelaire’s poem Harmonie du soir (Evening Harmony):\u003c\/p\u003e\n\n\u003cp\u003eVoici venir les temps où vibrant sur sa tige Chaque fleur s’évapore ainsi qu’un encensoir;\u003cbr\u003e\nLes sons et les parfums tournent dans l’air du soir; Valse mélancolique et langoureux vertige!\u003cbr\u003e\n(Here comes the time when, quivering on its stem, every flower melts away to vapour like a censer; sounds and scents turn in the evening air;\u003cbr\u003e\nsad waltz and languorous dizziness!)\u003c\/p\u003e\n\n\u003cp\u003eThe poetic association with Baudelaire indicates something of the mood of the piece, with its the final suggestions of a distant horn-call. Les collines d’Anacapri (The hills of Anacapri) is allusive in its depiction, with inner melodies now further clarified, while Des pas sur la neige (Footprints on the snow) offers a cold, snow-covered landscape, suggested by the recurrent rhythmic figure, which, as the composer directs, should be the musical equivalent of a sad and frozen countryside, an image that, in language at least, must suggest Verlaine’s Dans le vieu parc, solitaire et glacé\/Deux formes ont tout à l’heure passé (In the old park, lonely and frozen, two forms have just passed), the last of the Fêtes galantes that Debussy had set on various earlier occasions.\u003c\/p\u003e\n\n\u003cp\u003eThe mood changes with the menacing and stormy Ce qu’a vu le vent d’ouest (What the west wind has seen), followed by the gently expressive portrait of La fille aux cheveux de lin (The girl with flaxen hair), one of the most familiar of the Préludes, variously transcribed. La sérénade interrompue (The interrupted serenade) opens with a passage suggesting the preparation of the guitar for playing, an introduction to what follows, with rapidly repeated notes evoking the same instrument and Spain, the country with which it is generally associated. La cathédrale engloutie (The submerged Cathedral) returns to medieval France, with harmonies and modal writing derived from early organum, a device used at the opening of Pelléas. The textures evoke through the sea-mist the mystery of the ancient cathedral of Ys, its chant and the sound of its bells, drowned now beneath the waves that have engulfed it long since, according to legend. A mood of a very different kind is embodied in La danse de Puck (Puck’s dance), capricious and light-footed, presumably inspired by the Robin Good- fellow of Shakespeare’s A Midsummer Night’s Dream rather than Kipling’s creation, although it seems that Debussy was also familiar with the latter. The First Book ends with Minstrels, inspired, it has been said, by a black street-band that Debussy had heard in Eastbourne in 1905.\u003c\/p\u003e\n\n\u003cp\u003eIt seems that Debussy was determined to complete two books of twelve Préludes each. Apparently he regarded these as of uneven quality, a judgement in which others have concurred, and was apparently not happy to have them played one after the other. Nevertheless the two books of Préludes do make two effective and coherent wholes, whatever the composer’s original intentions, with the heart of each book at its very centre. The Second Book opens with Brouillards (Mists), in which some have seen the counterpart of paintings by Whistler or even by Turner. Feuilles mortes (Dead leaves) is marked Lent et mélancolique (Slow and melancholy) and is autumnal in its colours. The atmosphere is at once lightened by La Puerta del Vino (The Wine Gate), a habanera suggested by a postcard from Manuel de Falla showing the Alhambra gateway of the title. Debussy’s wide terms of extra-musical association appear again in “Les fées sont d’exquises danseuses” (“The Fairies are exquisite dancers”), its title apparently quoted from J. M. Barrie’s Peter Pan in Kensington, a book given to Debussy’s daughter Emma-Claude, known as Chou-Chou, with illustrations by Arthur Rackham. It was an illustration that gave the Prélude its title and character. Bruyères (Heaths), calm and gently expressive, paints a gentle picture of the open country, while General Lavine – eccentric, offers a cake-walk, depicting the American clown Edward Lavine, who appeared at the Marigny Theatre in the Champs-Elysées in 1910 and 1912.\u003c\/p\u003e\n\n\u003cp\u003eLa terrasse des audiences du clair de lune (The terrace of the audiences of moonlight) adapts a newspaper account of the coronation of King George V as Emperor of India, en- dowing the words of the report with an air of oriental mystery. With Ondine, the mermaid whose love of a mortal, who betrays her, brings him disaster, is again inspired by an Arthur Rackham illustration to a translation of Friedrich de la Motte Fouqué’s fairy-story Undine. Hommage à S. Pickwick Esq. P. P. M. P. C. is a tribute to Samuel Pickwick, the subsequent letters presumably standing for Perpetual President Member of the Pickwick Club. The English national anthem is heard below, as the piece opens, although what follows suggests the intrusion of Sam Weller in livelier adventures. Canope, very calm and gently sad, with its title an allusion to ancient Egypt, makes subtle use of the resonances implicit in the overtone series. It is followed by Les tierces alternées (Alternating thirds), the only Prélude with a title that only indicates its musical substance, originally a study in rapid thirds, but here with figuration adapted for the orchestra. The Préludes, now an orchestral showpiece, end with Feux d’artifice (Fireworks), a display of fireworks, suggesting a celebration in some city park, which allows, before the end, the distant sound of a fragment of the Marseillaise to be heard.\u003c\/p\u003e\n\n\u003cp\u003eKeith Anderson\u003c\/p\u003e\n\u003chr\u003e\u003cp\u003eAudio Sample\u003c\/p\u003e\u003ciframe frameborder=\"0\" style=\"overflow:hidden\" scrolling=\"no\" width=\"100%\" height=\"50\" src=\"https:\/\/artaria.naxosmusiclibrary.com\/embedded\/player\/track?s=RM7090_005\"\u003e\u003c\/iframe\u003e","brand":"Naxos Publishing","offers":[{"title":"PDF Download (Score)","offer_id":44532788887729,"sku":"PB022-PDF","price":21.0,"currency_code":"USD","in_stock":true},{"title":"Hire performance material","offer_id":15752019443801,"sku":"PB022-HIRE","price":26.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0033\/9273\/3273\/products\/PB022_Debussy_Prelude_No.5_FS_Page_1_bad29120-bf49-4809-8f82-39fc9b5225d1.png?v=1539765720"},{"product_id":"claude-debussy-peter-breiner-24-preludes-no-6-des-pas-sur-la-neige","title":"Claude Debussy: 24 Préludes, No. 6: Des pas sur la neige – arranged by Peter Breiner (PB023)","description":"\u003cp\u003eSheet music edition. Choose your format from the selection above.\u003c\/p\u003e\n\u003cp\u003e4 pages\u003cbr\u003e\nDuration: 3:30m\u003cbr\u003e\nInstrumentation: 2 + afl , 1+1, 1+1, 1 – 3, 1, 0, 1 – perc - cel - hp – str.\u003c\/p\u003e\n\n\u003cp\u003eAs a composer Debussy must be regarded as one of the most important and influential figures of the earlier twentieth century. His musical language suggested new paths to be further explored, while his poetic and sensitive use of the orchestra and of keyboard textures opened still more possibilities. His opera Pelléas et Mélisande and his songs demonstrated a deep understanding of poetic language, revealed by his music, expressed in terms that are never overstated or exaggerated.\u003c\/p\u003e\n\n\u003cp\u003eDebussy’s poetic sensibility and his delicate use of keyboard nuances, developed from Chopin, is shown clearly enough in the two books of Préludes, the first completed in 1910 and the second in 1913. For the present recording the Slovak-born composer Peter Breiner has orchestrated the pieces, revealing even more of the latent intricacies of the Préludes, hidden inner melodies made subtly evident in orchestral guise. The Préludes were originally published with titles given only at the end of each piece, suggesting that these were not absolutely essential to the performer. Danseuses de Delphes (Dancers of Delphi), a title that suggests the influence of Satie, was inspired by a caryatid seen at the Louvre. Marked Lent et grave, the mystery of Delphi is solemnly evoked in a series of chords that make clear the static nature of the dancers at the oracle. This is followed by Voiles (Sails), which carries the direction Dans un rythme sans rigueur et caressant, a characteristic depiction of a calm and distant seascape, although the title may also mean ‘Veils’. It makes typical use of Debussy’s original harmonic idiom and the whole-tone scale. The third Prélude, Le vent dans la plaine (The wind on the plain), offers a delicate tissue of sound, reaching a climax before finally dying away to a sustained final note. “Les sons et les parfums tournent dans l’air du soir” is suggested by Baudelaire’s poem Harmonie du soir (Evening Harmony):\u003c\/p\u003e\n\n\u003cp\u003eVoici venir les temps où vibrant sur sa tige Chaque fleur s’évapore ainsi qu’un encensoir;\u003cbr\u003e\nLes sons et les parfums tournent dans l’air du soir; Valse mélancolique et langoureux vertige!\u003cbr\u003e\n(Here comes the time when, quivering on its stem, every flower melts away to vapour like a censer; sounds and scents turn in the evening air;\u003cbr\u003e\nsad waltz and languorous dizziness!)\u003c\/p\u003e\n\n\u003cp\u003eThe poetic association with Baudelaire indicates something of the mood of the piece, with its the final suggestions of a distant horn-call. Les collines d’Anacapri (The hills of Anacapri) is allusive in its depiction, with inner melodies now further clarified, while Des pas sur la neige (Footprints on the snow) offers a cold, snow-covered landscape, suggested by the recurrent rhythmic figure, which, as the composer directs, should be the musical equivalent of a sad and frozen countryside, an image that, in language at least, must suggest Verlaine’s Dans le vieu parc, solitaire et glacé\/Deux formes ont tout à l’heure passé (In the old park, lonely and frozen, two forms have just passed), the last of the Fêtes galantes that Debussy had set on various earlier occasions.\u003c\/p\u003e\n\n\u003cp\u003eThe mood changes with the menacing and stormy Ce qu’a vu le vent d’ouest (What the west wind has seen), followed by the gently expressive portrait of La fille aux cheveux de lin (The girl with flaxen hair), one of the most familiar of the Préludes, variously transcribed. La sérénade interrompue (The interrupted serenade) opens with a passage suggesting the preparation of the guitar for playing, an introduction to what follows, with rapidly repeated notes evoking the same instrument and Spain, the country with which it is generally associated. La cathédrale engloutie (The submerged Cathedral) returns to medieval France, with harmonies and modal writing derived from early organum, a device used at the opening of Pelléas. The textures evoke through the sea-mist the mystery of the ancient cathedral of Ys, its chant and the sound of its bells, drowned now beneath the waves that have engulfed it long since, according to legend. A mood of a very different kind is embodied in La danse de Puck (Puck’s dance), capricious and light-footed, presumably inspired by the Robin Good- fellow of Shakespeare’s A Midsummer Night’s Dream rather than Kipling’s creation, although it seems that Debussy was also familiar with the latter. The First Book ends with Minstrels, inspired, it has been said, by a black street-band that Debussy had heard in Eastbourne in 1905.\u003c\/p\u003e\n\n\u003cp\u003eIt seems that Debussy was determined to complete two books of twelve Préludes each. Apparently he regarded these as of uneven quality, a judgement in which others have concurred, and was apparently not happy to have them played one after the other. Nevertheless the two books of Préludes do make two effective and coherent wholes, whatever the composer’s original intentions, with the heart of each book at its very centre. The Second Book opens with Brouillards (Mists), in which some have seen the counterpart of paintings by Whistler or even by Turner. Feuilles mortes (Dead leaves) is marked Lent et mélancolique (Slow and melancholy) and is autumnal in its colours. The atmosphere is at once lightened by La Puerta del Vino (The Wine Gate), a habanera suggested by a postcard from Manuel de Falla showing the Alhambra gateway of the title. Debussy’s wide terms of extra-musical association appear again in “Les fées sont d’exquises danseuses” (“The Fairies are exquisite dancers”), its title apparently quoted from J. M. Barrie’s Peter Pan in Kensington, a book given to Debussy’s daughter Emma-Claude, known as Chou-Chou, with illustrations by Arthur Rackham. It was an illustration that gave the Prélude its title and character. Bruyères (Heaths), calm and gently expressive, paints a gentle picture of the open country, while General Lavine – eccentric, offers a cake-walk, depicting the American clown Edward Lavine, who appeared at the Marigny Theatre in the Champs-Elysées in 1910 and 1912.\u003c\/p\u003e\n\n\u003cp\u003eLa terrasse des audiences du clair de lune (The terrace of the audiences of moonlight) adapts a newspaper account of the coronation of King George V as Emperor of India, en- dowing the words of the report with an air of oriental mystery. With Ondine, the mermaid whose love of a mortal, who betrays her, brings him disaster, is again inspired by an Arthur Rackham illustration to a translation of Friedrich de la Motte Fouqué’s fairy-story Undine. Hommage à S. Pickwick Esq. P. P. M. P. C. is a tribute to Samuel Pickwick, the subsequent letters presumably standing for Perpetual President Member of the Pickwick Club. The English national anthem is heard below, as the piece opens, although what follows suggests the intrusion of Sam Weller in livelier adventures. Canope, very calm and gently sad, with its title an allusion to ancient Egypt, makes subtle use of the resonances implicit in the overtone series. It is followed by Les tierces alternées (Alternating thirds), the only Prélude with a title that only indicates its musical substance, originally a study in rapid thirds, but here with figuration adapted for the orchestra. The Préludes, now an orchestral showpiece, end with Feux d’artifice (Fireworks), a display of fireworks, suggesting a celebration in some city park, which allows, before the end, the distant sound of a fragment of the Marseillaise to be heard.\u003c\/p\u003e\n\n\u003cp\u003eKeith Anderson\u003c\/p\u003e\n\u003chr\u003e\u003cp\u003eAudio Sample\u003c\/p\u003e\u003ciframe frameborder=\"0\" style=\"overflow:hidden\" scrolling=\"no\" width=\"100%\" height=\"50\" src=\"https:\/\/artaria.naxosmusiclibrary.com\/embedded\/player\/track?s=RM7090_006\"\u003e\u003c\/iframe\u003e","brand":"Naxos Publishing","offers":[{"title":"PDF Download (Score)","offer_id":44532788854961,"sku":"PB023-PDF","price":21.0,"currency_code":"USD","in_stock":true},{"title":"Hire performance material","offer_id":15752043003993,"sku":"PB023-HIRE","price":26.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0033\/9273\/3273\/products\/PB023_Debussy_Prelude_No.6_FS_Page_1_6bf23b33-b525-4888-9227-3adb3d3e7590.png?v=1540374763"},{"product_id":"claude-debussy-peter-breiner-24-preludes-no-7-ce-qu-a-vu-le-vent-d-ouest","title":"Claude Debussy: 24 Préludes, No. 7: Ce qu’a vu le vent d’ Ouest – arranged by Peter Breiner (PB024)","description":"\u003cp\u003eSheet music edition. Choose your format from the selection above.\u003c\/p\u003e\n\u003cp\u003e12 pages\u003cbr\u003e\nDuration: 3m\u003cbr\u003e\nInstrumentation: 2+1, 2+1, 2+1, 2+1 – 4, 4, 4, 1 – timp -- 2hp – str.\u003c\/p\u003e\n\n\u003cp\u003eAs a composer Debussy must be regarded as one of the most important and influential figures of the earlier twentieth century. His musical language suggested new paths to be further explored, while his poetic and sensitive use of the orchestra and of keyboard textures opened still more possibilities. His opera Pelléas et Mélisande and his songs demonstrated a deep understanding of poetic language, revealed by his music, expressed in terms that are never overstated or exaggerated.\u003c\/p\u003e\n\n\u003cp\u003eDebussy’s poetic sensibility and his delicate use of keyboard nuances, developed from Chopin, is shown clearly enough in the two books of Préludes, the first completed in 1910 and the second in 1913. For the present recording the Slovak-born composer Peter Breiner has orchestrated the pieces, revealing even more of the latent intricacies of the Préludes, hidden inner melodies made subtly evident in orchestral guise. The Préludes were originally published with titles given only at the end of each piece, suggesting that these were not absolutely essential to the performer. Danseuses de Delphes (Dancers of Delphi), a title that suggests the influence of Satie, was inspired by a caryatid seen at the Louvre. Marked Lent et grave, the mystery of Delphi is solemnly evoked in a series of chords that make clear the static nature of the dancers at the oracle. This is followed by Voiles (Sails), which carries the direction Dans un rythme sans rigueur et caressant, a characteristic depiction of a calm and distant seascape, although the title may also mean ‘Veils’. It makes typical use of Debussy’s original harmonic idiom and the whole-tone scale. The third Prélude, Le vent dans la plaine (The wind on the plain), offers a delicate tissue of sound, reaching a climax before finally dying away to a sustained final note. “Les sons et les parfums tournent dans l’air du soir” is suggested by Baudelaire’s poem Harmonie du soir (Evening Harmony):\u003c\/p\u003e\n\n\u003cp\u003eVoici venir les temps où vibrant sur sa tige Chaque fleur s’évapore ainsi qu’un encensoir;\u003cbr\u003e\nLes sons et les parfums tournent dans l’air du soir; Valse mélancolique et langoureux vertige!\u003cbr\u003e\n(Here comes the time when, quivering on its stem, every flower melts away to vapour like a censer; sounds and scents turn in the evening air;\u003cbr\u003e\nsad waltz and languorous dizziness!)\u003c\/p\u003e\n\n\u003cp\u003eThe poetic association with Baudelaire indicates something of the mood of the piece, with its the final suggestions of a distant horn-call. Les collines d’Anacapri (The hills of Anacapri) is allusive in its depiction, with inner melodies now further clarified, while Des pas sur la neige (Footprints on the snow) offers a cold, snow-covered landscape, suggested by the recurrent rhythmic figure, which, as the composer directs, should be the musical equivalent of a sad and frozen countryside, an image that, in language at least, must suggest Verlaine’s Dans le vieu parc, solitaire et glacé\/Deux formes ont tout à l’heure passé (In the old park, lonely and frozen, two forms have just passed), the last of the Fêtes galantes that Debussy had set on various earlier occasions.\u003c\/p\u003e\n\n\u003cp\u003eThe mood changes with the menacing and stormy Ce qu’a vu le vent d’ouest (What the west wind has seen), followed by the gently expressive portrait of La fille aux cheveux de lin (The girl with flaxen hair), one of the most familiar of the Préludes, variously transcribed. La sérénade interrompue (The interrupted serenade) opens with a passage suggesting the preparation of the guitar for playing, an introduction to what follows, with rapidly repeated notes evoking the same instrument and Spain, the country with which it is generally associated. La cathédrale engloutie (The submerged Cathedral) returns to medieval France, with harmonies and modal writing derived from early organum, a device used at the opening of Pelléas. The textures evoke through the sea-mist the mystery of the ancient cathedral of Ys, its chant and the sound of its bells, drowned now beneath the waves that have engulfed it long since, according to legend. A mood of a very different kind is embodied in La danse de Puck (Puck’s dance), capricious and light-footed, presumably inspired by the Robin Good- fellow of Shakespeare’s A Midsummer Night’s Dream rather than Kipling’s creation, although it seems that Debussy was also familiar with the latter. The First Book ends with Minstrels, inspired, it has been said, by a black street-band that Debussy had heard in Eastbourne in 1905.\u003c\/p\u003e\n\n\u003cp\u003eIt seems that Debussy was determined to complete two books of twelve Préludes each. Apparently he regarded these as of uneven quality, a judgement in which others have concurred, and was apparently not happy to have them played one after the other. Nevertheless the two books of Préludes do make two effective and coherent wholes, whatever the composer’s original intentions, with the heart of each book at its very centre. The Second Book opens with Brouillards (Mists), in which some have seen the counterpart of paintings by Whistler or even by Turner. Feuilles mortes (Dead leaves) is marked Lent et mélancolique (Slow and melancholy) and is autumnal in its colours. The atmosphere is at once lightened by La Puerta del Vino (The Wine Gate), a habanera suggested by a postcard from Manuel de Falla showing the Alhambra gateway of the title. Debussy’s wide terms of extra-musical association appear again in “Les fées sont d’exquises danseuses” (“The Fairies are exquisite dancers”), its title apparently quoted from J. M. Barrie’s Peter Pan in Kensington, a book given to Debussy’s daughter Emma-Claude, known as Chou-Chou, with illustrations by Arthur Rackham. It was an illustration that gave the Prélude its title and character. Bruyères (Heaths), calm and gently expressive, paints a gentle picture of the open country, while General Lavine – eccentric, offers a cake-walk, depicting the American clown Edward Lavine, who appeared at the Marigny Theatre in the Champs-Elysées in 1910 and 1912.\u003c\/p\u003e\n\n\u003cp\u003eLa terrasse des audiences du clair de lune (The terrace of the audiences of moonlight) adapts a newspaper account of the coronation of King George V as Emperor of India, en- dowing the words of the report with an air of oriental mystery. With Ondine, the mermaid whose love of a mortal, who betrays her, brings him disaster, is again inspired by an Arthur Rackham illustration to a translation of Friedrich de la Motte Fouqué’s fairy-story Undine. Hommage à S. Pickwick Esq. P. P. M. P. C. is a tribute to Samuel Pickwick, the subsequent letters presumably standing for Perpetual President Member of the Pickwick Club. The English national anthem is heard below, as the piece opens, although what follows suggests the intrusion of Sam Weller in livelier adventures. Canope, very calm and gently sad, with its title an allusion to ancient Egypt, makes subtle use of the resonances implicit in the overtone series. It is followed by Les tierces alternées (Alternating thirds), the only Prélude with a title that only indicates its musical substance, originally a study in rapid thirds, but here with figuration adapted for the orchestra. The Préludes, now an orchestral showpiece, end with Feux d’artifice (Fireworks), a display of fireworks, suggesting a celebration in some city park, which allows, before the end, the distant sound of a fragment of the Marseillaise to be heard.\u003c\/p\u003e\n\n\u003cp\u003eKeith Anderson\u003c\/p\u003e\n\u003chr\u003e\u003cp\u003eAudio Sample\u003c\/p\u003e\u003ciframe frameborder=\"0\" style=\"overflow:hidden\" scrolling=\"no\" width=\"100%\" height=\"50\" src=\"https:\/\/artaria.naxosmusiclibrary.com\/embedded\/player\/track?s=RM7090_007\"\u003e\u003c\/iframe\u003e","brand":"Naxos Publishing","offers":[{"title":"PDF Download (Score)","offer_id":44532788822193,"sku":"PB024-PDF","price":21.0,"currency_code":"USD","in_stock":true},{"title":"Hire performance material","offer_id":15752063189081,"sku":"PB024-HIRE","price":21.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0033\/9273\/3273\/products\/PB024_Debussy_Prelude_No.7_FS_Page_01_bc8c6180-4d4b-42ae-8ce3-4aa641096f14.png?v=1562577884"},{"product_id":"claude-debussy-peter-breiner-24-preludes-no-8-la-fille-aux-cheveaux-de-lin","title":"Claude Debussy: 24 Préludes, No. 8: La fille aux cheveaux de lin – arranged by Peter Breiner (PB025)","description":"\u003cp\u003eSheet music edition. Choose your format from the selection above.\u003c\/p\u003e\n\u003cp\u003e5 pages\u003cbr\u003e\nDuration: 3m\u003cbr\u003e\nInstrumentation: 2+1, 2, 2+1, 2 – 4, 4, 0, 1 – perc  - hp – str.\u003c\/p\u003e\n\n\u003cp\u003eAs a composer Debussy must be regarded as one of the most important and influential figures of the earlier twentieth century. His musical language suggested new paths to be further explored, while his poetic and sensitive use of the orchestra and of keyboard textures opened still more possibilities. His opera Pelléas et Mélisande and his songs demonstrated a deep understanding of poetic language, revealed by his music, expressed in terms that are never overstated or exaggerated.\u003c\/p\u003e\n\n\u003cp\u003eDebussy’s poetic sensibility and his delicate use of keyboard nuances, developed from Chopin, is shown clearly enough in the two books of Préludes, the first completed in 1910 and the second in 1913. For the present recording the Slovak-born composer Peter Breiner has orchestrated the pieces, revealing even more of the latent intricacies of the Préludes, hidden inner melodies made subtly evident in orchestral guise. The Préludes were originally published with titles given only at the end of each piece, suggesting that these were not absolutely essential to the performer. Danseuses de Delphes (Dancers of Delphi), a title that suggests the influence of Satie, was inspired by a caryatid seen at the Louvre. Marked Lent et grave, the mystery of Delphi is solemnly evoked in a series of chords that make clear the static nature of the dancers at the oracle. This is followed by Voiles (Sails), which carries the direction Dans un rythme sans rigueur et caressant, a characteristic depiction of a calm and distant seascape, although the title may also mean ‘Veils’. It makes typical use of Debussy’s original harmonic idiom and the whole-tone scale. The third Prélude, Le vent dans la plaine (The wind on the plain), offers a delicate tissue of sound, reaching a climax before finally dying away to a sustained final note. “Les sons et les parfums tournent dans l’air du soir” is suggested by Baudelaire’s poem Harmonie du soir (Evening Harmony):\u003c\/p\u003e\n\n\u003cp\u003eVoici venir les temps où vibrant sur sa tige Chaque fleur s’évapore ainsi qu’un encensoir;\u003cbr\u003e\nLes sons et les parfums tournent dans l’air du soir; Valse mélancolique et langoureux vertige!\u003cbr\u003e\n(Here comes the time when, quivering on its stem, every flower melts away to vapour like a censer; sounds and scents turn in the evening air;\u003cbr\u003e\nsad waltz and languorous dizziness!)\u003c\/p\u003e\n\n\u003cp\u003eThe poetic association with Baudelaire indicates something of the mood of the piece, with its the final suggestions of a distant horn-call. Les collines d’Anacapri (The hills of Anacapri) is allusive in its depiction, with inner melodies now further clarified, while Des pas sur la neige (Footprints on the snow) offers a cold, snow-covered landscape, suggested by the recurrent rhythmic figure, which, as the composer directs, should be the musical equivalent of a sad and frozen countryside, an image that, in language at least, must suggest Verlaine’s Dans le vieu parc, solitaire et glacé\/Deux formes ont tout à l’heure passé (In the old park, lonely and frozen, two forms have just passed), the last of the Fêtes galantes that Debussy had set on various earlier occasions.\u003c\/p\u003e\n\n\u003cp\u003eThe mood changes with the menacing and stormy Ce qu’a vu le vent d’ouest (What the west wind has seen), followed by the gently expressive portrait of La fille aux cheveux de lin (The girl with flaxen hair), one of the most familiar of the Préludes, variously transcribed. La sérénade interrompue (The interrupted serenade) opens with a passage suggesting the preparation of the guitar for playing, an introduction to what follows, with rapidly repeated notes evoking the same instrument and Spain, the country with which it is generally associated. La cathédrale engloutie (The submerged Cathedral) returns to medieval France, with harmonies and modal writing derived from early organum, a device used at the opening of Pelléas. The textures evoke through the sea-mist the mystery of the ancient cathedral of Ys, its chant and the sound of its bells, drowned now beneath the waves that have engulfed it long since, according to legend. A mood of a very different kind is embodied in La danse de Puck (Puck’s dance), capricious and light-footed, presumably inspired by the Robin Good- fellow of Shakespeare’s A Midsummer Night’s Dream rather than Kipling’s creation, although it seems that Debussy was also familiar with the latter. The First Book ends with Minstrels, inspired, it has been said, by a black street-band that Debussy had heard in Eastbourne in 1905.\u003c\/p\u003e\n\n\u003cp\u003eIt seems that Debussy was determined to complete two books of twelve Préludes each. Apparently he regarded these as of uneven quality, a judgement in which others have concurred, and was apparently not happy to have them played one after the other. Nevertheless the two books of Préludes do make two effective and coherent wholes, whatever the composer’s original intentions, with the heart of each book at its very centre. The Second Book opens with Brouillards (Mists), in which some have seen the counterpart of paintings by Whistler or even by Turner. Feuilles mortes (Dead leaves) is marked Lent et mélancolique (Slow and melancholy) and is autumnal in its colours. The atmosphere is at once lightened by La Puerta del Vino (The Wine Gate), a habanera suggested by a postcard from Manuel de Falla showing the Alhambra gateway of the title. Debussy’s wide terms of extra-musical association appear again in “Les fées sont d’exquises danseuses” (“The Fairies are exquisite dancers”), its title apparently quoted from J. M. Barrie’s Peter Pan in Kensington, a book given to Debussy’s daughter Emma-Claude, known as Chou-Chou, with illustrations by Arthur Rackham. It was an illustration that gave the Prélude its title and character. Bruyères (Heaths), calm and gently expressive, paints a gentle picture of the open country, while General Lavine – eccentric, offers a cake-walk, depicting the American clown Edward Lavine, who appeared at the Marigny Theatre in the Champs-Elysées in 1910 and 1912.\u003c\/p\u003e\n\n\u003cp\u003eLa terrasse des audiences du clair de lune (The terrace of the audiences of moonlight) adapts a newspaper account of the coronation of King George V as Emperor of India, en- dowing the words of the report with an air of oriental mystery. With Ondine, the mermaid whose love of a mortal, who betrays her, brings him disaster, is again inspired by an Arthur Rackham illustration to a translation of Friedrich de la Motte Fouqué’s fairy-story Undine. Hommage à S. Pickwick Esq. P. P. M. P. C. is a tribute to Samuel Pickwick, the subsequent letters presumably standing for Perpetual President Member of the Pickwick Club. The English national anthem is heard below, as the piece opens, although what follows suggests the intrusion of Sam Weller in livelier adventures. Canope, very calm and gently sad, with its title an allusion to ancient Egypt, makes subtle use of the resonances implicit in the overtone series. It is followed by Les tierces alternées (Alternating thirds), the only Prélude with a title that only indicates its musical substance, originally a study in rapid thirds, but here with figuration adapted for the orchestra. The Préludes, now an orchestral showpiece, end with Feux d’artifice (Fireworks), a display of fireworks, suggesting a celebration in some city park, which allows, before the end, the distant sound of a fragment of the Marseillaise to be heard.\u003c\/p\u003e\n\n\u003cp\u003eKeith Anderson\u003c\/p\u003e\n\u003chr\u003e\u003cp\u003eAudio Sample\u003c\/p\u003e\u003ciframe frameborder=\"0\" style=\"overflow:hidden\" scrolling=\"no\" width=\"100%\" height=\"50\" src=\"https:\/\/artaria.naxosmusiclibrary.com\/embedded\/player\/track?s=RM7090_008\"\u003e\u003c\/iframe\u003e","brand":"Naxos Publishing","offers":[{"title":"PDF Download (Score)","offer_id":44532788723889,"sku":"PB025-PDF","price":21.0,"currency_code":"USD","in_stock":true},{"title":"Hire performance material","offer_id":15752101396569,"sku":"PB025-HIRE","price":26.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0033\/9273\/3273\/products\/PB025_Debussy_Prelude_No.8_FS_Page_1_2015dc07-f057-412b-89eb-710c49f3c2ed.png?v=1540374825"},{"product_id":"claude-debussy-peter-breiner-24-preludes-no-9-la-serenade-interrompue","title":"Claude Debussy: 24 Préludes, No. 9: La sérénade interrompue – arranged by Peter Breiner (PB026)","description":"\u003cp\u003eSheet music edition. Choose your format from the selection above.\u003c\/p\u003e\n\u003cp\u003e9 pages\u003cbr\u003e\nDuration: 3m\u003cbr\u003e\nInstrumentation: 2+1, 2+1, 2+1, 2 – 4, 1, 0, 0 – timp - 2 hp – str.\u003c\/p\u003e\n\n\u003cp\u003eAs a composer Debussy must be regarded as one of the most important and influential figures of the earlier twentieth century. His musical language suggested new paths to be further explored, while his poetic and sensitive use of the orchestra and of keyboard textures opened still more possibilities. His opera Pelléas et Mélisande and his songs demonstrated a deep understanding of poetic language, revealed by his music, expressed in terms that are never overstated or exaggerated.\u003c\/p\u003e\n\n\u003cp\u003eDebussy’s poetic sensibility and his delicate use of keyboard nuances, developed from Chopin, is shown clearly enough in the two books of Préludes, the first completed in 1910 and the second in 1913. For the present recording the Slovak-born composer Peter Breiner has orchestrated the pieces, revealing even more of the latent intricacies of the Préludes, hidden inner melodies made subtly evident in orchestral guise. The Préludes were originally published with titles given only at the end of each piece, suggesting that these were not absolutely essential to the performer. Danseuses de Delphes (Dancers of Delphi), a title that suggests the influence of Satie, was inspired by a caryatid seen at the Louvre. Marked Lent et grave, the mystery of Delphi is solemnly evoked in a series of chords that make clear the static nature of the dancers at the oracle. This is followed by Voiles (Sails), which carries the direction Dans un rythme sans rigueur et caressant, a characteristic depiction of a calm and distant seascape, although the title may also mean ‘Veils’. It makes typical use of Debussy’s original harmonic idiom and the whole-tone scale. The third Prélude, Le vent dans la plaine (The wind on the plain), offers a delicate tissue of sound, reaching a climax before finally dying away to a sustained final note. “Les sons et les parfums tournent dans l’air du soir” is suggested by Baudelaire’s poem Harmonie du soir (Evening Harmony):\u003c\/p\u003e\n\n\u003cp\u003eVoici venir les temps où vibrant sur sa tige Chaque fleur s’évapore ainsi qu’un encensoir;\u003cbr\u003e\nLes sons et les parfums tournent dans l’air du soir; Valse mélancolique et langoureux vertige!\u003cbr\u003e\n(Here comes the time when, quivering on its stem, every flower melts away to vapour like a censer; sounds and scents turn in the evening air;\u003cbr\u003e\nsad waltz and languorous dizziness!)\u003c\/p\u003e\n\n\u003cp\u003eThe poetic association with Baudelaire indicates something of the mood of the piece, with its the final suggestions of a distant horn-call. Les collines d’Anacapri (The hills of Anacapri) is allusive in its depiction, with inner melodies now further clarified, while Des pas sur la neige (Footprints on the snow) offers a cold, snow-covered landscape, suggested by the recurrent rhythmic figure, which, as the composer directs, should be the musical equivalent of a sad and frozen countryside, an image that, in language at least, must suggest Verlaine’s Dans le vieu parc, solitaire et glacé\/Deux formes ont tout à l’heure passé (In the old park, lonely and frozen, two forms have just passed), the last of the Fêtes galantes that Debussy had set on various earlier occasions.\u003c\/p\u003e\n\n\u003cp\u003eThe mood changes with the menacing and stormy Ce qu’a vu le vent d’ouest (What the west wind has seen), followed by the gently expressive portrait of La fille aux cheveux de lin (The girl with flaxen hair), one of the most familiar of the Préludes, variously transcribed. La sérénade interrompue (The interrupted serenade) opens with a passage suggesting the preparation of the guitar for playing, an introduction to what follows, with rapidly repeated notes evoking the same instrument and Spain, the country with which it is generally associated. La cathédrale engloutie (The submerged Cathedral) returns to medieval France, with harmonies and modal writing derived from early organum, a device used at the opening of Pelléas. The textures evoke through the sea-mist the mystery of the ancient cathedral of Ys, its chant and the sound of its bells, drowned now beneath the waves that have engulfed it long since, according to legend. A mood of a very different kind is embodied in La danse de Puck (Puck’s dance), capricious and light-footed, presumably inspired by the Robin Good- fellow of Shakespeare’s A Midsummer Night’s Dream rather than Kipling’s creation, although it seems that Debussy was also familiar with the latter. The First Book ends with Minstrels, inspired, it has been said, by a black street-band that Debussy had heard in Eastbourne in 1905.\u003c\/p\u003e\n\n\u003cp\u003eIt seems that Debussy was determined to complete two books of twelve Préludes each. Apparently he regarded these as of uneven quality, a judgement in which others have concurred, and was apparently not happy to have them played one after the other. Nevertheless the two books of Préludes do make two effective and coherent wholes, whatever the composer’s original intentions, with the heart of each book at its very centre. The Second Book opens with Brouillards (Mists), in which some have seen the counterpart of paintings by Whistler or even by Turner. Feuilles mortes (Dead leaves) is marked Lent et mélancolique (Slow and melancholy) and is autumnal in its colours. The atmosphere is at once lightened by La Puerta del Vino (The Wine Gate), a habanera suggested by a postcard from Manuel de Falla showing the Alhambra gateway of the title. Debussy’s wide terms of extra-musical association appear again in “Les fées sont d’exquises danseuses” (“The Fairies are exquisite dancers”), its title apparently quoted from J. M. Barrie’s Peter Pan in Kensington, a book given to Debussy’s daughter Emma-Claude, known as Chou-Chou, with illustrations by Arthur Rackham. It was an illustration that gave the Prélude its title and character. Bruyères (Heaths), calm and gently expressive, paints a gentle picture of the open country, while General Lavine – eccentric, offers a cake-walk, depicting the American clown Edward Lavine, who appeared at the Marigny Theatre in the Champs-Elysées in 1910 and 1912.\u003c\/p\u003e\n\n\u003cp\u003eLa terrasse des audiences du clair de lune (The terrace of the audiences of moonlight) adapts a newspaper account of the coronation of King George V as Emperor of India, en- dowing the words of the report with an air of oriental mystery. With Ondine, the mermaid whose love of a mortal, who betrays her, brings him disaster, is again inspired by an Arthur Rackham illustration to a translation of Friedrich de la Motte Fouqué’s fairy-story Undine. Hommage à S. Pickwick Esq. P. P. M. P. C. is a tribute to Samuel Pickwick, the subsequent letters presumably standing for Perpetual President Member of the Pickwick Club. The English national anthem is heard below, as the piece opens, although what follows suggests the intrusion of Sam Weller in livelier adventures. Canope, very calm and gently sad, with its title an allusion to ancient Egypt, makes subtle use of the resonances implicit in the overtone series. It is followed by Les tierces alternées (Alternating thirds), the only Prélude with a title that only indicates its musical substance, originally a study in rapid thirds, but here with figuration adapted for the orchestra. The Préludes, now an orchestral showpiece, end with Feux d’artifice (Fireworks), a display of fireworks, suggesting a celebration in some city park, which allows, before the end, the distant sound of a fragment of the Marseillaise to be heard.\u003c\/p\u003e\n\n\u003cp\u003eKeith Anderson\u003c\/p\u003e\n\u003chr\u003e\u003cp\u003eAudio Sample\u003c\/p\u003e\u003ciframe frameborder=\"0\" style=\"overflow:hidden\" scrolling=\"no\" width=\"100%\" height=\"50\" src=\"https:\/\/artaria.naxosmusiclibrary.com\/embedded\/player\/track?s=RM7090_009\"\u003e\u003c\/iframe\u003e","brand":"Naxos Publishing","offers":[{"title":"PDF Download (Score)","offer_id":44532788691121,"sku":"PB026-PDF","price":21.0,"currency_code":"USD","in_stock":true},{"title":"Hire performance material","offer_id":15752128004185,"sku":"PB026-HIRE","price":26.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0033\/9273\/3273\/products\/PB026_Debussy_Prelude_No.9_FS_Page_1_3a231693-b775-4741-8987-e5e3b8ce21c6.png?v=1539765629"},{"product_id":"claude-debussy-peter-breiner-24-preludes-no-10-la-cathedrale-engloutie","title":"Claude Debussy: 24 Préludes, No. 10: La cathédrale engloutie – arranged by Peter Breiner (PB027)","description":"\u003cp\u003eSheet music edition. Choose your format from the selection above.\u003c\/p\u003e\n\u003cp\u003e6 pages\u003cbr\u003e\nDuration: 5m\u003cbr\u003e\nInstrumentation: 2+1, 2+1, 2+1, 2+1 – 4, 4, 4, 1 – timp - perc - pn -cel - 2hp – str.\u003c\/p\u003e\n\n\u003cp\u003eAs a composer Debussy must be regarded as one of the most important and influential figures of the earlier twentieth century. His musical language suggested new paths to be further explored, while his poetic and sensitive use of the orchestra and of keyboard textures opened still more possibilities. His opera Pelléas et Mélisande and his songs demonstrated a deep understanding of poetic language, revealed by his music, expressed in terms that are never overstated or exaggerated.\u003c\/p\u003e\n\n\u003cp\u003eDebussy’s poetic sensibility and his delicate use of keyboard nuances, developed from Chopin, is shown clearly enough in the two books of Préludes, the first completed in 1910 and the second in 1913. For the present recording the Slovak-born composer Peter Breiner has orchestrated the pieces, revealing even more of the latent intricacies of the Préludes, hidden inner melodies made subtly evident in orchestral guise. The Préludes were originally published with titles given only at the end of each piece, suggesting that these were not absolutely essential to the performer. Danseuses de Delphes (Dancers of Delphi), a title that suggests the influence of Satie, was inspired by a caryatid seen at the Louvre. Marked Lent et grave, the mystery of Delphi is solemnly evoked in a series of chords that make clear the static nature of the dancers at the oracle. This is followed by Voiles (Sails), which carries the direction Dans un rythme sans rigueur et caressant, a characteristic depiction of a calm and distant seascape, although the title may also mean ‘Veils’. It makes typical use of Debussy’s original harmonic idiom and the whole-tone scale. The third Prélude, Le vent dans la plaine (The wind on the plain), offers a delicate tissue of sound, reaching a climax before finally dying away to a sustained final note. “Les sons et les parfums tournent dans l’air du soir” is suggested by Baudelaire’s poem Harmonie du soir (Evening Harmony):\u003c\/p\u003e\n\n\u003cp\u003eVoici venir les temps où vibrant sur sa tige Chaque fleur s’évapore ainsi qu’un encensoir;\u003cbr\u003e\nLes sons et les parfums tournent dans l’air du soir; Valse mélancolique et langoureux vertige!\u003cbr\u003e\n(Here comes the time when, quivering on its stem, every flower melts away to vapour like a censer; sounds and scents turn in the evening air;\u003cbr\u003e\nsad waltz and languorous dizziness!)\u003c\/p\u003e\n\n\u003cp\u003eThe poetic association with Baudelaire indicates something of the mood of the piece, with its the final suggestions of a distant horn-call. Les collines d’Anacapri (The hills of Anacapri) is allusive in its depiction, with inner melodies now further clarified, while Des pas sur la neige (Footprints on the snow) offers a cold, snow-covered landscape, suggested by the recurrent rhythmic figure, which, as the composer directs, should be the musical equivalent of a sad and frozen countryside, an image that, in language at least, must suggest Verlaine’s Dans le vieu parc, solitaire et glacé\/Deux formes ont tout à l’heure passé (In the old park, lonely and frozen, two forms have just passed), the last of the Fêtes galantes that Debussy had set on various earlier occasions.\u003c\/p\u003e\n\n\u003cp\u003eThe mood changes with the menacing and stormy Ce qu’a vu le vent d’ouest (What the west wind has seen), followed by the gently expressive portrait of La fille aux cheveux de lin (The girl with flaxen hair), one of the most familiar of the Préludes, variously transcribed. La sérénade interrompue (The interrupted serenade) opens with a passage suggesting the preparation of the guitar for playing, an introduction to what follows, with rapidly repeated notes evoking the same instrument and Spain, the country with which it is generally associated. La cathédrale engloutie (The submerged Cathedral) returns to medieval France, with harmonies and modal writing derived from early organum, a device used at the opening of Pelléas. The textures evoke through the sea-mist the mystery of the ancient cathedral of Ys, its chant and the sound of its bells, drowned now beneath the waves that have engulfed it long since, according to legend. A mood of a very different kind is embodied in La danse de Puck (Puck’s dance), capricious and light-footed, presumably inspired by the Robin Good- fellow of Shakespeare’s A Midsummer Night’s Dream rather than Kipling’s creation, although it seems that Debussy was also familiar with the latter. The First Book ends with Minstrels, inspired, it has been said, by a black street-band that Debussy had heard in Eastbourne in 1905.\u003c\/p\u003e\n\n\u003cp\u003eIt seems that Debussy was determined to complete two books of twelve Préludes each. Apparently he regarded these as of uneven quality, a judgement in which others have concurred, and was apparently not happy to have them played one after the other. Nevertheless the two books of Préludes do make two effective and coherent wholes, whatever the composer’s original intentions, with the heart of each book at its very centre. The Second Book opens with Brouillards (Mists), in which some have seen the counterpart of paintings by Whistler or even by Turner. Feuilles mortes (Dead leaves) is marked Lent et mélancolique (Slow and melancholy) and is autumnal in its colours. The atmosphere is at once lightened by La Puerta del Vino (The Wine Gate), a habanera suggested by a postcard from Manuel de Falla showing the Alhambra gateway of the title. Debussy’s wide terms of extra-musical association appear again in “Les fées sont d’exquises danseuses” (“The Fairies are exquisite dancers”), its title apparently quoted from J. M. Barrie’s Peter Pan in Kensington, a book given to Debussy’s daughter Emma-Claude, known as Chou-Chou, with illustrations by Arthur Rackham. It was an illustration that gave the Prélude its title and character. Bruyères (Heaths), calm and gently expressive, paints a gentle picture of the open country, while General Lavine – eccentric, offers a cake-walk, depicting the American clown Edward Lavine, who appeared at the Marigny Theatre in the Champs-Elysées in 1910 and 1912.\u003c\/p\u003e\n\n\u003cp\u003eLa terrasse des audiences du clair de lune (The terrace of the audiences of moonlight) adapts a newspaper account of the coronation of King George V as Emperor of India, en- dowing the words of the report with an air of oriental mystery. With Ondine, the mermaid whose love of a mortal, who betrays her, brings him disaster, is again inspired by an Arthur Rackham illustration to a translation of Friedrich de la Motte Fouqué’s fairy-story Undine. Hommage à S. Pickwick Esq. P. P. M. P. C. is a tribute to Samuel Pickwick, the subsequent letters presumably standing for Perpetual President Member of the Pickwick Club. The English national anthem is heard below, as the piece opens, although what follows suggests the intrusion of Sam Weller in livelier adventures. Canope, very calm and gently sad, with its title an allusion to ancient Egypt, makes subtle use of the resonances implicit in the overtone series. It is followed by Les tierces alternées (Alternating thirds), the only Prélude with a title that only indicates its musical substance, originally a study in rapid thirds, but here with figuration adapted for the orchestra. The Préludes, now an orchestral showpiece, end with Feux d’artifice (Fireworks), a display of fireworks, suggesting a celebration in some city park, which allows, before the end, the distant sound of a fragment of the Marseillaise to be heard.\u003c\/p\u003e\n\n\u003cp\u003eKeith Anderson\u003c\/p\u003e\n\u003chr\u003e\u003cp\u003eAudio Sample\u003c\/p\u003e\u003ciframe frameborder=\"0\" style=\"overflow:hidden\" scrolling=\"no\" width=\"100%\" height=\"50\" src=\"https:\/\/artaria.naxosmusiclibrary.com\/embedded\/player\/track?s=RM7090_010\"\u003e\u003c\/iframe\u003e","brand":"Naxos Publishing","offers":[{"title":"PDF Download (Score)","offer_id":44532788592817,"sku":"PB027-PDF","price":21.0,"currency_code":"USD","in_stock":true},{"title":"Hire performance material","offer_id":15752152514649,"sku":"PB027-HIRE","price":26.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0033\/9273\/3273\/products\/PB027_Debussy_Prelude_No.10_FS_Page_1_a66709a7-d094-44f5-8b37-e0251b45d584.png?v=1539765606"},{"product_id":"claude-debussy-peter-breiner-24-preludes-no-11-la-danse-de-puck","title":"Claude Debussy: 24 Préludes, No. 11: La danse de Puck – arranged by Peter Breiner (PB028)","description":"\u003cp\u003eSheet music edition. Choose your format from the selection above.\u003c\/p\u003e\n\u003cp\u003e9 pages\u003cbr\u003e\nDuration: 3m\u003cbr\u003e\nInstrumentation: 2+1, 2+1, 3d1, 2 – 4, 3, 3, 1 – timp - cel, 2hp – str.\u003c\/p\u003e\n\n\u003cp\u003eAs a composer Debussy must be regarded as one of the most important and influential figures of the earlier twentieth century. His musical language suggested new paths to be further explored, while his poetic and sensitive use of the orchestra and of keyboard textures opened still more possibilities. His opera Pelléas et Mélisande and his songs demonstrated a deep understanding of poetic language, revealed by his music, expressed in terms that are never overstated or exaggerated.\u003c\/p\u003e\n\n\u003cp\u003eDebussy’s poetic sensibility and his delicate use of keyboard nuances, developed from Chopin, is shown clearly enough in the two books of Préludes, the first completed in 1910 and the second in 1913. For the present recording the Slovak-born composer Peter Breiner has orchestrated the pieces, revealing even more of the latent intricacies of the Préludes, hidden inner melodies made subtly evident in orchestral guise. The Préludes were originally published with titles given only at the end of each piece, suggesting that these were not absolutely essential to the performer. Danseuses de Delphes (Dancers of Delphi), a title that suggests the influence of Satie, was inspired by a caryatid seen at the Louvre. Marked Lent et grave, the mystery of Delphi is solemnly evoked in a series of chords that make clear the static nature of the dancers at the oracle. This is followed by Voiles (Sails), which carries the direction Dans un rythme sans rigueur et caressant, a characteristic depiction of a calm and distant seascape, although the title may also mean ‘Veils’. It makes typical use of Debussy’s original harmonic idiom and the whole-tone scale. The third Prélude, Le vent dans la plaine (The wind on the plain), offers a delicate tissue of sound, reaching a climax before finally dying away to a sustained final note. “Les sons et les parfums tournent dans l’air du soir” is suggested by Baudelaire’s poem Harmonie du soir (Evening Harmony):\u003c\/p\u003e\n\n\u003cp\u003eVoici venir les temps où vibrant sur sa tige Chaque fleur s’évapore ainsi qu’un encensoir;\u003cbr\u003e\nLes sons et les parfums tournent dans l’air du soir; Valse mélancolique et langoureux vertige!\u003cbr\u003e\n(Here comes the time when, quivering on its stem, every flower melts away to vapour like a censer; sounds and scents turn in the evening air;\u003cbr\u003e\nsad waltz and languorous dizziness!)\u003c\/p\u003e\n\n\u003cp\u003eThe poetic association with Baudelaire indicates something of the mood of the piece, with its the final suggestions of a distant horn-call. Les collines d’Anacapri (The hills of Anacapri) is allusive in its depiction, with inner melodies now further clarified, while Des pas sur la neige (Footprints on the snow) offers a cold, snow-covered landscape, suggested by the recurrent rhythmic figure, which, as the composer directs, should be the musical equivalent of a sad and frozen countryside, an image that, in language at least, must suggest Verlaine’s Dans le vieu parc, solitaire et glacé\/Deux formes ont tout à l’heure passé (In the old park, lonely and frozen, two forms have just passed), the last of the Fêtes galantes that Debussy had set on various earlier occasions.\u003c\/p\u003e\n\n\u003cp\u003eThe mood changes with the menacing and stormy Ce qu’a vu le vent d’ouest (What the west wind has seen), followed by the gently expressive portrait of La fille aux cheveux de lin (The girl with flaxen hair), one of the most familiar of the Préludes, variously transcribed. La sérénade interrompue (The interrupted serenade) opens with a passage suggesting the preparation of the guitar for playing, an introduction to what follows, with rapidly repeated notes evoking the same instrument and Spain, the country with which it is generally associated. La cathédrale engloutie (The submerged Cathedral) returns to medieval France, with harmonies and modal writing derived from early organum, a device used at the opening of Pelléas. The textures evoke through the sea-mist the mystery of the ancient cathedral of Ys, its chant and the sound of its bells, drowned now beneath the waves that have engulfed it long since, according to legend. A mood of a very different kind is embodied in La danse de Puck (Puck’s dance), capricious and light-footed, presumably inspired by the Robin Good- fellow of Shakespeare’s A Midsummer Night’s Dream rather than Kipling’s creation, although it seems that Debussy was also familiar with the latter. The First Book ends with Minstrels, inspired, it has been said, by a black street-band that Debussy had heard in Eastbourne in 1905.\u003c\/p\u003e\n\n\u003cp\u003eIt seems that Debussy was determined to complete two books of twelve Préludes each. Apparently he regarded these as of uneven quality, a judgement in which others have concurred, and was apparently not happy to have them played one after the other. Nevertheless the two books of Préludes do make two effective and coherent wholes, whatever the composer’s original intentions, with the heart of each book at its very centre. The Second Book opens with Brouillards (Mists), in which some have seen the counterpart of paintings by Whistler or even by Turner. Feuilles mortes (Dead leaves) is marked Lent et mélancolique (Slow and melancholy) and is autumnal in its colours. The atmosphere is at once lightened by La Puerta del Vino (The Wine Gate), a habanera suggested by a postcard from Manuel de Falla showing the Alhambra gateway of the title. Debussy’s wide terms of extra-musical association appear again in “Les fées sont d’exquises danseuses” (“The Fairies are exquisite dancers”), its title apparently quoted from J. M. Barrie’s Peter Pan in Kensington, a book given to Debussy’s daughter Emma-Claude, known as Chou-Chou, with illustrations by Arthur Rackham. It was an illustration that gave the Prélude its title and character. Bruyères (Heaths), calm and gently expressive, paints a gentle picture of the open country, while General Lavine – eccentric, offers a cake-walk, depicting the American clown Edward Lavine, who appeared at the Marigny Theatre in the Champs-Elysées in 1910 and 1912.\u003c\/p\u003e\n\n\u003cp\u003eLa terrasse des audiences du clair de lune (The terrace of the audiences of moonlight) adapts a newspaper account of the coronation of King George V as Emperor of India, en- dowing the words of the report with an air of oriental mystery. With Ondine, the mermaid whose love of a mortal, who betrays her, brings him disaster, is again inspired by an Arthur Rackham illustration to a translation of Friedrich de la Motte Fouqué’s fairy-story Undine. Hommage à S. Pickwick Esq. P. P. M. P. C. is a tribute to Samuel Pickwick, the subsequent letters presumably standing for Perpetual President Member of the Pickwick Club. The English national anthem is heard below, as the piece opens, although what follows suggests the intrusion of Sam Weller in livelier adventures. Canope, very calm and gently sad, with its title an allusion to ancient Egypt, makes subtle use of the resonances implicit in the overtone series. It is followed by Les tierces alternées (Alternating thirds), the only Prélude with a title that only indicates its musical substance, originally a study in rapid thirds, but here with figuration adapted for the orchestra. The Préludes, now an orchestral showpiece, end with Feux d’artifice (Fireworks), a display of fireworks, suggesting a celebration in some city park, which allows, before the end, the distant sound of a fragment of the Marseillaise to be heard.\u003c\/p\u003e\n\n\u003cp\u003eKeith Anderson\u003c\/p\u003e\n\u003chr\u003e\u003cp\u003eAudio Sample\u003c\/p\u003e\u003ciframe frameborder=\"0\" style=\"overflow:hidden\" scrolling=\"no\" width=\"100%\" height=\"50\" src=\"https:\/\/artaria.naxosmusiclibrary.com\/embedded\/player\/track?s=RM7090_011\"\u003e\u003c\/iframe\u003e","brand":"Naxos Publishing","offers":[{"title":"PDF Download (Score)","offer_id":44532788560049,"sku":"PB028-PDF","price":21.0,"currency_code":"USD","in_stock":true},{"title":"Hire performance material","offer_id":15752190296153,"sku":"PB028-HIRE","price":26.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0033\/9273\/3273\/products\/PB028_Debussy_Prelude_No.11_FS_Page_1_0d93f544-4296-4973-a308-ec1cb352c182.png?v=1539765583"},{"product_id":"claude-debussy-peter-breiner-24-preludes-no-12-minstrels","title":"Claude Debussy: 24 Préludes, No. 12: Minstrels – arranged by Peter Breiner (PB029)","description":"\u003cp\u003eSheet music edition. Choose your format from the selection above.\u003c\/p\u003e\n\u003cp\u003e5 pages\u003cbr\u003e\nDuration: 2:30m\u003cbr\u003e\nInstrumentation: 2+1, 2+1, 2+1, 2+1 – 4, 2, 3, 1 – timp - perc - 2 hp – str.\u003c\/p\u003e\n\n\u003cp\u003eAs a composer Debussy must be regarded as one of the most important and influential figures of the earlier twentieth century. His musical language suggested new paths to be further explored, while his poetic and sensitive use of the orchestra and of keyboard textures opened still more possibilities. His opera Pelléas et Mélisande and his songs demonstrated a deep understanding of poetic language, revealed by his music, expressed in terms that are never overstated or exaggerated.\u003c\/p\u003e\n\n\u003cp\u003eDebussy’s poetic sensibility and his delicate use of keyboard nuances, developed from Chopin, is shown clearly enough in the two books of Préludes, the first completed in 1910 and the second in 1913. For the present recording the Slovak-born composer Peter Breiner has orchestrated the pieces, revealing even more of the latent intricacies of the Préludes, hidden inner melodies made subtly evident in orchestral guise. The Préludes were originally published with titles given only at the end of each piece, suggesting that these were not absolutely essential to the performer. Danseuses de Delphes (Dancers of Delphi), a title that suggests the influence of Satie, was inspired by a caryatid seen at the Louvre. Marked Lent et grave, the mystery of Delphi is solemnly evoked in a series of chords that make clear the static nature of the dancers at the oracle. This is followed by Voiles (Sails), which carries the direction Dans un rythme sans rigueur et caressant, a characteristic depiction of a calm and distant seascape, although the title may also mean ‘Veils’. It makes typical use of Debussy’s original harmonic idiom and the whole-tone scale. The third Prélude, Le vent dans la plaine (The wind on the plain), offers a delicate tissue of sound, reaching a climax before finally dying away to a sustained final note. “Les sons et les parfums tournent dans l’air du soir” is suggested by Baudelaire’s poem Harmonie du soir (Evening Harmony):\u003c\/p\u003e\n\n\u003cp\u003eVoici venir les temps où vibrant sur sa tige Chaque fleur s’évapore ainsi qu’un encensoir;\u003cbr\u003e\nLes sons et les parfums tournent dans l’air du soir; Valse mélancolique et langoureux vertige!\u003cbr\u003e\n(Here comes the time when, quivering on its stem, every flower melts away to vapour like a censer; sounds and scents turn in the evening air;\u003cbr\u003e\nsad waltz and languorous dizziness!)\u003c\/p\u003e\n\n\u003cp\u003eThe poetic association with Baudelaire indicates something of the mood of the piece, with its the final suggestions of a distant horn-call. Les collines d’Anacapri (The hills of Anacapri) is allusive in its depiction, with inner melodies now further clarified, while Des pas sur la neige (Footprints on the snow) offers a cold, snow-covered landscape, suggested by the recurrent rhythmic figure, which, as the composer directs, should be the musical equivalent of a sad and frozen countryside, an image that, in language at least, must suggest Verlaine’s Dans le vieu parc, solitaire et glacé\/Deux formes ont tout à l’heure passé (In the old park, lonely and frozen, two forms have just passed), the last of the Fêtes galantes that Debussy had set on various earlier occasions.\u003c\/p\u003e\n\n\u003cp\u003eThe mood changes with the menacing and stormy Ce qu’a vu le vent d’ouest (What the west wind has seen), followed by the gently expressive portrait of La fille aux cheveux de lin (The girl with flaxen hair), one of the most familiar of the Préludes, variously transcribed. La sérénade interrompue (The interrupted serenade) opens with a passage suggesting the preparation of the guitar for playing, an introduction to what follows, with rapidly repeated notes evoking the same instrument and Spain, the country with which it is generally associated. La cathédrale engloutie (The submerged Cathedral) returns to medieval France, with harmonies and modal writing derived from early organum, a device used at the opening of Pelléas. The textures evoke through the sea-mist the mystery of the ancient cathedral of Ys, its chant and the sound of its bells, drowned now beneath the waves that have engulfed it long since, according to legend. A mood of a very different kind is embodied in La danse de Puck (Puck’s dance), capricious and light-footed, presumably inspired by the Robin Good- fellow of Shakespeare’s A Midsummer Night’s Dream rather than Kipling’s creation, although it seems that Debussy was also familiar with the latter. The First Book ends with Minstrels, inspired, it has been said, by a black street-band that Debussy had heard in Eastbourne in 1905.\u003c\/p\u003e\n\n\u003cp\u003eIt seems that Debussy was determined to complete two books of twelve Préludes each. Apparently he regarded these as of uneven quality, a judgement in which others have concurred, and was apparently not happy to have them played one after the other. Nevertheless the two books of Préludes do make two effective and coherent wholes, whatever the composer’s original intentions, with the heart of each book at its very centre. The Second Book opens with Brouillards (Mists), in which some have seen the counterpart of paintings by Whistler or even by Turner. Feuilles mortes (Dead leaves) is marked Lent et mélancolique (Slow and melancholy) and is autumnal in its colours. The atmosphere is at once lightened by La Puerta del Vino (The Wine Gate), a habanera suggested by a postcard from Manuel de Falla showing the Alhambra gateway of the title. Debussy’s wide terms of extra-musical association appear again in “Les fées sont d’exquises danseuses” (“The Fairies are exquisite dancers”), its title apparently quoted from J. M. Barrie’s Peter Pan in Kensington, a book given to Debussy’s daughter Emma-Claude, known as Chou-Chou, with illustrations by Arthur Rackham. It was an illustration that gave the Prélude its title and character. Bruyères (Heaths), calm and gently expressive, paints a gentle picture of the open country, while General Lavine – eccentric, offers a cake-walk, depicting the American clown Edward Lavine, who appeared at the Marigny Theatre in the Champs-Elysées in 1910 and 1912.\u003c\/p\u003e\n\n\u003cp\u003eLa terrasse des audiences du clair de lune (The terrace of the audiences of moonlight) adapts a newspaper account of the coronation of King George V as Emperor of India, en- dowing the words of the report with an air of oriental mystery. With Ondine, the mermaid whose love of a mortal, who betrays her, brings him disaster, is again inspired by an Arthur Rackham illustration to a translation of Friedrich de la Motte Fouqué’s fairy-story Undine. Hommage à S. Pickwick Esq. P. P. M. P. C. is a tribute to Samuel Pickwick, the subsequent letters presumably standing for Perpetual President Member of the Pickwick Club. The English national anthem is heard below, as the piece opens, although what follows suggests the intrusion of Sam Weller in livelier adventures. Canope, very calm and gently sad, with its title an allusion to ancient Egypt, makes subtle use of the resonances implicit in the overtone series. It is followed by Les tierces alternées (Alternating thirds), the only Prélude with a title that only indicates its musical substance, originally a study in rapid thirds, but here with figuration adapted for the orchestra. The Préludes, now an orchestral showpiece, end with Feux d’artifice (Fireworks), a display of fireworks, suggesting a celebration in some city park, which allows, before the end, the distant sound of a fragment of the Marseillaise to be heard.\u003c\/p\u003e\n\n\u003cp\u003eKeith Anderson\u003c\/p\u003e\n\u003chr\u003e\u003cp\u003eAudio Sample\u003c\/p\u003e\u003ciframe frameborder=\"0\" style=\"overflow:hidden\" scrolling=\"no\" width=\"100%\" height=\"50\" src=\"https:\/\/artaria.naxosmusiclibrary.com\/embedded\/player\/track?s=RM7090_012\"\u003e\u003c\/iframe\u003e","brand":"Naxos Publishing","offers":[{"title":"PDF Download (Score)","offer_id":44532788166833,"sku":"PB029-PDF","price":21.0,"currency_code":"USD","in_stock":true},{"title":"Hire performance material","offer_id":15752211398745,"sku":"PB029-HIRE","price":26.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0033\/9273\/3273\/products\/PB029_Debussy_Prelude_No.12_FS_Page_1_b0107012-370a-44e0-afdf-271a1b012b84.png?v=1540374928"},{"product_id":"claude-debussy-peter-breiner-24-preludes-no-13-brouillards","title":"Claude Debussy: 24 Préludes, No. 13: Brouillards – arranged by Peter Breiner (PB030)","description":"\u003cp\u003eSheet music edition. Choose your format from the selection above.\u003c\/p\u003e\n\u003cp\u003e9 pages\u003cbr\u003e\nDuration: 3m\u003cbr\u003e\nInstrumentation: 2+1, 2+1, 2+1, 2 – 3, 3, 0, 0 – timp - perc - cel - hp – str.\u003c\/p\u003e\n\n\u003cp\u003eAs a composer Debussy must be regarded as one of the most important and influential figures of the earlier twentieth century. His musical language suggested new paths to be further explored, while his poetic and sensitive use of the orchestra and of keyboard textures opened still more possibilities. His opera Pelléas et Mélisande and his songs demonstrated a deep understanding of poetic language, revealed by his music, expressed in terms that are never overstated or exaggerated.\u003c\/p\u003e\n\n\u003cp\u003eDebussy’s poetic sensibility and his delicate use of keyboard nuances, developed from Chopin, is shown clearly enough in the two books of Préludes, the first completed in 1910 and the second in 1913. For the present recording the Slovak-born composer Peter Breiner has orchestrated the pieces, revealing even more of the latent intricacies of the Préludes, hidden inner melodies made subtly evident in orchestral guise. The Préludes were originally published with titles given only at the end of each piece, suggesting that these were not absolutely essential to the performer. Danseuses de Delphes (Dancers of Delphi), a title that suggests the influence of Satie, was inspired by a caryatid seen at the Louvre. Marked Lent et grave, the mystery of Delphi is solemnly evoked in a series of chords that make clear the static nature of the dancers at the oracle. This is followed by Voiles (Sails), which carries the direction Dans un rythme sans rigueur et caressant, a characteristic depiction of a calm and distant seascape, although the title may also mean ‘Veils’. It makes typical use of Debussy’s original harmonic idiom and the whole-tone scale. The third Prélude, Le vent dans la plaine (The wind on the plain), offers a delicate tissue of sound, reaching a climax before finally dying away to a sustained final note. “Les sons et les parfums tournent dans l’air du soir” is suggested by Baudelaire’s poem Harmonie du soir (Evening Harmony):\u003c\/p\u003e\n\n\u003cp\u003eVoici venir les temps où vibrant sur sa tige Chaque fleur s’évapore ainsi qu’un encensoir;\u003cbr\u003e\nLes sons et les parfums tournent dans l’air du soir; Valse mélancolique et langoureux vertige!\u003cbr\u003e\n(Here comes the time when, quivering on its stem, every flower melts away to vapour like a censer; sounds and scents turn in the evening air;\u003cbr\u003e\nsad waltz and languorous dizziness!)\u003c\/p\u003e\n\n\u003cp\u003eThe poetic association with Baudelaire indicates something of the mood of the piece, with its the final suggestions of a distant horn-call. Les collines d’Anacapri (The hills of Anacapri) is allusive in its depiction, with inner melodies now further clarified, while Des pas sur la neige (Footprints on the snow) offers a cold, snow-covered landscape, suggested by the recurrent rhythmic figure, which, as the composer directs, should be the musical equivalent of a sad and frozen countryside, an image that, in language at least, must suggest Verlaine’s Dans le vieu parc, solitaire et glacé\/Deux formes ont tout à l’heure passé (In the old park, lonely and frozen, two forms have just passed), the last of the Fêtes galantes that Debussy had set on various earlier occasions.\u003c\/p\u003e\n\n\u003cp\u003eThe mood changes with the menacing and stormy Ce qu’a vu le vent d’ouest (What the west wind has seen), followed by the gently expressive portrait of La fille aux cheveux de lin (The girl with flaxen hair), one of the most familiar of the Préludes, variously transcribed. La sérénade interrompue (The interrupted serenade) opens with a passage suggesting the preparation of the guitar for playing, an introduction to what follows, with rapidly repeated notes evoking the same instrument and Spain, the country with which it is generally associated. La cathédrale engloutie (The submerged Cathedral) returns to medieval France, with harmonies and modal writing derived from early organum, a device used at the opening of Pelléas. The textures evoke through the sea-mist the mystery of the ancient cathedral of Ys, its chant and the sound of its bells, drowned now beneath the waves that have engulfed it long since, according to legend. A mood of a very different kind is embodied in La danse de Puck (Puck’s dance), capricious and light-footed, presumably inspired by the Robin Good- fellow of Shakespeare’s A Midsummer Night’s Dream rather than Kipling’s creation, although it seems that Debussy was also familiar with the latter. The First Book ends with Minstrels, inspired, it has been said, by a black street-band that Debussy had heard in Eastbourne in 1905.\u003c\/p\u003e\n\n\u003cp\u003eIt seems that Debussy was determined to complete two books of twelve Préludes each. Apparently he regarded these as of uneven quality, a judgement in which others have concurred, and was apparently not happy to have them played one after the other. Nevertheless the two books of Préludes do make two effective and coherent wholes, whatever the composer’s original intentions, with the heart of each book at its very centre. The Second Book opens with Brouillards (Mists), in which some have seen the counterpart of paintings by Whistler or even by Turner. Feuilles mortes (Dead leaves) is marked Lent et mélancolique (Slow and melancholy) and is autumnal in its colours. The atmosphere is at once lightened by La Puerta del Vino (The Wine Gate), a habanera suggested by a postcard from Manuel de Falla showing the Alhambra gateway of the title. Debussy’s wide terms of extra-musical association appear again in “Les fées sont d’exquises danseuses” (“The Fairies are exquisite dancers”), its title apparently quoted from J. M. Barrie’s Peter Pan in Kensington, a book given to Debussy’s daughter Emma-Claude, known as Chou-Chou, with illustrations by Arthur Rackham. It was an illustration that gave the Prélude its title and character. Bruyères (Heaths), calm and gently expressive, paints a gentle picture of the open country, while General Lavine – eccentric, offers a cake-walk, depicting the American clown Edward Lavine, who appeared at the Marigny Theatre in the Champs-Elysées in 1910 and 1912.\u003c\/p\u003e\n\n\u003cp\u003eLa terrasse des audiences du clair de lune (The terrace of the audiences of moonlight) adapts a newspaper account of the coronation of King George V as Emperor of India, en- dowing the words of the report with an air of oriental mystery. With Ondine, the mermaid whose love of a mortal, who betrays her, brings him disaster, is again inspired by an Arthur Rackham illustration to a translation of Friedrich de la Motte Fouqué’s fairy-story Undine. Hommage à S. Pickwick Esq. P. P. M. P. C. is a tribute to Samuel Pickwick, the subsequent letters presumably standing for Perpetual President Member of the Pickwick Club. The English national anthem is heard below, as the piece opens, although what follows suggests the intrusion of Sam Weller in livelier adventures. Canope, very calm and gently sad, with its title an allusion to ancient Egypt, makes subtle use of the resonances implicit in the overtone series. It is followed by Les tierces alternées (Alternating thirds), the only Prélude with a title that only indicates its musical substance, originally a study in rapid thirds, but here with figuration adapted for the orchestra. The Préludes, now an orchestral showpiece, end with Feux d’artifice (Fireworks), a display of fireworks, suggesting a celebration in some city park, which allows, before the end, the distant sound of a fragment of the Marseillaise to be heard.\u003c\/p\u003e\n\n\u003cp\u003eKeith Anderson\u003c\/p\u003e\n\u003chr\u003e\u003cp\u003eAudio Sample\u003c\/p\u003e\u003ciframe frameborder=\"0\" style=\"overflow:hidden\" scrolling=\"no\" width=\"100%\" height=\"50\" src=\"https:\/\/artaria.naxosmusiclibrary.com\/embedded\/player\/track?s=RM7091_001\"\u003e\u003c\/iframe\u003e","brand":"Naxos Publishing","offers":[{"title":"PDF Download (Score)","offer_id":44532788134065,"sku":"PB030-PDF","price":21.0,"currency_code":"USD","in_stock":true},{"title":"Hire performance material","offer_id":15752235483225,"sku":"PB030-HIRE","price":26.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0033\/9273\/3273\/products\/PB030_Debussy_Prelude_No.13_FS_Page_1_0527a52b-89b3-408d-8785-44ac430a58ed.png?v=1539765535"},{"product_id":"claude-debussy-peter-breiner-24-preludes-no-14-feuilles-mortes","title":"Claude Debussy: 24 Préludes, No. 14: Feuilles mortes – arranged by Peter Breiner (PB031)","description":"\u003cp\u003eSheet music edition. Choose your format from the selection above.\u003c\/p\u003e\n\u003cp\u003e4 pages\u003cbr\u003e\nDuration: 3m\u003cbr\u003e\nInstrumentation: 2+1, 2+1, 2+1, 2 – 4, 3, 0, 1 – timp - perc - cel - hp – str\u003c\/p\u003e\n\n\u003cp\u003eAs a composer Debussy must be regarded as one of the most important and influential figures of the earlier twentieth century. His musical language suggested new paths to be further explored, while his poetic and sensitive use of the orchestra and of keyboard textures opened still more possibilities. His opera Pelléas et Mélisande and his songs demonstrated a deep understanding of poetic language, revealed by his music, expressed in terms that are never overstated or exaggerated.\u003c\/p\u003e\n\n\u003cp\u003eDebussy’s poetic sensibility and his delicate use of keyboard nuances, developed from Chopin, is shown clearly enough in the two books of Préludes, the first completed in 1910 and the second in 1913. For the present recording the Slovak-born composer Peter Breiner has orchestrated the pieces, revealing even more of the latent intricacies of the Préludes, hidden inner melodies made subtly evident in orchestral guise. The Préludes were originally published with titles given only at the end of each piece, suggesting that these were not absolutely essential to the performer. Danseuses de Delphes (Dancers of Delphi), a title that suggests the influence of Satie, was inspired by a caryatid seen at the Louvre. Marked Lent et grave, the mystery of Delphi is solemnly evoked in a series of chords that make clear the static nature of the dancers at the oracle. This is followed by Voiles (Sails), which carries the direction Dans un rythme sans rigueur et caressant, a characteristic depiction of a calm and distant seascape, although the title may also mean ‘Veils’. It makes typical use of Debussy’s original harmonic idiom and the whole-tone scale. The third Prélude, Le vent dans la plaine (The wind on the plain), offers a delicate tissue of sound, reaching a climax before finally dying away to a sustained final note. “Les sons et les parfums tournent dans l’air du soir” is suggested by Baudelaire’s poem Harmonie du soir (Evening Harmony):\u003c\/p\u003e\n\n\u003cp\u003eVoici venir les temps où vibrant sur sa tige Chaque fleur s’évapore ainsi qu’un encensoir;\u003cbr\u003e\nLes sons et les parfums tournent dans l’air du soir; Valse mélancolique et langoureux vertige!\u003cbr\u003e\n(Here comes the time when, quivering on its stem, every flower melts away to vapour like a censer; sounds and scents turn in the evening air;\u003cbr\u003e\nsad waltz and languorous dizziness!)\u003c\/p\u003e\n\n\u003cp\u003eThe poetic association with Baudelaire indicates something of the mood of the piece, with its the final suggestions of a distant horn-call. Les collines d’Anacapri (The hills of Anacapri) is allusive in its depiction, with inner melodies now further clarified, while Des pas sur la neige (Footprints on the snow) offers a cold, snow-covered landscape, suggested by the recurrent rhythmic figure, which, as the composer directs, should be the musical equivalent of a sad and frozen countryside, an image that, in language at least, must suggest Verlaine’s Dans le vieu parc, solitaire et glacé\/Deux formes ont tout à l’heure passé (In the old park, lonely and frozen, two forms have just passed), the last of the Fêtes galantes that Debussy had set on various earlier occasions.\u003c\/p\u003e\n\n\u003cp\u003eThe mood changes with the menacing and stormy Ce qu’a vu le vent d’ouest (What the west wind has seen), followed by the gently expressive portrait of La fille aux cheveux de lin (The girl with flaxen hair), one of the most familiar of the Préludes, variously transcribed. La sérénade interrompue (The interrupted serenade) opens with a passage suggesting the preparation of the guitar for playing, an introduction to what follows, with rapidly repeated notes evoking the same instrument and Spain, the country with which it is generally associated. La cathédrale engloutie (The submerged Cathedral) returns to medieval France, with harmonies and modal writing derived from early organum, a device used at the opening of Pelléas. The textures evoke through the sea-mist the mystery of the ancient cathedral of Ys, its chant and the sound of its bells, drowned now beneath the waves that have engulfed it long since, according to legend. A mood of a very different kind is embodied in La danse de Puck (Puck’s dance), capricious and light-footed, presumably inspired by the Robin Good- fellow of Shakespeare’s A Midsummer Night’s Dream rather than Kipling’s creation, although it seems that Debussy was also familiar with the latter. The First Book ends with Minstrels, inspired, it has been said, by a black street-band that Debussy had heard in Eastbourne in 1905.\u003c\/p\u003e\n\n\u003cp\u003eIt seems that Debussy was determined to complete two books of twelve Préludes each. Apparently he regarded these as of uneven quality, a judgement in which others have concurred, and was apparently not happy to have them played one after the other. Nevertheless the two books of Préludes do make two effective and coherent wholes, whatever the composer’s original intentions, with the heart of each book at its very centre. The Second Book opens with Brouillards (Mists), in which some have seen the counterpart of paintings by Whistler or even by Turner. Feuilles mortes (Dead leaves) is marked Lent et mélancolique (Slow and melancholy) and is autumnal in its colours. The atmosphere is at once lightened by La Puerta del Vino (The Wine Gate), a habanera suggested by a postcard from Manuel de Falla showing the Alhambra gateway of the title. Debussy’s wide terms of extra-musical association appear again in “Les fées sont d’exquises danseuses” (“The Fairies are exquisite dancers”), its title apparently quoted from J. M. Barrie’s Peter Pan in Kensington, a book given to Debussy’s daughter Emma-Claude, known as Chou-Chou, with illustrations by Arthur Rackham. It was an illustration that gave the Prélude its title and character. Bruyères (Heaths), calm and gently expressive, paints a gentle picture of the open country, while General Lavine – eccentric, offers a cake-walk, depicting the American clown Edward Lavine, who appeared at the Marigny Theatre in the Champs-Elysées in 1910 and 1912.\u003c\/p\u003e\n\n\u003cp\u003eLa terrasse des audiences du clair de lune (The terrace of the audiences of moonlight) adapts a newspaper account of the coronation of King George V as Emperor of India, en- dowing the words of the report with an air of oriental mystery. With Ondine, the mermaid whose love of a mortal, who betrays her, brings him disaster, is again inspired by an Arthur Rackham illustration to a translation of Friedrich de la Motte Fouqué’s fairy-story Undine. Hommage à S. Pickwick Esq. P. P. M. P. C. is a tribute to Samuel Pickwick, the subsequent letters presumably standing for Perpetual President Member of the Pickwick Club. The English national anthem is heard below, as the piece opens, although what follows suggests the intrusion of Sam Weller in livelier adventures. Canope, very calm and gently sad, with its title an allusion to ancient Egypt, makes subtle use of the resonances implicit in the overtone series. It is followed by Les tierces alternées (Alternating thirds), the only Prélude with a title that only indicates its musical substance, originally a study in rapid thirds, but here with figuration adapted for the orchestra. The Préludes, now an orchestral showpiece, end with Feux d’artifice (Fireworks), a display of fireworks, suggesting a celebration in some city park, which allows, before the end, the distant sound of a fragment of the Marseillaise to be heard.\u003c\/p\u003e\n\n\u003cp\u003eKeith Anderson\u003c\/p\u003e\n\u003chr\u003e\u003cp\u003eAudio Sample\u003c\/p\u003e\u003ciframe frameborder=\"0\" style=\"overflow:hidden\" scrolling=\"no\" width=\"100%\" height=\"50\" src=\"https:\/\/artaria.naxosmusiclibrary.com\/embedded\/player\/track?s=RM7091_002\"\u003e\u003c\/iframe\u003e","brand":"Naxos Publishing","offers":[{"title":"PDF Download (Score)","offer_id":44532788068529,"sku":"PB031-PDF","price":21.0,"currency_code":"USD","in_stock":true},{"title":"Hire performance material","offer_id":15752267399257,"sku":"PB031-HIRE","price":26.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0033\/9273\/3273\/products\/PB031_Debussy_Prelude_No.14_FS_Page_1_e88d4a14-7d22-4503-a4f9-bc17a8de6ec0.png?v=1540374994"},{"product_id":"claude-debussy-peter-breiner-24-preludes-no-15-la-puerta-del-vino","title":"Claude Debussy: 24 Préludes, No. 15: La Puerta del Vino – arranged by Peter Breiner (PB032)","description":"\u003cp\u003eSheet music edition. Choose your format from the selection above.\u003c\/p\u003e\n\u003cp\u003e8 pages\u003cbr\u003e\nDuration: 3m\u003cbr\u003e\nInstrumentation: 2+1, 2+1, 2+1, 2 – 4, 2, 3, 0 – timp - perc - cel - hp – str.\u003c\/p\u003e\n\n\u003cp\u003eAs a composer Debussy must be regarded as one of the most important and influential figures of the earlier twentieth century. His musical language suggested new paths to be further explored, while his poetic and sensitive use of the orchestra and of keyboard textures opened still more possibilities. His opera Pelléas et Mélisande and his songs demonstrated a deep understanding of poetic language, revealed by his music, expressed in terms that are never overstated or exaggerated.\u003c\/p\u003e\n\n\u003cp\u003eDebussy’s poetic sensibility and his delicate use of keyboard nuances, developed from Chopin, is shown clearly enough in the two books of Préludes, the first completed in 1910 and the second in 1913. For the present recording the Slovak-born composer Peter Breiner has orchestrated the pieces, revealing even more of the latent intricacies of the Préludes, hidden inner melodies made subtly evident in orchestral guise. The Préludes were originally published with titles given only at the end of each piece, suggesting that these were not absolutely essential to the performer. Danseuses de Delphes (Dancers of Delphi), a title that suggests the influence of Satie, was inspired by a caryatid seen at the Louvre. Marked Lent et grave, the mystery of Delphi is solemnly evoked in a series of chords that make clear the static nature of the dancers at the oracle. This is followed by Voiles (Sails), which carries the direction Dans un rythme sans rigueur et caressant, a characteristic depiction of a calm and distant seascape, although the title may also mean ‘Veils’. It makes typical use of Debussy’s original harmonic idiom and the whole-tone scale. The third Prélude, Le vent dans la plaine (The wind on the plain), offers a delicate tissue of sound, reaching a climax before finally dying away to a sustained final note. “Les sons et les parfums tournent dans l’air du soir” is suggested by Baudelaire’s poem Harmonie du soir (Evening Harmony):\u003c\/p\u003e\n\n\u003cp\u003eVoici venir les temps où vibrant sur sa tige Chaque fleur s’évapore ainsi qu’un encensoir;\u003cbr\u003e\nLes sons et les parfums tournent dans l’air du soir; Valse mélancolique et langoureux vertige!\u003cbr\u003e\n(Here comes the time when, quivering on its stem, every flower melts away to vapour like a censer; sounds and scents turn in the evening air;\u003cbr\u003e\nsad waltz and languorous dizziness!)\u003c\/p\u003e\n\n\u003cp\u003eThe poetic association with Baudelaire indicates something of the mood of the piece, with its the final suggestions of a distant horn-call. Les collines d’Anacapri (The hills of Anacapri) is allusive in its depiction, with inner melodies now further clarified, while Des pas sur la neige (Footprints on the snow) offers a cold, snow-covered landscape, suggested by the recurrent rhythmic figure, which, as the composer directs, should be the musical equivalent of a sad and frozen countryside, an image that, in language at least, must suggest Verlaine’s Dans le vieu parc, solitaire et glacé\/Deux formes ont tout à l’heure passé (In the old park, lonely and frozen, two forms have just passed), the last of the Fêtes galantes that Debussy had set on various earlier occasions.\u003c\/p\u003e\n\n\u003cp\u003eThe mood changes with the menacing and stormy Ce qu’a vu le vent d’ouest (What the west wind has seen), followed by the gently expressive portrait of La fille aux cheveux de lin (The girl with flaxen hair), one of the most familiar of the Préludes, variously transcribed. La sérénade interrompue (The interrupted serenade) opens with a passage suggesting the preparation of the guitar for playing, an introduction to what follows, with rapidly repeated notes evoking the same instrument and Spain, the country with which it is generally associated. La cathédrale engloutie (The submerged Cathedral) returns to medieval France, with harmonies and modal writing derived from early organum, a device used at the opening of Pelléas. The textures evoke through the sea-mist the mystery of the ancient cathedral of Ys, its chant and the sound of its bells, drowned now beneath the waves that have engulfed it long since, according to legend. A mood of a very different kind is embodied in La danse de Puck (Puck’s dance), capricious and light-footed, presumably inspired by the Robin Good- fellow of Shakespeare’s A Midsummer Night’s Dream rather than Kipling’s creation, although it seems that Debussy was also familiar with the latter. The First Book ends with Minstrels, inspired, it has been said, by a black street-band that Debussy had heard in Eastbourne in 1905.\u003c\/p\u003e\n\n\u003cp\u003eIt seems that Debussy was determined to complete two books of twelve Préludes each. Apparently he regarded these as of uneven quality, a judgement in which others have concurred, and was apparently not happy to have them played one after the other. Nevertheless the two books of Préludes do make two effective and coherent wholes, whatever the composer’s original intentions, with the heart of each book at its very centre. The Second Book opens with Brouillards (Mists), in which some have seen the counterpart of paintings by Whistler or even by Turner. Feuilles mortes (Dead leaves) is marked Lent et mélancolique (Slow and melancholy) and is autumnal in its colours. The atmosphere is at once lightened by La Puerta del Vino (The Wine Gate), a habanera suggested by a postcard from Manuel de Falla showing the Alhambra gateway of the title. Debussy’s wide terms of extra-musical association appear again in “Les fées sont d’exquises danseuses” (“The Fairies are exquisite dancers”), its title apparently quoted from J. M. Barrie’s Peter Pan in Kensington, a book given to Debussy’s daughter Emma-Claude, known as Chou-Chou, with illustrations by Arthur Rackham. It was an illustration that gave the Prélude its title and character. Bruyères (Heaths), calm and gently expressive, paints a gentle picture of the open country, while General Lavine – eccentric, offers a cake-walk, depicting the American clown Edward Lavine, who appeared at the Marigny Theatre in the Champs-Elysées in 1910 and 1912.\u003c\/p\u003e\n\n\u003cp\u003eLa terrasse des audiences du clair de lune (The terrace of the audiences of moonlight) adapts a newspaper account of the coronation of King George V as Emperor of India, en- dowing the words of the report with an air of oriental mystery. With Ondine, the mermaid whose love of a mortal, who betrays her, brings him disaster, is again inspired by an Arthur Rackham illustration to a translation of Friedrich de la Motte Fouqué’s fairy-story Undine. Hommage à S. Pickwick Esq. P. P. M. P. C. is a tribute to Samuel Pickwick, the subsequent letters presumably standing for Perpetual President Member of the Pickwick Club. The English national anthem is heard below, as the piece opens, although what follows suggests the intrusion of Sam Weller in livelier adventures. Canope, very calm and gently sad, with its title an allusion to ancient Egypt, makes subtle use of the resonances implicit in the overtone series. It is followed by Les tierces alternées (Alternating thirds), the only Prélude with a title that only indicates its musical substance, originally a study in rapid thirds, but here with figuration adapted for the orchestra. The Préludes, now an orchestral showpiece, end with Feux d’artifice (Fireworks), a display of fireworks, suggesting a celebration in some city park, which allows, before the end, the distant sound of a fragment of the Marseillaise to be heard.\u003c\/p\u003e\n\n\u003cp\u003eKeith Anderson\u003c\/p\u003e\n\u003chr\u003e\u003cp\u003eAudio Sample\u003c\/p\u003e\u003ciframe frameborder=\"0\" style=\"overflow:hidden\" scrolling=\"no\" width=\"100%\" height=\"50\" src=\"https:\/\/artaria.naxosmusiclibrary.com\/embedded\/player\/track?s=RM7091_003\"\u003e\u003c\/iframe\u003e","brand":"Naxos Publishing","offers":[{"title":"PDF Download (Score)","offer_id":44532788002993,"sku":"PB032-PDF","price":21.0,"currency_code":"USD","in_stock":true},{"title":"Hire performance material","offer_id":15752298102873,"sku":"PB032-HIRE","price":26.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0033\/9273\/3273\/products\/PB032_Debussy_Prelude_No.15_FS_Page_1_f5452cdd-c542-4e22-9ca0-398e28cdde35.png?v=1539765494"},{"product_id":"claude-debussy-peter-breiner-24-preludes-no-16-les-fees-sont-d-exquises-danseuses","title":"Claude Debussy: 24 Préludes, No. 16: Les Fées sont d’exquises danseuses – arranged by Peter Breiner (PB033)","description":"\u003cp\u003eSheet music edition. Choose your format from the selection above.\u003c\/p\u003e\n\u003cp\u003e11 pages\u003cbr\u003e\nDuration: 4m\u003cbr\u003e\nInstrumentation: 4, 2+1, 2+1, 2 – 4, 2, 0, 0 – timp -  - cel - hp – str\u003c\/p\u003e\n\n\u003cp\u003eAs a composer Debussy must be regarded as one of the most important and influential figures of the earlier twentieth century. His musical language suggested new paths to be further explored, while his poetic and sensitive use of the orchestra and of keyboard textures opened still more possibilities. His opera Pelléas et Mélisande and his songs demonstrated a deep understanding of poetic language, revealed by his music, expressed in terms that are never overstated or exaggerated.\u003c\/p\u003e\n\n\u003cp\u003eDebussy’s poetic sensibility and his delicate use of keyboard nuances, developed from Chopin, is shown clearly enough in the two books of Préludes, the first completed in 1910 and the second in 1913. For the present recording the Slovak-born composer Peter Breiner has orchestrated the pieces, revealing even more of the latent intricacies of the Préludes, hidden inner melodies made subtly evident in orchestral guise. The Préludes were originally published with titles given only at the end of each piece, suggesting that these were not absolutely essential to the performer. Danseuses de Delphes (Dancers of Delphi), a title that suggests the influence of Satie, was inspired by a caryatid seen at the Louvre. Marked Lent et grave, the mystery of Delphi is solemnly evoked in a series of chords that make clear the static nature of the dancers at the oracle. This is followed by Voiles (Sails), which carries the direction Dans un rythme sans rigueur et caressant, a characteristic depiction of a calm and distant seascape, although the title may also mean ‘Veils’. It makes typical use of Debussy’s original harmonic idiom and the whole-tone scale. The third Prélude, Le vent dans la plaine (The wind on the plain), offers a delicate tissue of sound, reaching a climax before finally dying away to a sustained final note. “Les sons et les parfums tournent dans l’air du soir” is suggested by Baudelaire’s poem Harmonie du soir (Evening Harmony):\u003c\/p\u003e\n\n\u003cp\u003eVoici venir les temps où vibrant sur sa tige Chaque fleur s’évapore ainsi qu’un encensoir;\u003cbr\u003e\nLes sons et les parfums tournent dans l’air du soir; Valse mélancolique et langoureux vertige!\u003cbr\u003e\n(Here comes the time when, quivering on its stem, every flower melts away to vapour like a censer; sounds and scents turn in the evening air;\u003cbr\u003e\nsad waltz and languorous dizziness!)\u003c\/p\u003e\n\n\u003cp\u003eThe poetic association with Baudelaire indicates something of the mood of the piece, with its the final suggestions of a distant horn-call. Les collines d’Anacapri (The hills of Anacapri) is allusive in its depiction, with inner melodies now further clarified, while Des pas sur la neige (Footprints on the snow) offers a cold, snow-covered landscape, suggested by the recurrent rhythmic figure, which, as the composer directs, should be the musical equivalent of a sad and frozen countryside, an image that, in language at least, must suggest Verlaine’s Dans le vieu parc, solitaire et glacé\/Deux formes ont tout à l’heure passé (In the old park, lonely and frozen, two forms have just passed), the last of the Fêtes galantes that Debussy had set on various earlier occasions.\u003c\/p\u003e\n\n\u003cp\u003eThe mood changes with the menacing and stormy Ce qu’a vu le vent d’ouest (What the west wind has seen), followed by the gently expressive portrait of La fille aux cheveux de lin (The girl with flaxen hair), one of the most familiar of the Préludes, variously transcribed. La sérénade interrompue (The interrupted serenade) opens with a passage suggesting the preparation of the guitar for playing, an introduction to what follows, with rapidly repeated notes evoking the same instrument and Spain, the country with which it is generally associated. La cathédrale engloutie (The submerged Cathedral) returns to medieval France, with harmonies and modal writing derived from early organum, a device used at the opening of Pelléas. The textures evoke through the sea-mist the mystery of the ancient cathedral of Ys, its chant and the sound of its bells, drowned now beneath the waves that have engulfed it long since, according to legend. A mood of a very different kind is embodied in La danse de Puck (Puck’s dance), capricious and light-footed, presumably inspired by the Robin Good- fellow of Shakespeare’s A Midsummer Night’s Dream rather than Kipling’s creation, although it seems that Debussy was also familiar with the latter. The First Book ends with Minstrels, inspired, it has been said, by a black street-band that Debussy had heard in Eastbourne in 1905.\u003c\/p\u003e\n\n\u003cp\u003eIt seems that Debussy was determined to complete two books of twelve Préludes each. Apparently he regarded these as of uneven quality, a judgement in which others have concurred, and was apparently not happy to have them played one after the other. Nevertheless the two books of Préludes do make two effective and coherent wholes, whatever the composer’s original intentions, with the heart of each book at its very centre. The Second Book opens with Brouillards (Mists), in which some have seen the counterpart of paintings by Whistler or even by Turner. Feuilles mortes (Dead leaves) is marked Lent et mélancolique (Slow and melancholy) and is autumnal in its colours. The atmosphere is at once lightened by La Puerta del Vino (The Wine Gate), a habanera suggested by a postcard from Manuel de Falla showing the Alhambra gateway of the title. Debussy’s wide terms of extra-musical association appear again in “Les fées sont d’exquises danseuses” (“The Fairies are exquisite dancers”), its title apparently quoted from J. M. Barrie’s Peter Pan in Kensington, a book given to Debussy’s daughter Emma-Claude, known as Chou-Chou, with illustrations by Arthur Rackham. It was an illustration that gave the Prélude its title and character. Bruyères (Heaths), calm and gently expressive, paints a gentle picture of the open country, while General Lavine – eccentric, offers a cake-walk, depicting the American clown Edward Lavine, who appeared at the Marigny Theatre in the Champs-Elysées in 1910 and 1912.\u003c\/p\u003e\n\n\u003cp\u003eLa terrasse des audiences du clair de lune (The terrace of the audiences of moonlight) adapts a newspaper account of the coronation of King George V as Emperor of India, en- dowing the words of the report with an air of oriental mystery. With Ondine, the mermaid whose love of a mortal, who betrays her, brings him disaster, is again inspired by an Arthur Rackham illustration to a translation of Friedrich de la Motte Fouqué’s fairy-story Undine. Hommage à S. Pickwick Esq. P. P. M. P. C. is a tribute to Samuel Pickwick, the subsequent letters presumably standing for Perpetual President Member of the Pickwick Club. The English national anthem is heard below, as the piece opens, although what follows suggests the intrusion of Sam Weller in livelier adventures. Canope, very calm and gently sad, with its title an allusion to ancient Egypt, makes subtle use of the resonances implicit in the overtone series. It is followed by Les tierces alternées (Alternating thirds), the only Prélude with a title that only indicates its musical substance, originally a study in rapid thirds, but here with figuration adapted for the orchestra. The Préludes, now an orchestral showpiece, end with Feux d’artifice (Fireworks), a display of fireworks, suggesting a celebration in some city park, which allows, before the end, the distant sound of a fragment of the Marseillaise to be heard.\u003c\/p\u003e\n\n\u003cp\u003eKeith Anderson\u003c\/p\u003e\n\u003chr\u003e\u003cp\u003eAudio Sample\u003c\/p\u003e\u003ciframe frameborder=\"0\" style=\"overflow:hidden\" scrolling=\"no\" width=\"100%\" height=\"50\" src=\"https:\/\/artaria.naxosmusiclibrary.com\/embedded\/player\/track?s=RM7091_004\"\u003e\u003c\/iframe\u003e","brand":"Naxos Publishing","offers":[{"title":"PDF Download (Score)","offer_id":44532787970225,"sku":"PB033-PDF","price":21.0,"currency_code":"USD","in_stock":true},{"title":"Hire performance material","offer_id":15752327233625,"sku":"PB033-HIRE","price":26.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0033\/9273\/3273\/products\/PB033_Debussy_Prelude_No.16_FS_Page_01_59822190-ae47-4ddc-8aa8-9a259b4eeeee.png?v=1539765471"},{"product_id":"claude-debussy-peter-breiner-24-preludes-no-17-bruyeres","title":"Claude Debussy: 24 Préludes, No. 17: Bruyères – arranged by Peter Breiner (PB034)","description":"\u003cp\u003eSheet music edition. Choose your format from the selection above.\u003c\/p\u003e\n\u003cp\u003e8 pages\u003cbr\u003e\nDuration: 3m\u003cbr\u003e\nInstrumentation: 2,2,1,1, – 4,0,0,0 – hp - str.\u003c\/p\u003e\n\n\u003cp\u003eAs a composer Debussy must be regarded as one of the most important and influential figures of the earlier twentieth century. His musical language suggested new paths to be further explored, while his poetic and sensitive use of the orchestra and of keyboard textures opened still more possibilities. His opera Pelléas et Mélisande and his songs demonstrated a deep understanding of poetic language, revealed by his music, expressed in terms that are never overstated or exaggerated.\u003c\/p\u003e\n\n\u003cp\u003eDebussy’s poetic sensibility and his delicate use of keyboard nuances, developed from Chopin, is shown clearly enough in the two books of Préludes, the first completed in 1910 and the second in 1913. For the present recording the Slovak-born composer Peter Breiner has orchestrated the pieces, revealing even more of the latent intricacies of the Préludes, hidden inner melodies made subtly evident in orchestral guise. The Préludes were originally published with titles given only at the end of each piece, suggesting that these were not absolutely essential to the performer. Danseuses de Delphes (Dancers of Delphi), a title that suggests the influence of Satie, was inspired by a caryatid seen at the Louvre. Marked Lent et grave, the mystery of Delphi is solemnly evoked in a series of chords that make clear the static nature of the dancers at the oracle. This is followed by Voiles (Sails), which carries the direction Dans un rythme sans rigueur et caressant, a characteristic depiction of a calm and distant seascape, although the title may also mean ‘Veils’. It makes typical use of Debussy’s original harmonic idiom and the whole-tone scale. The third Prélude, Le vent dans la plaine (The wind on the plain), offers a delicate tissue of sound, reaching a climax before finally dying away to a sustained final note. “Les sons et les parfums tournent dans l’air du soir” is suggested by Baudelaire’s poem Harmonie du soir (Evening Harmony):\u003c\/p\u003e\n\n\u003cp\u003eVoici venir les temps où vibrant sur sa tige Chaque fleur s’évapore ainsi qu’un encensoir;\u003cbr\u003e\nLes sons et les parfums tournent dans l’air du soir; Valse mélancolique et langoureux vertige!\u003cbr\u003e\n(Here comes the time when, quivering on its stem, every flower melts away to vapour like a censer; sounds and scents turn in the evening air;\u003cbr\u003e\nsad waltz and languorous dizziness!)\u003c\/p\u003e\n\n\u003cp\u003eThe poetic association with Baudelaire indicates something of the mood of the piece, with its the final suggestions of a distant horn-call. Les collines d’Anacapri (The hills of Anacapri) is allusive in its depiction, with inner melodies now further clarified, while Des pas sur la neige (Footprints on the snow) offers a cold, snow-covered landscape, suggested by the recurrent rhythmic figure, which, as the composer directs, should be the musical equivalent of a sad and frozen countryside, an image that, in language at least, must suggest Verlaine’s Dans le vieu parc, solitaire et glacé\/Deux formes ont tout à l’heure passé (In the old park, lonely and frozen, two forms have just passed), the last of the Fêtes galantes that Debussy had set on various earlier occasions.\u003c\/p\u003e\n\n\u003cp\u003eThe mood changes with the menacing and stormy Ce qu’a vu le vent d’ouest (What the west wind has seen), followed by the gently expressive portrait of La fille aux cheveux de lin (The girl with flaxen hair), one of the most familiar of the Préludes, variously transcribed. La sérénade interrompue (The interrupted serenade) opens with a passage suggesting the preparation of the guitar for playing, an introduction to what follows, with rapidly repeated notes evoking the same instrument and Spain, the country with which it is generally associated. La cathédrale engloutie (The submerged Cathedral) returns to medieval France, with harmonies and modal writing derived from early organum, a device used at the opening of Pelléas. The textures evoke through the sea-mist the mystery of the ancient cathedral of Ys, its chant and the sound of its bells, drowned now beneath the waves that have engulfed it long since, according to legend. A mood of a very different kind is embodied in La danse de Puck (Puck’s dance), capricious and light-footed, presumably inspired by the Robin Good- fellow of Shakespeare’s A Midsummer Night’s Dream rather than Kipling’s creation, although it seems that Debussy was also familiar with the latter. The First Book ends with Minstrels, inspired, it has been said, by a black street-band that Debussy had heard in Eastbourne in 1905.\u003c\/p\u003e\n\n\u003cp\u003eIt seems that Debussy was determined to complete two books of twelve Préludes each. Apparently he regarded these as of uneven quality, a judgement in which others have concurred, and was apparently not happy to have them played one after the other. Nevertheless the two books of Préludes do make two effective and coherent wholes, whatever the composer’s original intentions, with the heart of each book at its very centre. The Second Book opens with Brouillards (Mists), in which some have seen the counterpart of paintings by Whistler or even by Turner. Feuilles mortes (Dead leaves) is marked Lent et mélancolique (Slow and melancholy) and is autumnal in its colours. The atmosphere is at once lightened by La Puerta del Vino (The Wine Gate), a habanera suggested by a postcard from Manuel de Falla showing the Alhambra gateway of the title. Debussy’s wide terms of extra-musical association appear again in “Les fées sont d’exquises danseuses” (“The Fairies are exquisite dancers”), its title apparently quoted from J. M. Barrie’s Peter Pan in Kensington, a book given to Debussy’s daughter Emma-Claude, known as Chou-Chou, with illustrations by Arthur Rackham. It was an illustration that gave the Prélude its title and character. Bruyères (Heaths), calm and gently expressive, paints a gentle picture of the open country, while General Lavine – eccentric, offers a cake-walk, depicting the American clown Edward Lavine, who appeared at the Marigny Theatre in the Champs-Elysées in 1910 and 1912.\u003c\/p\u003e\n\n\u003cp\u003eLa terrasse des audiences du clair de lune (The terrace of the audiences of moonlight) adapts a newspaper account of the coronation of King George V as Emperor of India, en- dowing the words of the report with an air of oriental mystery. With Ondine, the mermaid whose love of a mortal, who betrays her, brings him disaster, is again inspired by an Arthur Rackham illustration to a translation of Friedrich de la Motte Fouqué’s fairy-story Undine. Hommage à S. Pickwick Esq. P. P. M. P. C. is a tribute to Samuel Pickwick, the subsequent letters presumably standing for Perpetual President Member of the Pickwick Club. The English national anthem is heard below, as the piece opens, although what follows suggests the intrusion of Sam Weller in livelier adventures. Canope, very calm and gently sad, with its title an allusion to ancient Egypt, makes subtle use of the resonances implicit in the overtone series. It is followed by Les tierces alternées (Alternating thirds), the only Prélude with a title that only indicates its musical substance, originally a study in rapid thirds, but here with figuration adapted for the orchestra. The Préludes, now an orchestral showpiece, end with Feux d’artifice (Fireworks), a display of fireworks, suggesting a celebration in some city park, which allows, before the end, the distant sound of a fragment of the Marseillaise to be heard.\u003c\/p\u003e\n\n\u003cp\u003eKeith Anderson\u003c\/p\u003e\n\u003chr\u003e\u003cp\u003eAudio Sample\u003c\/p\u003e\u003ciframe frameborder=\"0\" style=\"overflow:hidden\" scrolling=\"no\" width=\"100%\" height=\"50\" src=\"https:\/\/artaria.naxosmusiclibrary.com\/embedded\/player\/track?s=RM7091_005\"\u003e\u003c\/iframe\u003e","brand":"Naxos Publishing","offers":[{"title":"PDF Download (Score)","offer_id":44532787937457,"sku":"PB034-PDF","price":21.0,"currency_code":"USD","in_stock":true},{"title":"Hire performance material","offer_id":15752350695513,"sku":"PB034-HIRE","price":26.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0033\/9273\/3273\/products\/PB034_Debussy_Prelude_No.17_FS_Page_1_d52712a7-3daa-4aa4-833a-37f07939d0a5.png?v=1539765445"},{"product_id":"claude-debussy-peter-breiner-24-preludes-no-18-general-lavine-eccentric","title":"Claude Debussy: 24 Préludes, No. 18: Général Lavine – eccentric – arranged by Peter Breiner (PB035)","description":"\u003cp\u003eSheet music edition. Choose your format from the selection above.\u003c\/p\u003e\n\u003cp\u003e7 pages\u003cbr\u003e\nDuration: 3m\u003cbr\u003e\nInstrumentation: 2, 2, 2+1, 1 – 4, 3, 4, 1 – perc - str.\u003c\/p\u003e\n\n\u003cp\u003eAs a composer Debussy must be regarded as one of the most important and influential figures of the earlier twentieth century. His musical language suggested new paths to be further explored, while his poetic and sensitive use of the orchestra and of keyboard textures opened still more possibilities. His opera Pelléas et Mélisande and his songs demonstrated a deep understanding of poetic language, revealed by his music, expressed in terms that are never overstated or exaggerated.\u003c\/p\u003e\n\n\u003cp\u003eDebussy’s poetic sensibility and his delicate use of keyboard nuances, developed from Chopin, is shown clearly enough in the two books of Préludes, the first completed in 1910 and the second in 1913. For the present recording the Slovak-born composer Peter Breiner has orchestrated the pieces, revealing even more of the latent intricacies of the Préludes, hidden inner melodies made subtly evident in orchestral guise. The Préludes were originally published with titles given only at the end of each piece, suggesting that these were not absolutely essential to the performer. Danseuses de Delphes (Dancers of Delphi), a title that suggests the influence of Satie, was inspired by a caryatid seen at the Louvre. Marked Lent et grave, the mystery of Delphi is solemnly evoked in a series of chords that make clear the static nature of the dancers at the oracle. This is followed by Voiles (Sails), which carries the direction Dans un rythme sans rigueur et caressant, a characteristic depiction of a calm and distant seascape, although the title may also mean ‘Veils’. It makes typical use of Debussy’s original harmonic idiom and the whole-tone scale. The third Prélude, Le vent dans la plaine (The wind on the plain), offers a delicate tissue of sound, reaching a climax before finally dying away to a sustained final note. “Les sons et les parfums tournent dans l’air du soir” is suggested by Baudelaire’s poem Harmonie du soir (Evening Harmony):\u003c\/p\u003e\n\n\u003cp\u003eVoici venir les temps où vibrant sur sa tige Chaque fleur s’évapore ainsi qu’un encensoir;\u003cbr\u003e\nLes sons et les parfums tournent dans l’air du soir; Valse mélancolique et langoureux vertige!\u003cbr\u003e\n(Here comes the time when, quivering on its stem, every flower melts away to vapour like a censer; sounds and scents turn in the evening air;\u003cbr\u003e\nsad waltz and languorous dizziness!)\u003c\/p\u003e\n\n\u003cp\u003eThe poetic association with Baudelaire indicates something of the mood of the piece, with its the final suggestions of a distant horn-call. Les collines d’Anacapri (The hills of Anacapri) is allusive in its depiction, with inner melodies now further clarified, while Des pas sur la neige (Footprints on the snow) offers a cold, snow-covered landscape, suggested by the recurrent rhythmic figure, which, as the composer directs, should be the musical equivalent of a sad and frozen countryside, an image that, in language at least, must suggest Verlaine’s Dans le vieu parc, solitaire et glacé\/Deux formes ont tout à l’heure passé (In the old park, lonely and frozen, two forms have just passed), the last of the Fêtes galantes that Debussy had set on various earlier occasions.\u003c\/p\u003e\n\n\u003cp\u003eThe mood changes with the menacing and stormy Ce qu’a vu le vent d’ouest (What the west wind has seen), followed by the gently expressive portrait of La fille aux cheveux de lin (The girl with flaxen hair), one of the most familiar of the Préludes, variously transcribed. La sérénade interrompue (The interrupted serenade) opens with a passage suggesting the preparation of the guitar for playing, an introduction to what follows, with rapidly repeated notes evoking the same instrument and Spain, the country with which it is generally associated. La cathédrale engloutie (The submerged Cathedral) returns to medieval France, with harmonies and modal writing derived from early organum, a device used at the opening of Pelléas. The textures evoke through the sea-mist the mystery of the ancient cathedral of Ys, its chant and the sound of its bells, drowned now beneath the waves that have engulfed it long since, according to legend. A mood of a very different kind is embodied in La danse de Puck (Puck’s dance), capricious and light-footed, presumably inspired by the Robin Good- fellow of Shakespeare’s A Midsummer Night’s Dream rather than Kipling’s creation, although it seems that Debussy was also familiar with the latter. The First Book ends with Minstrels, inspired, it has been said, by a black street-band that Debussy had heard in Eastbourne in 1905.\u003c\/p\u003e\n\n\u003cp\u003eIt seems that Debussy was determined to complete two books of twelve Préludes each. Apparently he regarded these as of uneven quality, a judgement in which others have concurred, and was apparently not happy to have them played one after the other. Nevertheless the two books of Préludes do make two effective and coherent wholes, whatever the composer’s original intentions, with the heart of each book at its very centre. The Second Book opens with Brouillards (Mists), in which some have seen the counterpart of paintings by Whistler or even by Turner. Feuilles mortes (Dead leaves) is marked Lent et mélancolique (Slow and melancholy) and is autumnal in its colours. The atmosphere is at once lightened by La Puerta del Vino (The Wine Gate), a habanera suggested by a postcard from Manuel de Falla showing the Alhambra gateway of the title. Debussy’s wide terms of extra-musical association appear again in “Les fées sont d’exquises danseuses” (“The Fairies are exquisite dancers”), its title apparently quoted from J. M. Barrie’s Peter Pan in Kensington, a book given to Debussy’s daughter Emma-Claude, known as Chou-Chou, with illustrations by Arthur Rackham. It was an illustration that gave the Prélude its title and character. Bruyères (Heaths), calm and gently expressive, paints a gentle picture of the open country, while General Lavine – eccentric, offers a cake-walk, depicting the American clown Edward Lavine, who appeared at the Marigny Theatre in the Champs-Elysées in 1910 and 1912.\u003c\/p\u003e\n\n\u003cp\u003eLa terrasse des audiences du clair de lune (The terrace of the audiences of moonlight) adapts a newspaper account of the coronation of King George V as Emperor of India, en- dowing the words of the report with an air of oriental mystery. With Ondine, the mermaid whose love of a mortal, who betrays her, brings him disaster, is again inspired by an Arthur Rackham illustration to a translation of Friedrich de la Motte Fouqué’s fairy-story Undine. Hommage à S. Pickwick Esq. P. P. M. P. C. is a tribute to Samuel Pickwick, the subsequent letters presumably standing for Perpetual President Member of the Pickwick Club. The English national anthem is heard below, as the piece opens, although what follows suggests the intrusion of Sam Weller in livelier adventures. Canope, very calm and gently sad, with its title an allusion to ancient Egypt, makes subtle use of the resonances implicit in the overtone series. It is followed by Les tierces alternées (Alternating thirds), the only Prélude with a title that only indicates its musical substance, originally a study in rapid thirds, but here with figuration adapted for the orchestra. The Préludes, now an orchestral showpiece, end with Feux d’artifice (Fireworks), a display of fireworks, suggesting a celebration in some city park, which allows, before the end, the distant sound of a fragment of the Marseillaise to be heard.\u003c\/p\u003e\n\n\u003cp\u003eKeith Anderson\u003c\/p\u003e\n\u003chr\u003e\u003cp\u003eAudio Sample\u003c\/p\u003e\u003ciframe frameborder=\"0\" style=\"overflow:hidden\" scrolling=\"no\" width=\"100%\" height=\"50\" src=\"https:\/\/artaria.naxosmusiclibrary.com\/embedded\/player\/track?s=RM7091_006\"\u003e\u003c\/iframe\u003e","brand":"Naxos Publishing","offers":[{"title":"PDF Download (Score)","offer_id":44532787642545,"sku":"PB035-PDF","price":21.0,"currency_code":"USD","in_stock":true},{"title":"Hire performance material","offer_id":15752374157401,"sku":"PB035-HIRE","price":21.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0033\/9273\/3273\/products\/PB035_Debussy_Prelude_No.18_FS_Page_1_e929b380-6f12-4acf-98fb-394ee3339c8e.png?v=1539765423"},{"product_id":"claude-debussy-peter-breiner-24-preludes-no-20-ondine","title":"Claude Debussy: 24 Préludes, No. 20: Ondine – arranged by Peter Breiner (PB037)","description":"\u003cp\u003eSheet music edition. Choose your format from the selection above.\u003c\/p\u003e\n\u003cp\u003e12 pages\u003cbr\u003e\nDuration: 3m\u003cbr\u003e\nInstrumentation: 2+1, 2+1, 2+1, 2 – 4, 3, 3, 1 – timp -  - cel - hp - str.\u003c\/p\u003e\n\n\u003cp\u003eAs a composer Debussy must be regarded as one of the most important and influential figures of the earlier twentieth century. His musical language suggested new paths to be further explored, while his poetic and sensitive use of the orchestra and of keyboard textures opened still more possibilities. His opera Pelléas et Mélisande and his songs demonstrated a deep understanding of poetic language, revealed by his music, expressed in terms that are never overstated or exaggerated.\u003c\/p\u003e\n\n\u003cp\u003eDebussy’s poetic sensibility and his delicate use of keyboard nuances, developed from Chopin, is shown clearly enough in the two books of Préludes, the first completed in 1910 and the second in 1913. For the present recording the Slovak-born composer Peter Breiner has orchestrated the pieces, revealing even more of the latent intricacies of the Préludes, hidden inner melodies made subtly evident in orchestral guise. The Préludes were originally published with titles given only at the end of each piece, suggesting that these were not absolutely essential to the performer. Danseuses de Delphes (Dancers of Delphi), a title that suggests the influence of Satie, was inspired by a caryatid seen at the Louvre. Marked Lent et grave, the mystery of Delphi is solemnly evoked in a series of chords that make clear the static nature of the dancers at the oracle. This is followed by Voiles (Sails), which carries the direction Dans un rythme sans rigueur et caressant, a characteristic depiction of a calm and distant seascape, although the title may also mean ‘Veils’. It makes typical use of Debussy’s original harmonic idiom and the whole-tone scale. The third Prélude, Le vent dans la plaine (The wind on the plain), offers a delicate tissue of sound, reaching a climax before finally dying away to a sustained final note. “Les sons et les parfums tournent dans l’air du soir” is suggested by Baudelaire’s poem Harmonie du soir (Evening Harmony):\u003c\/p\u003e\n\n\u003cp\u003eVoici venir les temps où vibrant sur sa tige Chaque fleur s’évapore ainsi qu’un encensoir;\u003cbr\u003e\nLes sons et les parfums tournent dans l’air du soir; Valse mélancolique et langoureux vertige!\u003cbr\u003e\n(Here comes the time when, quivering on its stem, every flower melts away to vapour like a censer; sounds and scents turn in the evening air;\u003cbr\u003e\nsad waltz and languorous dizziness!)\u003c\/p\u003e\n\n\u003cp\u003eThe poetic association with Baudelaire indicates something of the mood of the piece, with its the final suggestions of a distant horn-call. Les collines d’Anacapri (The hills of Anacapri) is allusive in its depiction, with inner melodies now further clarified, while Des pas sur la neige (Footprints on the snow) offers a cold, snow-covered landscape, suggested by the recurrent rhythmic figure, which, as the composer directs, should be the musical equivalent of a sad and frozen countryside, an image that, in language at least, must suggest Verlaine’s Dans le vieu parc, solitaire et glacé\/Deux formes ont tout à l’heure passé (In the old park, lonely and frozen, two forms have just passed), the last of the Fêtes galantes that Debussy had set on various earlier occasions.\u003c\/p\u003e\n\n\u003cp\u003eThe mood changes with the menacing and stormy Ce qu’a vu le vent d’ouest (What the west wind has seen), followed by the gently expressive portrait of La fille aux cheveux de lin (The girl with flaxen hair), one of the most familiar of the Préludes, variously transcribed. La sérénade interrompue (The interrupted serenade) opens with a passage suggesting the preparation of the guitar for playing, an introduction to what follows, with rapidly repeated notes evoking the same instrument and Spain, the country with which it is generally associated. La cathédrale engloutie (The submerged Cathedral) returns to medieval France, with harmonies and modal writing derived from early organum, a device used at the opening of Pelléas. The textures evoke through the sea-mist the mystery of the ancient cathedral of Ys, its chant and the sound of its bells, drowned now beneath the waves that have engulfed it long since, according to legend. A mood of a very different kind is embodied in La danse de Puck (Puck’s dance), capricious and light-footed, presumably inspired by the Robin Good- fellow of Shakespeare’s A Midsummer Night’s Dream rather than Kipling’s creation, although it seems that Debussy was also familiar with the latter. The First Book ends with Minstrels, inspired, it has been said, by a black street-band that Debussy had heard in Eastbourne in 1905.\u003c\/p\u003e\n\n\u003cp\u003eIt seems that Debussy was determined to complete two books of twelve Préludes each. Apparently he regarded these as of uneven quality, a judgement in which others have concurred, and was apparently not happy to have them played one after the other. Nevertheless the two books of Préludes do make two effective and coherent wholes, whatever the composer’s original intentions, with the heart of each book at its very centre. The Second Book opens with Brouillards (Mists), in which some have seen the counterpart of paintings by Whistler or even by Turner. Feuilles mortes (Dead leaves) is marked Lent et mélancolique (Slow and melancholy) and is autumnal in its colours. The atmosphere is at once lightened by La Puerta del Vino (The Wine Gate), a habanera suggested by a postcard from Manuel de Falla showing the Alhambra gateway of the title. Debussy’s wide terms of extra-musical association appear again in “Les fées sont d’exquises danseuses” (“The Fairies are exquisite dancers”), its title apparently quoted from J. M. Barrie’s Peter Pan in Kensington, a book given to Debussy’s daughter Emma-Claude, known as Chou-Chou, with illustrations by Arthur Rackham. It was an illustration that gave the Prélude its title and character. Bruyères (Heaths), calm and gently expressive, paints a gentle picture of the open country, while General Lavine – eccentric, offers a cake-walk, depicting the American clown Edward Lavine, who appeared at the Marigny Theatre in the Champs-Elysées in 1910 and 1912.\u003c\/p\u003e\n\n\u003cp\u003eLa terrasse des audiences du clair de lune (The terrace of the audiences of moonlight) adapts a newspaper account of the coronation of King George V as Emperor of India, en- dowing the words of the report with an air of oriental mystery. With Ondine, the mermaid whose love of a mortal, who betrays her, brings him disaster, is again inspired by an Arthur Rackham illustration to a translation of Friedrich de la Motte Fouqué’s fairy-story Undine. Hommage à S. Pickwick Esq. P. P. M. P. C. is a tribute to Samuel Pickwick, the subsequent letters presumably standing for Perpetual President Member of the Pickwick Club. The English national anthem is heard below, as the piece opens, although what follows suggests the intrusion of Sam Weller in livelier adventures. Canope, very calm and gently sad, with its title an allusion to ancient Egypt, makes subtle use of the resonances implicit in the overtone series. It is followed by Les tierces alternées (Alternating thirds), the only Prélude with a title that only indicates its musical substance, originally a study in rapid thirds, but here with figuration adapted for the orchestra. The Préludes, now an orchestral showpiece, end with Feux d’artifice (Fireworks), a display of fireworks, suggesting a celebration in some city park, which allows, before the end, the distant sound of a fragment of the Marseillaise to be heard.\u003c\/p\u003e\n\n\u003cp\u003eKeith Anderson\u003c\/p\u003e\n\u003chr\u003e\u003cp\u003eAudio Sample\u003c\/p\u003e\u003ciframe frameborder=\"0\" style=\"overflow:hidden\" scrolling=\"no\" width=\"100%\" height=\"50\" src=\"https:\/\/artaria.naxosmusiclibrary.com\/embedded\/player\/track?s=RM7091_008\"\u003e\u003c\/iframe\u003e","brand":"Naxos Publishing","offers":[{"title":"PDF Download (Score)","offer_id":44532787577009,"sku":"PB037-PDF","price":21.0,"currency_code":"USD","in_stock":true},{"title":"Hire performance material","offer_id":15752409317465,"sku":"PB037-HIRE","price":26.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0033\/9273\/3273\/products\/PB037_Debussy_Prelude_No.20_FS_Page_01_e5242de7-054b-4aa1-b3e5-6df3739c2302.png?v=1539765398"},{"product_id":"claude-debussy-peter-breiner-24-preludes-no-21-hommage-a-s-pickwick-esq-ppmpc","title":"Claude Debussy: 24 Préludes, No. 21: Hommage à S. Pickwick Esq. P.P.M.P.C. – arranged by Peter Breiner (PB038)","description":"\u003cp\u003eSheet music edition. Choose your format from the selection above.\u003c\/p\u003e\n\u003cp\u003e7 pages\u003cbr\u003e\nDuration: 2:30m\u003cbr\u003e\nInstrumentation: 2, 2+1, 2, 2 – 4, 4, 3, 1 – timp -  – str.\u003c\/p\u003e\n\n\u003cp\u003eAs a composer Debussy must be regarded as one of the most important and influential figures of the earlier twentieth century. His musical language suggested new paths to be further explored, while his poetic and sensitive use of the orchestra and of keyboard textures opened still more possibilities. His opera Pelléas et Mélisande and his songs demonstrated a deep understanding of poetic language, revealed by his music, expressed in terms that are never overstated or exaggerated.\u003c\/p\u003e\n\n\u003cp\u003eDebussy’s poetic sensibility and his delicate use of keyboard nuances, developed from Chopin, is shown clearly enough in the two books of Préludes, the first completed in 1910 and the second in 1913. For the present recording the Slovak-born composer Peter Breiner has orchestrated the pieces, revealing even more of the latent intricacies of the Préludes, hidden inner melodies made subtly evident in orchestral guise. The Préludes were originally published with titles given only at the end of each piece, suggesting that these were not absolutely essential to the performer. Danseuses de Delphes (Dancers of Delphi), a title that suggests the influence of Satie, was inspired by a caryatid seen at the Louvre. Marked Lent et grave, the mystery of Delphi is solemnly evoked in a series of chords that make clear the static nature of the dancers at the oracle. This is followed by Voiles (Sails), which carries the direction Dans un rythme sans rigueur et caressant, a characteristic depiction of a calm and distant seascape, although the title may also mean ‘Veils’. It makes typical use of Debussy’s original harmonic idiom and the whole-tone scale. The third Prélude, Le vent dans la plaine (The wind on the plain), offers a delicate tissue of sound, reaching a climax before finally dying away to a sustained final note. “Les sons et les parfums tournent dans l’air du soir” is suggested by Baudelaire’s poem Harmonie du soir (Evening Harmony):\u003c\/p\u003e\n\n\u003cp\u003eVoici venir les temps où vibrant sur sa tige Chaque fleur s’évapore ainsi qu’un encensoir;\u003cbr\u003e\nLes sons et les parfums tournent dans l’air du soir; Valse mélancolique et langoureux vertige!\u003cbr\u003e\n(Here comes the time when, quivering on its stem, every flower melts away to vapour like a censer; sounds and scents turn in the evening air;\u003cbr\u003e\nsad waltz and languorous dizziness!)\u003c\/p\u003e\n\n\u003cp\u003eThe poetic association with Baudelaire indicates something of the mood of the piece, with its the final suggestions of a distant horn-call. Les collines d’Anacapri (The hills of Anacapri) is allusive in its depiction, with inner melodies now further clarified, while Des pas sur la neige (Footprints on the snow) offers a cold, snow-covered landscape, suggested by the recurrent rhythmic figure, which, as the composer directs, should be the musical equivalent of a sad and frozen countryside, an image that, in language at least, must suggest Verlaine’s Dans le vieu parc, solitaire et glacé\/Deux formes ont tout à l’heure passé (In the old park, lonely and frozen, two forms have just passed), the last of the Fêtes galantes that Debussy had set on various earlier occasions.\u003c\/p\u003e\n\n\u003cp\u003eThe mood changes with the menacing and stormy Ce qu’a vu le vent d’ouest (What the west wind has seen), followed by the gently expressive portrait of La fille aux cheveux de lin (The girl with flaxen hair), one of the most familiar of the Préludes, variously transcribed. La sérénade interrompue (The interrupted serenade) opens with a passage suggesting the preparation of the guitar for playing, an introduction to what follows, with rapidly repeated notes evoking the same instrument and Spain, the country with which it is generally associated. La cathédrale engloutie (The submerged Cathedral) returns to medieval France, with harmonies and modal writing derived from early organum, a device used at the opening of Pelléas. The textures evoke through the sea-mist the mystery of the ancient cathedral of Ys, its chant and the sound of its bells, drowned now beneath the waves that have engulfed it long since, according to legend. A mood of a very different kind is embodied in La danse de Puck (Puck’s dance), capricious and light-footed, presumably inspired by the Robin Good- fellow of Shakespeare’s A Midsummer Night’s Dream rather than Kipling’s creation, although it seems that Debussy was also familiar with the latter. The First Book ends with Minstrels, inspired, it has been said, by a black street-band that Debussy had heard in Eastbourne in 1905.\u003c\/p\u003e\n\n\u003cp\u003eIt seems that Debussy was determined to complete two books of twelve Préludes each. Apparently he regarded these as of uneven quality, a judgement in which others have concurred, and was apparently not happy to have them played one after the other. Nevertheless the two books of Préludes do make two effective and coherent wholes, whatever the composer’s original intentions, with the heart of each book at its very centre. The Second Book opens with Brouillards (Mists), in which some have seen the counterpart of paintings by Whistler or even by Turner. Feuilles mortes (Dead leaves) is marked Lent et mélancolique (Slow and melancholy) and is autumnal in its colours. The atmosphere is at once lightened by La Puerta del Vino (The Wine Gate), a habanera suggested by a postcard from Manuel de Falla showing the Alhambra gateway of the title. Debussy’s wide terms of extra-musical association appear again in “Les fées sont d’exquises danseuses” (“The Fairies are exquisite dancers”), its title apparently quoted from J. M. Barrie’s Peter Pan in Kensington, a book given to Debussy’s daughter Emma-Claude, known as Chou-Chou, with illustrations by Arthur Rackham. It was an illustration that gave the Prélude its title and character. Bruyères (Heaths), calm and gently expressive, paints a gentle picture of the open country, while General Lavine – eccentric, offers a cake-walk, depicting the American clown Edward Lavine, who appeared at the Marigny Theatre in the Champs-Elysées in 1910 and 1912.\u003c\/p\u003e\n\n\u003cp\u003eLa terrasse des audiences du clair de lune (The terrace of the audiences of moonlight) adapts a newspaper account of the coronation of King George V as Emperor of India, en- dowing the words of the report with an air of oriental mystery. With Ondine, the mermaid whose love of a mortal, who betrays her, brings him disaster, is again inspired by an Arthur Rackham illustration to a translation of Friedrich de la Motte Fouqué’s fairy-story Undine. Hommage à S. Pickwick Esq. P. P. M. P. C. is a tribute to Samuel Pickwick, the subsequent letters presumably standing for Perpetual President Member of the Pickwick Club. The English national anthem is heard below, as the piece opens, although what follows suggests the intrusion of Sam Weller in livelier adventures. Canope, very calm and gently sad, with its title an allusion to ancient Egypt, makes subtle use of the resonances implicit in the overtone series. It is followed by Les tierces alternées (Alternating thirds), the only Prélude with a title that only indicates its musical substance, originally a study in rapid thirds, but here with figuration adapted for the orchestra. The Préludes, now an orchestral showpiece, end with Feux d’artifice (Fireworks), a display of fireworks, suggesting a celebration in some city park, which allows, before the end, the distant sound of a fragment of the Marseillaise to be heard.\u003c\/p\u003e\n\n\u003cp\u003eKeith Anderson\u003c\/p\u003e\n\u003chr\u003e\u003cp\u003eAudio Sample\u003c\/p\u003e\u003ciframe frameborder=\"0\" style=\"overflow:hidden\" scrolling=\"no\" width=\"100%\" height=\"50\" src=\"https:\/\/artaria.naxosmusiclibrary.com\/embedded\/player\/track?s=RM7091_009\"\u003e\u003c\/iframe\u003e","brand":"Naxos Publishing","offers":[{"title":"PDF Download (Score)","offer_id":44532787544241,"sku":"PB038-PDF","price":21.0,"currency_code":"USD","in_stock":true},{"title":"Hire performance material","offer_id":15752438087769,"sku":"PB038-HIRE","price":26.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0033\/9273\/3273\/products\/PB038_Debussy_Prelude_No.21_FS_Page_1_afa037c7-f370-4396-893f-83df6a8b428d.png?v=1539765374"},{"product_id":"claude-debussy-peter-breiner-24-preludes-no-22-canope","title":"Claude Debussy: 24 Préludes, No. 22: Canope – arranged by Peter Breiner (PB039)","description":"\u003cp\u003eSheet music edition. Choose your format from the selection above.\u003c\/p\u003e\n\u003cp\u003e4 pages\u003cbr\u003e\nDuration: 2:40m\u003cbr\u003e\nInstrumentation: 4, 2+1, 4, 2 – 4, 2, 0, 1 – perc  - hp - str.\u003c\/p\u003e\n\n\u003cp\u003eAs a composer Debussy must be regarded as one of the most important and influential figures of the earlier twentieth century. His musical language suggested new paths to be further explored, while his poetic and sensitive use of the orchestra and of keyboard textures opened still more possibilities. His opera Pelléas et Mélisande and his songs demonstrated a deep understanding of poetic language, revealed by his music, expressed in terms that are never overstated or exaggerated.\u003c\/p\u003e\n\n\u003cp\u003eDebussy’s poetic sensibility and his delicate use of keyboard nuances, developed from Chopin, is shown clearly enough in the two books of Préludes, the first completed in 1910 and the second in 1913. For the present recording the Slovak-born composer Peter Breiner has orchestrated the pieces, revealing even more of the latent intricacies of the Préludes, hidden inner melodies made subtly evident in orchestral guise. The Préludes were originally published with titles given only at the end of each piece, suggesting that these were not absolutely essential to the performer. Danseuses de Delphes (Dancers of Delphi), a title that suggests the influence of Satie, was inspired by a caryatid seen at the Louvre. Marked Lent et grave, the mystery of Delphi is solemnly evoked in a series of chords that make clear the static nature of the dancers at the oracle. This is followed by Voiles (Sails), which carries the direction Dans un rythme sans rigueur et caressant, a characteristic depiction of a calm and distant seascape, although the title may also mean ‘Veils’. It makes typical use of Debussy’s original harmonic idiom and the whole-tone scale. The third Prélude, Le vent dans la plaine (The wind on the plain), offers a delicate tissue of sound, reaching a climax before finally dying away to a sustained final note. “Les sons et les parfums tournent dans l’air du soir” is suggested by Baudelaire’s poem Harmonie du soir (Evening Harmony):\u003c\/p\u003e\n\n\u003cp\u003eVoici venir les temps où vibrant sur sa tige Chaque fleur s’évapore ainsi qu’un encensoir;\u003cbr\u003e\nLes sons et les parfums tournent dans l’air du soir; Valse mélancolique et langoureux vertige!\u003cbr\u003e\n(Here comes the time when, quivering on its stem, every flower melts away to vapour like a censer; sounds and scents turn in the evening air;\u003cbr\u003e\nsad waltz and languorous dizziness!)\u003c\/p\u003e\n\n\u003cp\u003eThe poetic association with Baudelaire indicates something of the mood of the piece, with its the final suggestions of a distant horn-call. Les collines d’Anacapri (The hills of Anacapri) is allusive in its depiction, with inner melodies now further clarified, while Des pas sur la neige (Footprints on the snow) offers a cold, snow-covered landscape, suggested by the recurrent rhythmic figure, which, as the composer directs, should be the musical equivalent of a sad and frozen countryside, an image that, in language at least, must suggest Verlaine’s Dans le vieu parc, solitaire et glacé\/Deux formes ont tout à l’heure passé (In the old park, lonely and frozen, two forms have just passed), the last of the Fêtes galantes that Debussy had set on various earlier occasions.\u003c\/p\u003e\n\n\u003cp\u003eThe mood changes with the menacing and stormy Ce qu’a vu le vent d’ouest (What the west wind has seen), followed by the gently expressive portrait of La fille aux cheveux de lin (The girl with flaxen hair), one of the most familiar of the Préludes, variously transcribed. La sérénade interrompue (The interrupted serenade) opens with a passage suggesting the preparation of the guitar for playing, an introduction to what follows, with rapidly repeated notes evoking the same instrument and Spain, the country with which it is generally associated. La cathédrale engloutie (The submerged Cathedral) returns to medieval France, with harmonies and modal writing derived from early organum, a device used at the opening of Pelléas. The textures evoke through the sea-mist the mystery of the ancient cathedral of Ys, its chant and the sound of its bells, drowned now beneath the waves that have engulfed it long since, according to legend. A mood of a very different kind is embodied in La danse de Puck (Puck’s dance), capricious and light-footed, presumably inspired by the Robin Good- fellow of Shakespeare’s A Midsummer Night’s Dream rather than Kipling’s creation, although it seems that Debussy was also familiar with the latter. The First Book ends with Minstrels, inspired, it has been said, by a black street-band that Debussy had heard in Eastbourne in 1905.\u003c\/p\u003e\n\n\u003cp\u003eIt seems that Debussy was determined to complete two books of twelve Préludes each. Apparently he regarded these as of uneven quality, a judgement in which others have concurred, and was apparently not happy to have them played one after the other. Nevertheless the two books of Préludes do make two effective and coherent wholes, whatever the composer’s original intentions, with the heart of each book at its very centre. The Second Book opens with Brouillards (Mists), in which some have seen the counterpart of paintings by Whistler or even by Turner. Feuilles mortes (Dead leaves) is marked Lent et mélancolique (Slow and melancholy) and is autumnal in its colours. The atmosphere is at once lightened by La Puerta del Vino (The Wine Gate), a habanera suggested by a postcard from Manuel de Falla showing the Alhambra gateway of the title. Debussy’s wide terms of extra-musical association appear again in “Les fées sont d’exquises danseuses” (“The Fairies are exquisite dancers”), its title apparently quoted from J. M. Barrie’s Peter Pan in Kensington, a book given to Debussy’s daughter Emma-Claude, known as Chou-Chou, with illustrations by Arthur Rackham. It was an illustration that gave the Prélude its title and character. Bruyères (Heaths), calm and gently expressive, paints a gentle picture of the open country, while General Lavine – eccentric, offers a cake-walk, depicting the American clown Edward Lavine, who appeared at the Marigny Theatre in the Champs-Elysées in 1910 and 1912.\u003c\/p\u003e\n\n\u003cp\u003eLa terrasse des audiences du clair de lune (The terrace of the audiences of moonlight) adapts a newspaper account of the coronation of King George V as Emperor of India, en- dowing the words of the report with an air of oriental mystery. With Ondine, the mermaid whose love of a mortal, who betrays her, brings him disaster, is again inspired by an Arthur Rackham illustration to a translation of Friedrich de la Motte Fouqué’s fairy-story Undine. Hommage à S. Pickwick Esq. P. P. M. P. C. is a tribute to Samuel Pickwick, the subsequent letters presumably standing for Perpetual President Member of the Pickwick Club. The English national anthem is heard below, as the piece opens, although what follows suggests the intrusion of Sam Weller in livelier adventures. Canope, very calm and gently sad, with its title an allusion to ancient Egypt, makes subtle use of the resonances implicit in the overtone series. It is followed by Les tierces alternées (Alternating thirds), the only Prélude with a title that only indicates its musical substance, originally a study in rapid thirds, but here with figuration adapted for the orchestra. The Préludes, now an orchestral showpiece, end with Feux d’artifice (Fireworks), a display of fireworks, suggesting a celebration in some city park, which allows, before the end, the distant sound of a fragment of the Marseillaise to be heard.\u003c\/p\u003e\n\n\u003cp\u003eKeith Anderson\u003c\/p\u003e\n\u003chr\u003e\u003cp\u003eAudio Sample\u003c\/p\u003e\u003ciframe frameborder=\"0\" style=\"overflow:hidden\" scrolling=\"no\" width=\"100%\" height=\"50\" src=\"https:\/\/artaria.naxosmusiclibrary.com\/embedded\/player\/track?s=RM7091_010\"\u003e\u003c\/iframe\u003e","brand":"Naxos Publishing","offers":[{"title":"PDF Download (Score)","offer_id":44532787511473,"sku":"PB039-PDF","price":21.0,"currency_code":"USD","in_stock":true},{"title":"Hire performance material","offer_id":15752458076249,"sku":"PB039-HIRE","price":26.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0033\/9273\/3273\/products\/PB039_Debussy_Prelude_No.22_FS_Page_1_4b58acf1-2e9b-4b9b-8183-752286e4ff99.png?v=1540375053"},{"product_id":"claude-debussy-peter-breiner-24-preludes-no-23-les-tierces-alternees","title":"Claude Debussy: 24 Préludes, No. 23: Les tierces alternées – arranged by Peter Breiner (PB040)","description":"\u003cp\u003eSheet music edition. Choose your format from the selection above.\u003c\/p\u003e\n\u003cp\u003e14 pages\u003cbr\u003e\nDuration: 3m\u003cbr\u003e\nInstrumentation: 2, 2, 2, 2 – 4, 0, 0, 0 – perc - cel – str.\u003c\/p\u003e\n\n\u003cp\u003eAs a composer Debussy must be regarded as one of the most important and influential figures of the earlier twentieth century. His musical language suggested new paths to be further explored, while his poetic and sensitive use of the orchestra and of keyboard textures opened still more possibilities. His opera Pelléas et Mélisande and his songs demonstrated a deep understanding of poetic language, revealed by his music, expressed in terms that are never overstated or exaggerated.\u003c\/p\u003e\n\n\u003cp\u003eDebussy’s poetic sensibility and his delicate use of keyboard nuances, developed from Chopin, is shown clearly enough in the two books of Préludes, the first completed in 1910 and the second in 1913. For the present recording the Slovak-born composer Peter Breiner has orchestrated the pieces, revealing even more of the latent intricacies of the Préludes, hidden inner melodies made subtly evident in orchestral guise. The Préludes were originally published with titles given only at the end of each piece, suggesting that these were not absolutely essential to the performer. Danseuses de Delphes (Dancers of Delphi), a title that suggests the influence of Satie, was inspired by a caryatid seen at the Louvre. Marked Lent et grave, the mystery of Delphi is solemnly evoked in a series of chords that make clear the static nature of the dancers at the oracle. This is followed by Voiles (Sails), which carries the direction Dans un rythme sans rigueur et caressant, a characteristic depiction of a calm and distant seascape, although the title may also mean ‘Veils’. It makes typical use of Debussy’s original harmonic idiom and the whole-tone scale. The third Prélude, Le vent dans la plaine (The wind on the plain), offers a delicate tissue of sound, reaching a climax before finally dying away to a sustained final note. “Les sons et les parfums tournent dans l’air du soir” is suggested by Baudelaire’s poem Harmonie du soir (Evening Harmony):\u003c\/p\u003e\n\n\u003cp\u003eVoici venir les temps où vibrant sur sa tige Chaque fleur s’évapore ainsi qu’un encensoir;\u003cbr\u003e\nLes sons et les parfums tournent dans l’air du soir; Valse mélancolique et langoureux vertige!\u003cbr\u003e\n(Here comes the time when, quivering on its stem, every flower melts away to vapour like a censer; sounds and scents turn in the evening air;\u003cbr\u003e\nsad waltz and languorous dizziness!)\u003c\/p\u003e\n\n\u003cp\u003eThe poetic association with Baudelaire indicates something of the mood of the piece, with its the final suggestions of a distant horn-call. Les collines d’Anacapri (The hills of Anacapri) is allusive in its depiction, with inner melodies now further clarified, while Des pas sur la neige (Footprints on the snow) offers a cold, snow-covered landscape, suggested by the recurrent rhythmic figure, which, as the composer directs, should be the musical equivalent of a sad and frozen countryside, an image that, in language at least, must suggest Verlaine’s Dans le vieu parc, solitaire et glacé\/Deux formes ont tout à l’heure passé (In the old park, lonely and frozen, two forms have just passed), the last of the Fêtes galantes that Debussy had set on various earlier occasions.\u003c\/p\u003e\n\n\u003cp\u003eThe mood changes with the menacing and stormy Ce qu’a vu le vent d’ouest (What the west wind has seen), followed by the gently expressive portrait of La fille aux cheveux de lin (The girl with flaxen hair), one of the most familiar of the Préludes, variously transcribed. La sérénade interrompue (The interrupted serenade) opens with a passage suggesting the preparation of the guitar for playing, an introduction to what follows, with rapidly repeated notes evoking the same instrument and Spain, the country with which it is generally associated. La cathédrale engloutie (The submerged Cathedral) returns to medieval France, with harmonies and modal writing derived from early organum, a device used at the opening of Pelléas. The textures evoke through the sea-mist the mystery of the ancient cathedral of Ys, its chant and the sound of its bells, drowned now beneath the waves that have engulfed it long since, according to legend. A mood of a very different kind is embodied in La danse de Puck (Puck’s dance), capricious and light-footed, presumably inspired by the Robin Good- fellow of Shakespeare’s A Midsummer Night’s Dream rather than Kipling’s creation, although it seems that Debussy was also familiar with the latter. The First Book ends with Minstrels, inspired, it has been said, by a black street-band that Debussy had heard in Eastbourne in 1905.\u003c\/p\u003e\n\n\u003cp\u003eIt seems that Debussy was determined to complete two books of twelve Préludes each. Apparently he regarded these as of uneven quality, a judgement in which others have concurred, and was apparently not happy to have them played one after the other. Nevertheless the two books of Préludes do make two effective and coherent wholes, whatever the composer’s original intentions, with the heart of each book at its very centre. The Second Book opens with Brouillards (Mists), in which some have seen the counterpart of paintings by Whistler or even by Turner. Feuilles mortes (Dead leaves) is marked Lent et mélancolique (Slow and melancholy) and is autumnal in its colours. The atmosphere is at once lightened by La Puerta del Vino (The Wine Gate), a habanera suggested by a postcard from Manuel de Falla showing the Alhambra gateway of the title. Debussy’s wide terms of extra-musical association appear again in “Les fées sont d’exquises danseuses” (“The Fairies are exquisite dancers”), its title apparently quoted from J. M. Barrie’s Peter Pan in Kensington, a book given to Debussy’s daughter Emma-Claude, known as Chou-Chou, with illustrations by Arthur Rackham. It was an illustration that gave the Prélude its title and character. Bruyères (Heaths), calm and gently expressive, paints a gentle picture of the open country, while General Lavine – eccentric, offers a cake-walk, depicting the American clown Edward Lavine, who appeared at the Marigny Theatre in the Champs-Elysées in 1910 and 1912.\u003c\/p\u003e\n\n\u003cp\u003eLa terrasse des audiences du clair de lune (The terrace of the audiences of moonlight) adapts a newspaper account of the coronation of King George V as Emperor of India, en- dowing the words of the report with an air of oriental mystery. With Ondine, the mermaid whose love of a mortal, who betrays her, brings him disaster, is again inspired by an Arthur Rackham illustration to a translation of Friedrich de la Motte Fouqué’s fairy-story Undine. Hommage à S. Pickwick Esq. P. P. M. P. C. is a tribute to Samuel Pickwick, the subsequent letters presumably standing for Perpetual President Member of the Pickwick Club. The English national anthem is heard below, as the piece opens, although what follows suggests the intrusion of Sam Weller in livelier adventures. Canope, very calm and gently sad, with its title an allusion to ancient Egypt, makes subtle use of the resonances implicit in the overtone series. It is followed by Les tierces alternées (Alternating thirds), the only Prélude with a title that only indicates its musical substance, originally a study in rapid thirds, but here with figuration adapted for the orchestra. The Préludes, now an orchestral showpiece, end with Feux d’artifice (Fireworks), a display of fireworks, suggesting a celebration in some city park, which allows, before the end, the distant sound of a fragment of the Marseillaise to be heard.\u003c\/p\u003e\n\n\u003cp\u003eKeith Anderson\u003c\/p\u003e\n\u003chr\u003e\u003cp\u003eAudio Sample\u003c\/p\u003e\u003ciframe frameborder=\"0\" style=\"overflow:hidden\" scrolling=\"no\" width=\"100%\" height=\"50\" src=\"https:\/\/artaria.naxosmusiclibrary.com\/embedded\/player\/track?s=RM7091_011\"\u003e\u003c\/iframe\u003e","brand":"Naxos Publishing","offers":[{"title":"PDF Download (Score)","offer_id":44532787445937,"sku":"PB040-PDF","price":21.0,"currency_code":"USD","in_stock":true},{"title":"Hire performance material","offer_id":15752490156121,"sku":"PB040-HIRE","price":26.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0033\/9273\/3273\/products\/PB040_Debussy_Prelude_No.23_FS_Page_01_cd61de47-e40a-4f9b-9fac-c8e7c51d4731.png?v=1539765330"},{"product_id":"claude-debussy-peter-breiner-24-preludes-no-24-feux-d-artifice","title":"Claude Debussy: 24 Préludes, No. 24: Feux d’artifice – arranged by Peter Breiner (PB041)","description":"\u003cp\u003eSheet music edition. Choose your format from the selection above.\u003c\/p\u003e\n\u003cp\u003e19 pages\u003cbr\u003e\nDuration: 5m\u003cbr\u003e\nInstrumentation: 2+1, 2+1, 3d1, 2 – 4, 4, 3, 1 – timp - perc  - cel - 2hp - str.\u003c\/p\u003e\n\n\u003cp\u003eAs a composer Debussy must be regarded as one of the most important and influential figures of the earlier twentieth century. His musical language suggested new paths to be further explored, while his poetic and sensitive use of the orchestra and of keyboard textures opened still more possibilities. His opera Pelléas et Mélisande and his songs demonstrated a deep understanding of poetic language, revealed by his music, expressed in terms that are never overstated or exaggerated.\u003c\/p\u003e\n\n\u003cp\u003eDebussy’s poetic sensibility and his delicate use of keyboard nuances, developed from Chopin, is shown clearly enough in the two books of Préludes, the first completed in 1910 and the second in 1913. For the present recording the Slovak-born composer Peter Breiner has orchestrated the pieces, revealing even more of the latent intricacies of the Préludes, hidden inner melodies made subtly evident in orchestral guise. The Préludes were originally published with titles given only at the end of each piece, suggesting that these were not absolutely essential to the performer. Danseuses de Delphes (Dancers of Delphi), a title that suggests the influence of Satie, was inspired by a caryatid seen at the Louvre. Marked Lent et grave, the mystery of Delphi is solemnly evoked in a series of chords that make clear the static nature of the dancers at the oracle. This is followed by Voiles (Sails), which carries the direction Dans un rythme sans rigueur et caressant, a characteristic depiction of a calm and distant seascape, although the title may also mean ‘Veils’. It makes typical use of Debussy’s original harmonic idiom and the whole-tone scale. The third Prélude, Le vent dans la plaine (The wind on the plain), offers a delicate tissue of sound, reaching a climax before finally dying away to a sustained final note. “Les sons et les parfums tournent dans l’air du soir” is suggested by Baudelaire’s poem Harmonie du soir (Evening Harmony):\u003c\/p\u003e\n\n\u003cp\u003eVoici venir les temps où vibrant sur sa tige Chaque fleur s’évapore ainsi qu’un encensoir;\u003cbr\u003e\nLes sons et les parfums tournent dans l’air du soir; Valse mélancolique et langoureux vertige!\u003cbr\u003e\n(Here comes the time when, quivering on its stem, every flower melts away to vapour like a censer; sounds and scents turn in the evening air;\u003cbr\u003e\nsad waltz and languorous dizziness!)\u003c\/p\u003e\n\n\u003cp\u003eThe poetic association with Baudelaire indicates something of the mood of the piece, with its the final suggestions of a distant horn-call. Les collines d’Anacapri (The hills of Anacapri) is allusive in its depiction, with inner melodies now further clarified, while Des pas sur la neige (Footprints on the snow) offers a cold, snow-covered landscape, suggested by the recurrent rhythmic figure, which, as the composer directs, should be the musical equivalent of a sad and frozen countryside, an image that, in language at least, must suggest Verlaine’s Dans le vieu parc, solitaire et glacé\/Deux formes ont tout à l’heure passé (In the old park, lonely and frozen, two forms have just passed), the last of the Fêtes galantes that Debussy had set on various earlier occasions.\u003c\/p\u003e\n\n\u003cp\u003eThe mood changes with the menacing and stormy Ce qu’a vu le vent d’ouest (What the west wind has seen), followed by the gently expressive portrait of La fille aux cheveux de lin (The girl with flaxen hair), one of the most familiar of the Préludes, variously transcribed. La sérénade interrompue (The interrupted serenade) opens with a passage suggesting the preparation of the guitar for playing, an introduction to what follows, with rapidly repeated notes evoking the same instrument and Spain, the country with which it is generally associated. La cathédrale engloutie (The submerged Cathedral) returns to medieval France, with harmonies and modal writing derived from early organum, a device used at the opening of Pelléas. The textures evoke through the sea-mist the mystery of the ancient cathedral of Ys, its chant and the sound of its bells, drowned now beneath the waves that have engulfed it long since, according to legend. A mood of a very different kind is embodied in La danse de Puck (Puck’s dance), capricious and light-footed, presumably inspired by the Robin Good- fellow of Shakespeare’s A Midsummer Night’s Dream rather than Kipling’s creation, although it seems that Debussy was also familiar with the latter. The First Book ends with Minstrels, inspired, it has been said, by a black street-band that Debussy had heard in Eastbourne in 1905.\u003c\/p\u003e\n\n\u003cp\u003eIt seems that Debussy was determined to complete two books of twelve Préludes each. Apparently he regarded these as of uneven quality, a judgement in which others have concurred, and was apparently not happy to have them played one after the other. Nevertheless the two books of Préludes do make two effective and coherent wholes, whatever the composer’s original intentions, with the heart of each book at its very centre. The Second Book opens with Brouillards (Mists), in which some have seen the counterpart of paintings by Whistler or even by Turner. Feuilles mortes (Dead leaves) is marked Lent et mélancolique (Slow and melancholy) and is autumnal in its colours. The atmosphere is at once lightened by La Puerta del Vino (The Wine Gate), a habanera suggested by a postcard from Manuel de Falla showing the Alhambra gateway of the title. Debussy’s wide terms of extra-musical association appear again in “Les fées sont d’exquises danseuses” (“The Fairies are exquisite dancers”), its title apparently quoted from J. M. Barrie’s Peter Pan in Kensington, a book given to Debussy’s daughter Emma-Claude, known as Chou-Chou, with illustrations by Arthur Rackham. It was an illustration that gave the Prélude its title and character. Bruyères (Heaths), calm and gently expressive, paints a gentle picture of the open country, while General Lavine – eccentric, offers a cake-walk, depicting the American clown Edward Lavine, who appeared at the Marigny Theatre in the Champs-Elysées in 1910 and 1912.\u003c\/p\u003e\n\n\u003cp\u003eLa terrasse des audiences du clair de lune (The terrace of the audiences of moonlight) adapts a newspaper account of the coronation of King George V as Emperor of India, en- dowing the words of the report with an air of oriental mystery. With Ondine, the mermaid whose love of a mortal, who betrays her, brings him disaster, is again inspired by an Arthur Rackham illustration to a translation of Friedrich de la Motte Fouqué’s fairy-story Undine. Hommage à S. Pickwick Esq. P. P. M. P. C. is a tribute to Samuel Pickwick, the subsequent letters presumably standing for Perpetual President Member of the Pickwick Club. The English national anthem is heard below, as the piece opens, although what follows suggests the intrusion of Sam Weller in livelier adventures. Canope, very calm and gently sad, with its title an allusion to ancient Egypt, makes subtle use of the resonances implicit in the overtone series. It is followed by Les tierces alternées (Alternating thirds), the only Prélude with a title that only indicates its musical substance, originally a study in rapid thirds, but here with figuration adapted for the orchestra. The Préludes, now an orchestral showpiece, end with Feux d’artifice (Fireworks), a display of fireworks, suggesting a celebration in some city park, which allows, before the end, the distant sound of a fragment of the Marseillaise to be heard.\u003c\/p\u003e\n\n\u003cp\u003eKeith Anderson\u003c\/p\u003e\n\u003chr\u003e\u003cp\u003eAudio Sample\u003c\/p\u003e\u003ciframe frameborder=\"0\" style=\"overflow:hidden\" scrolling=\"no\" width=\"100%\" height=\"50\" src=\"https:\/\/artaria.naxosmusiclibrary.com\/embedded\/player\/track?s=RM7091_012\"\u003e\u003c\/iframe\u003e","brand":"Naxos Publishing","offers":[{"title":"PDF Download (Score)","offer_id":44532787380401,"sku":"PB041-PDF","price":29.0,"currency_code":"USD","in_stock":true},{"title":"Hire performance material","offer_id":15752511946841,"sku":"PB041-HIRE","price":36.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0033\/9273\/3273\/products\/PB041_Debussy_Prelude_No.24_FS_Page_01_a88dafd2-0939-4472-9650-5507952ce2ac.png?v=1539765304"},{"product_id":"leos-janacek-peter-breiner-the-excursions-of-mr-broucek-suite","title":"Leoš Janáček: The Excursions of Mr Brouček Suite – arranged by Peter Breiner (PB044)","description":"\u003cp\u003eSheet music edition. Choose your format from the selection above.\u003c\/p\u003e\n\u003cp\u003e121 pages\u003cbr\u003e\nDuration: 39m\u003cbr\u003e\nInstrumentation: 4, 2+1, 2+1, 2+1 - 4, 3, 3, 1 - timp + perc - hp - cel - str\u003c\/p\u003e\n\n\u003cp\u003eThe Excursions of Mr Brouček finds Janáček dealing with a comic story of a drunken landlord. This satirical view of the Czech Everyman was the creation of the nationalist writer Svatopluk Čech Janáček read Výlet pana Broučka do Měsíce (The Excursion of Mr Brouček to the Moon) when it was first published in 1888 and the composer later reprinted part of the story in his musical journal. After the disappointment of Jenůfa, and his floundering opera Osud, Janáček sought to change his dramatic approach and cast his mind back to Matěj Brouček. He is a drunk, bumbling figure who somehow finds himself transported to the Moon – a place dominated by pretentious artistic types. Subsequently he is taken back to the fifteenth century, where he becomes embroiled in nationalistic wars. Over the course of this esoteric opera, Brouček reveals himself as nothing but an oaf and a coward.\u003c\/p\u003e\n\n\u003cp\u003eThe suite, largely comprised of sections from the first ‘excursion’ to the Moon, is introduced by the musical depiction of Matěj Brouček’s name, spelled out clearly by the horns and trumpets. We first meet our eponymous lout on a peaceful moon-filled evening in Prague, with lush strings in counterpoint with the dogmatic punctuation of the woodwind. Brouček is staggering home and overhears the lovers Málinka and Mazal; their characters are clearly discernible through the orchestral textures. Life on earth is too much for Brouček and he decides to journey to the moon, depicted in the second movement’s spectral opening bars. Disappointment greets Brouček, however, who is horrified to discover that, despite the many beauties of the Moon, it is populated by the artistic and intellectual avant- garde. The third movement sees Janáček testing his orchestral dexterity with a series of moon dances, which take place in the Lunar Palace of Arts. Like the moon characters themselves, who strongly resemble some of Brouček’s acquaintances back home, the dances are thoroughly imbued with Czech spirit. Earth is more Brouček’s kind of place and he returns whence he came, eventually carried home by his neighbours in a barrel.\u003c\/p\u003e\n\n\u003cp\u003eThe final movement draws its inspiration from the music of the fifteenth-century ‘excursion’ which, despite Brouček’s presence, is a much more serious affair. Fifteenth- century Prague is under siege from the armies of the Holy Roman Empire and Brouček is drawn into the mire. The heraldic brass start a triumphant ‘dance’ of victory as the Czech national fighters suppress outside forces. The people celebrate victory with a hymn (based on the Hussite Chorale ‘Kdož jsou Boží bojovníci’, which also appears in Smetana’s Má vlast), but there have been deaths and their effect is sobering. Brouček is discovered in hiding and accused of treachery. Rather appropriately, he is sentenced to death, again in a beer barrel. Although the opera ends with Brouček claiming that he saved Prague ‘single-handed’, the Suite ends in a glorious encapsulation of the true victory music, rounding off this depiction of Janáček’s capricious but beautiful nationalist opera. Those heraldic tones would have had singular resonance for the new nation of Czechoslovakia in which The Excursions of Mr Brouček had its première in April 1920. By that time too, his peers finally regarded Janáček as a great composer.\u003c\/p\u003e\n\u003chr\u003e\u003cp\u003eAudio Sample\u003c\/p\u003e\u003ciframe frameborder=\"0\" style=\"overflow:hidden\" scrolling=\"no\" width=\"100%\" height=\"50\" src=\"https:\/\/artaria.naxosmusiclibrary.com\/embedded\/player\/work?s=220339\"\u003e\u003c\/iframe\u003e","brand":"Naxos Publishing","offers":[{"title":"Printed score","offer_id":44532787314865,"sku":"PB044","price":102.0,"currency_code":"USD","in_stock":false},{"title":"PDF Download (Score)","offer_id":44532787347633,"sku":"PB044-PDF","price":82.0,"currency_code":"USD","in_stock":false},{"title":"Hire performance material","offer_id":15752547074137,"sku":"PB044-HIRE","price":102.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0033\/9273\/3273\/products\/PB044_Janacek_Broucek_FS_Page_001_46bdf3d8-7430-4e6b-a855-bb1cf1a39679.png?v=1539765281"},{"product_id":"leos-janacek-peter-breiner-from-the-house-of-the-dead-suite","title":"Leoš Janáček: From The House of the Dead Suite – arranged by Peter Breiner (PB045)","description":"\u003cp\u003eSheet music edition. Choose your format from the selection above.\u003c\/p\u003e\n\u003cp\u003e152 pages\u003cbr\u003e Duration: 35m\u003cbr\u003e Instrumentation: 3+1, 2+1, 3, 2+1 - 4.3.3.1 - euph - timp + perc - str\u003c\/p\u003e\n\u003cp\u003eDostoevsky’s fictionalised account of his time in a remote Siberian prison shares with Těsnohlídek’s Cunning Little Vixen a preoccupation with freedom and mortality. In an ‘open letter’ from 12th February 1927 Janáček expressed his need to ‘go right to the truth’ in his next work. For a man who plundered his local newspaper for possible subjects for operas and song cycles, Janáček’s choice of Dostoevsky’s fictionalised account of his prison life in Siberia is not uncharacteristic. Dostoevsky was exiled there as a result of his involvement in a politically liberal organization and his subsequent memoirs are a precursor of reportage. The text itself is a mixture of vignettes, where no individual, even the prisoner Gorjančikov who arrives at the beginning of the drama, has centre stage. Not following a direct narrative line, this opera is markedly different from Janáček’s previous works; these are only representative scenes from a much larger drama. As with The Cunning Little Vixen, however, Janáček approaches this world with a richly symphonic language, more sparse than the bucolic romanticism of The Vixen, but equally redolent in its use of telling motifs and descriptive language.\u003c\/p\u003e\n\u003cp\u003eThe caustic sound world of Janáček’s final opera is immediately apparent in the bitter overture, which forms the first movement of the suite. Originally conceived as a violin concerto (and initially entitled ‘The pilgrimage of a little soul’), this strident opening theme, replete with the sounds of chains, is an immediate entry into the bleak world of the Siberian penal system. The second movement follows the music as the curtain rises, with the prisoners arriving from the barracks, washing and eating. Despite the cruelty of their situation (with the omnipresent sound of the chains), a rising ‘motto’ theme portends freedom (or at least some spiritual release). Again following the topic of liberty, the third movement is based around music in the second act, when the prisoners celebrate a religious feast. The jangle of bells and the dancing nature of the music create a dialogue with the unpleasant growl of the lower brass. The next two movements describe two important scenes in the drama, the first where a vindictive prisoner wounds a young tartar boy Alyeya, who is very dear to many of the prisoners. The second when the prisoners perform two plays on a makeshift stage, one called Kedril and Don Juan, the other The Miller’s Beautiful Wife. This ribald drama represents another false dawn of freedom for the prisoners, one of whom goes off with a prostitute after the festivities are finished. The last movement is based around the third and final act. Beginning with Alyeya’s recovery in the prison hospital, we hear a poignant exchange between him and Gorjančikov.While Alyeya recovers fully and Gorjančikov is released (mirrored in the flight of an eagle with a broken wing that the prisoners have been helping to heal), any sense of resolution is brief as the remaining inmates are ordered back to their work. As a final statement on the human condition, From the House of the Dead is a distinctly pessimistic contradiction of the glorious pantheistic message of The Cunning Little Vixen. Facing old age, and probably coming to the realisation that he was facing the end himself, Janáček was unwilling to leave behind a glib and clear-cut moral message.\u003c\/p\u003e\n\u003chr\u003e\u003cp\u003eAudio Sample\u003c\/p\u003e\u003ciframe frameborder=\"0\" style=\"overflow:hidden\" scrolling=\"no\" width=\"100%\" height=\"50\" src=\"https:\/\/artaria.naxosmusiclibrary.com\/embedded\/player\/work?s=304219\"\u003e\u003c\/iframe\u003e","brand":"Naxos Publishing","offers":[{"title":"Printed score","offer_id":44532787216561,"sku":"PB045","price":154.0,"currency_code":"USD","in_stock":false},{"title":"PDF Download (Score)","offer_id":44532787249329,"sku":"PB045-PDF","price":124.0,"currency_code":"USD","in_stock":false},{"title":"Hire performance material","offer_id":15752569815129,"sku":"PB045-HIRE","price":154.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0033\/9273\/3273\/products\/PB045_Janacek_House_of_the_Dead_FS_Page_001_f240c781-6d44-4e0f-b433-2be642140578.png?v=1539765258"},{"product_id":"leos-janacek-peter-breiner-jenufa-suite","title":"Leoš Janáček: Jenůfa Suite – arranged by Peter Breiner (PB046)","description":"\u003cp\u003eSheet music edition. Choose your format from the selection above.\u003c\/p\u003e\n\u003cp\u003e129 pages\u003cbr\u003e\nDuration: 31m\u003cbr\u003e\nInstrumentation: 2+1, 2+1, 2+1, 2 - 4, 4, 2, 1 - timp + perc - hp - str\u003c\/p\u003e\n\n\u003cp\u003eWhen Jenůfa had its première in Brno in 1904, Janáček was already fifty. His slim output was unknown, but the composer was already highly regarded in Brno as a talented conductor, critic, teacher and ethnomusicologist. In 1881 he founded a college of organists there, which he directed until 1920, and established a strong foundation for musical education with an orchestra and instrumental classes. In 1884 the Provisional Czech Theatre opened and Janáček started a musicological journal in which he reviewed the theatre’s modest repertoire of performances. Inspired or at least spurred by what he saw and heard, he began to write his own stage works. Despite initial false starts, Jenůfa was a major achievement. The startling play by Gabriela Preissová that he chose as the inspiration for the opera follows the unfortunate life of Jenůfa, a village girl who lives with her stepmother, called the Kostelnička. Jenůfa is pregnant with her cousin Števa’s child and is fearful that he will be conscripted into the army and her pregnancy will be discovered. The Kostelnička hides Jenůfa away and begs Števa to look after Jenůfa, but he is spineless and shirks his responsibility. Števa’s half-brother Laca remains their only hope and rashly Kostelnička tells Laca that the baby has died. She acts quickly and drowns the baby in the millstream, telling Jenůfa that the baby passed away when she was unwell. It is only on Laca and Jenůfa’s wedding- day that the truth finally comes out and Kostelnička is taken away for trial. Laca promises to look after Jenůfa and, despite everything, she realises that God has smiled on them.\u003c\/p\u003e\n\n\u003cp\u003eJanáček matches this desperate tale with a wildly emotional score. Calling on Moravian folk-music and an imitation of the rhythms of Czech speech, Janáček’s sound-world is rough-hewn and beautiful. Peter Breiner’s orchestral suite charts the entire span of the opera, starting with the evocative sound of the mill, indicated by the tapping of a xylophone. We realise, through the shifting harmonies, that all is not well. The second movement, a riotous dance, is taken from the scene in which Jenůfa’s beloved Števa returns celebrating his avoidance of conscription. It represents one of the few moments of happiness in the opera, but that joy is not unbridled, and the suite moves seamlessly into music taken from the wise words of Jenůfa’s grandmother (endorsed by the whole community) that every couple have their own problems. The third movement brings us to the preparations for Laca and Jenůfa’s wedding, although the ominous rumbling from the opening of the suite returns and, as if in flashback, we move to the introduction to the second act when Kostelnička commits her crime, a trick that the highly cinematic Janáček would have relished. Again in flashback we return to Števa’s drunken antics and the song ‘Daleko široko’ with slurring brass mimicking his behaviour, preceded by a plangent violin solo, heavy with Jenůfa’s predicament. The next movement returns us to Laca and Jenůfa’s wedding with a jolly bridesmaids’ song, moving to Grandmother’s blessing. The contentment is short-lived and the events of the previous two acts reach their zenith in the adumbration of the discovery of Jenůfa’s baby in the millstream and the villagers subsequently turning on the Buryja family. The last movement charts Laca and Jenůfa’s final moments, facing the challenge of their future life. It sees Janáček at his most lyrical, the belligerent mill tapping now calmed to the ululating harp with long-spun melodies high in the texture in a numinous coda.\u003c\/p\u003e\n\u003chr\u003e\u003cp\u003eAudio Sample\u003c\/p\u003e\u003ciframe frameborder=\"0\" style=\"overflow:hidden\" scrolling=\"no\" width=\"100%\" height=\"50\" src=\"https:\/\/artaria.naxosmusiclibrary.com\/embedded\/player\/work?s=220338\"\u003e\u003c\/iframe\u003e","brand":"Naxos Publishing","offers":[{"title":"Printed score","offer_id":44532787118257,"sku":"PB046","price":102.0,"currency_code":"USD","in_stock":false},{"title":"PDF Download (Score)","offer_id":44532787151025,"sku":"PB046-PDF","price":82.0,"currency_code":"USD","in_stock":false},{"title":"Hire performance material","offer_id":15752608251993,"sku":"PB046-HIRE","price":102.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0033\/9273\/3273\/products\/PB046_Janacek_Jenufa_FS_Page_001_0a0a949f-862c-46a6-bbdf-c2ad09720094.png?v=1539765232"},{"product_id":"leos-janacek-peter-breiner-kata-kabanova-suite","title":"Leoš Janáček: Kat'a Kabanova Suite – arranged by Peter Breiner (PB047)","description":"\u003cp\u003eSheet music edition. Choose your format from the selection above.\u003c\/p\u003e\n\u003cp\u003e133 pages\u003cbr\u003e\nDuration: 38m\u003cbr\u003e\nInstrumentation:  3+1, 2+1, 2+1, 2+1 - 4, 3, 3, 1 - timp + perc\u003c\/p\u003e\n\n\u003cp\u003eJanáček was desperate to write a new opera after the hard-earned success of Jenůfa and so turned to the Russian dramatist Ostrovsky’s tragedy The Storm, the main protagonist of which is called Káťa. Like Puccini and Tchaikovsky before him – two composers he held in the highest regard – Janáček hoped to write a lyrical romantic tragedy about the plight of a young woman. Janáček turned immediately to Puccini’s opera Madama Butterfly for inspiration. The composer first saw the opera in Prague in 1908, but revisited it again in Brno in December 1919. Soon after seeing it afresh, he began writing Káťa Kabanová. Káťa’s story is certainly as tragic as that of Puccini’s geisha. Stuck in a provincial town, Káťa becomes worried that she will cheat on her husband Tichon. Despite her plea to him not to go to market, her harsh mother-in-law sends him on his way. In Tichon’s absence, Káťa starts a relationship with Boris. The weight of this sin is too much for her to bear and she throws herself into the Volga.\u003c\/p\u003e\n\n\u003cp\u003eThe suite begins with the bleak overture to the opera in the dark key of B flat minor. The ominous eight beats on the timpani seem to signify something oddly fatalistic, pitted against the aching harmonies in the rest of the orchestra. A second theme (itself derived from the timpani motif), accompanied by sleigh bells, prefigures Tichon’s departure for market. The second movement is taken from music of the action of act one, beginning with the interlude between the two scenes. Janáček repeats several motifs here, but uses the harmony to indicate a change in the psychological circumstances, with the meek Káťa pitted against her hateful surroundings. More convivial music – taken from Káťa’s scene with her adopted sister Varvara – hints at something more hopeful, but we are quickly moved on into Tichon’s departure and the return of the ominous fate motif pitted against the sleigh bells. The momentum builds and a searing theme appears in the high strings, underpinned by the brass and woodwind, as Tichon departs and the tragedy is put in motion.\u003cbr\u003e\nA third movement takes us into the second act, and the preparations for Káťa’s meeting with Boris. The tension and passion mounts, describing the hot summer night on which Varvara and Kudrjáš, Káťa and Boris, have their brief moment of happiness. The fourth movement is largely given over to Kudrjáš’s teasing song about a spoiled girl who is constantly bought presents and to the touching melodies of their calls for Káťa and Boris to return home. The movement ends with the ecstatic close of the second act, a brief moment of passion in an otherwise bleak world.\u003c\/p\u003e\n\n\u003cp\u003eThe final movement concerns the storm proper, with the whirl of the cyclone spinning through the various sections of the orchestra. It was in Káťa Kabanová that Janáček really began to experiment with time, situating voices off stage and contracting and expanding timings for dramatic effect. As Káťa runs wildly off through the storm, we hear those distant echoes calling her toward her watery echo, all the time egged on by the defeatist timpani. After her outrageous confession, we find Káťa alone contemplating her fate, with her meek countenance coming through in the heartfelt music of her final meeting with Boris. It is another brief enclave of contentment and the suite ends with the staggeringly rapid death of Janáček’s ‘most beautiful and saddest’ of heroines. Her fate is sealed by one last blast from the timpani.\u003c\/p\u003e\n\u003chr\u003e\u003cp\u003eAudio Sample\u003c\/p\u003e\u003ciframe frameborder=\"0\" style=\"overflow:hidden\" scrolling=\"no\" width=\"100%\" height=\"50\" src=\"https:\/\/artaria.naxosmusiclibrary.com\/embedded\/player\/work?s=220340\"\u003e\u003c\/iframe\u003e","brand":"Naxos Publishing","offers":[{"title":"Printed score","offer_id":44532787052721,"sku":"PB047","price":132.0,"currency_code":"USD","in_stock":false},{"title":"PDF Download (Score)","offer_id":44532787085489,"sku":"PB047-PDF","price":106.0,"currency_code":"USD","in_stock":false},{"title":"Hire performance material","offer_id":15752642887769,"sku":"PB047-HIRE","price":132.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0033\/9273\/3273\/products\/PB047_Janacek_Kata_Kabanova_FS_Page_001_c813abe2-5907-4b89-9cfb-d31c678b2924.png?v=1539765208"},{"product_id":"leos-janacek-peter-breiner-makropulos-suite","title":"Leoš Janáček: Věc Makropulos Suite – arranged by Peter Breiner (PB048)","description":"\u003cp\u003eSheet music edition. Choose your format from the selection above.\u003c\/p\u003e\n\u003cp\u003e113 pages\u003cbr\u003e Duration: 32m\u003cbr\u003e Instrumentation: 3+1. 2+1. 2+1. 2+1 - 6.5.3.1 - timp + perc - hp - str\u003c\/p\u003e\n\u003cp\u003eKarel Čapek’s 1922 philosophical comedy about the 337-year-old opera-singer Emilia Marty (Elina Makropulos) struck Janáček as a possible opera text when he saw the play three weeks after its opening. Věc Makropulos (The Makropulos Case or Secret) concerns a legal fight over a document in which the secret of Emilia’s ageless beauty is revealed. Elina Makropulos, as she was originally called, is the daughter of an alchemist at the court of Emperor Rudolf II. Over three centuries she has been known and called by a variety of different names, taking vast numbers of lovers along the way. Given her great age, she is able to help the lawyers in the story to solve a generation-old legal wrangle, meantime, however, she is searching for the details of the potion so that she can extend her life again.\u003cbr\u003e The suite begins towards the end of the opera, after the secret of Marty’s agelessness has been discovered. The music is taken from the moment when Emilia Marty appears on stage for the last time. Although the heraldic call at the opening of the movement indicates some former glory, Marty is lonely and exasperated. The ominous thud of the timpani (a recurring trick in Janáček’s operas) indicates that death is near. The second movement is taken from the bustling overture, indicating the terrific scrabble around for legal documents in the first scene. Unlike the ending to the piece, this music has drive and pugnacity, with lyrical passages pitted against whirling repeated motifs (the rumble of the timpani is\u003cbr\u003e already in evidence). Janáček brilliantly encapsulates the psychological tenor of the opera in this virtuosic introduction.\u003c\/p\u003e\n\u003cp\u003eMore of the material from the first act forms the suite’s third movement, dominated by the arching four-note ‘Ma- kro-pu-los’ theme. Despite the ‘seriousness’ of the opera, Janáček rejoices in the piece’s absurdities, no more so than in the fourth movement where Count Hauk-Šendorf recalls his affair with Marty. The dotty aristocrat recognises Emilia as a gypsy woman called Eugenia Montez, with whom he had an affair in Andalusia; Janáček peppers his orchestration with ‘gypsy’ harmonies and castanets. The fifth movement is based around the duet between Gregor and Marty in Act II where the libretto and the music again play out the discrepancy between Marty’s need for the potion and the men in her life’s need for her affection. Despite the clustered harmonies that pierce through the texture, the sensuous lyricism, which has attracted generations of men to Marty, rides out. The final movement is taken from the third act. Despite Gregor’s amorous approaches, Marty succumbs to Baron Prus’s advances in exchange for the prized document that will set her free. The second part of this movement is taken from the last moments of the opera when Emilia rejects the potion for a natural death. Her decision is an exultant one and the brass writing, which had been so heated and argumentative at the opening of the opera, is now jubilant. Marty dies with a glorious orchestral coda.\u003c\/p\u003e\n\u003chr\u003e\u003cp\u003eAudio Sample\u003c\/p\u003e\u003ciframe frameborder=\"0\" style=\"overflow:hidden\" scrolling=\"no\" width=\"100%\" height=\"50\" src=\"https:\/\/artaria.naxosmusiclibrary.com\/embedded\/player\/work?s=220341\"\u003e\u003c\/iframe\u003e","brand":"Naxos Publishing","offers":[{"title":"Printed score","offer_id":44532786954417,"sku":"PB048","price":102.0,"currency_code":"USD","in_stock":false},{"title":"PDF Download (Score)","offer_id":44532786987185,"sku":"PB048-PDF","price":82.0,"currency_code":"USD","in_stock":false},{"title":"Hire performance material","offer_id":15752681619545,"sku":"PB048-HIRE","price":102.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0033\/9273\/3273\/products\/PB048_Janacek_Makropoulos_FS_Page_001_12e11e53-f4fa-4f65-bd26-436ce4984c9d.png?v=1539765184"},{"product_id":"leos-janacek-peter-breiner-the-cunning-little-vixen-suite","title":"Leoš Janáček: The Cunning Little Vixen Suite – arranged by Peter Breiner (PB049)","description":"\u003cp\u003eSheet music edition. Choose your format from the selection above.\u003c\/p\u003e\n\u003cp\u003e132 pages\u003cbr\u003e\nDuration: 39m\u003cbr\u003e\nInstrumentation: 3+1. 2+1. 3+1. 3d1 - 4.3.3.1 - euph - timp + perc - hp - cel - str\u003c\/p\u003e\n\n\u003cp\u003eLeoš Janáček was a born dramatist. Although many of his works were based on pre-existing works (Jenůfa, Káťa Kabanová and The Makropulos Case are all derived from popular contemporary plays), over the course of his career Janáček became more confident and created his own librettos. In 1920 the popular Brno newspaper Lidové noviny serialised Vixen Bystrouška, a joyful and quixotic tale by Rudolf Těsnohlídek (based on pictures by Stanislav Lolek). Těsnohlídek originally suggested that the Vixen (and his story) was rather unsophisticated material for an opera, which certainly showed how unaware he was of the refined work that Janáček would tease out of a simple newspaper story. The Cunning Little Vixen, although thoroughly imbued with the humour and spirit of the original cartoons, is a more serious work. Over the course of the drama (and particularly after the death of the eponymous heroine) it becomes clear that through this charming little story Janáček is uncovering a more fundamental truth about the natural world.\u003c\/p\u003e\n\n\u003cp\u003eThe suite begins in the late afternoon sun of the forest. The chattering of the animals can be heard against the lull of the heat as the Forester begins his journey home. Of particular note here is a dragonfly, heard flying around the forest. Although it meets its end during the course of the overture, its brief life hints at the pervasive mortality and cycle of nature at the heart of the opera. In the second movement we join the Vixen after the Forester has captured her, at first stymied by her domestication and then, in a numinous interlude, dreaming of escape. This break-out is realised in the final moments of the movement, as she kills the entire chicken coup, breaks her leash and bolts over the fence back into the forest. Back in her natural habitat, the Vixen meets a dashing young fox and the third movement is based on music from their lush courtship duet at the close of Act Two. Recalling the late summer heat in Act Two of Káťa Kabanová, there is a heavy sense of melancholy about the musical language, with pining woodwind solos overlapping as the harmonies become more heightened. Moving back with the tap of xylophone we hear the Vixen’s triumphal dance as she evicts the Badger from his set. Taking possession of his former home, the Vixen stamps out a vicious Charleston, before the music returns to the string-based love music of before. The fourth movement is a further development of themes from the second act, ending in the Vixen and Fox’s sunny wedding celebrations.\u003c\/p\u003e\n\n\u003cp\u003eAfter the heady second act, the fifth movement returns us to the brutality of nature, heard first in the depiction of winter in the forest. The Vixen is desperately searching out food for her burgeoning young family and the Entr’acte to the third act depicts the capture and death of a small hare. The poacher Harašta can be heard stalking through the forest, singing a lilting folk-song. A second section recalls the music that sounds after the death of the Vixen by Harašta’s hand. Ethereal woodwind and strings ululate as plangent clarinet and oboe solos alternate, beautifully describing the tragedy of the piece. The final movement moves towards more hopeful morals, with the vivacious chorus of the fox cubs, the rattle of percussion picking out their simple ditty, before the full orchestra (with the shimmer of cymbals) rings out the final hymn to the glories of nature, which sounds after the Forester realises that nature has an eternal cycle, if we could only look after it.\u003c\/p\u003e\n\u003chr\u003e\u003cp\u003eAudio Sample\u003c\/p\u003e\u003ciframe frameborder=\"0\" style=\"overflow:hidden\" scrolling=\"no\" width=\"100%\" height=\"50\" src=\"https:\/\/artaria.naxosmusiclibrary.com\/embedded\/player\/work?s=304212\"\u003e\u003c\/iframe\u003e","brand":"Naxos Publishing","offers":[{"title":"Printed score","offer_id":44532786856113,"sku":"PB049","price":132.0,"currency_code":"USD","in_stock":false},{"title":"PDF Download (Score)","offer_id":44532786888881,"sku":"PB049-PDF","price":106.0,"currency_code":"USD","in_stock":false},{"title":"Hire performance material","offer_id":15752708948057,"sku":"PB049-HIRE","price":132.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0033\/9273\/3273\/products\/PB049_Janacek_Vixen_FS_Page_001_027f8bd4-1ea9-4c0f-9f86-14687a0d77ae.png?v=1539765158"},{"product_id":"pyotr-ilyich-tchaikovsky-peter-breiner-the-voyevoda-suite","title":"Pyotr Ilyich Tchaikovsky: The Voyevoda Suite – arranged by Peter Breiner (PB050)","description":"\u003cp\u003eSheet music edition. Choose your format from the selection above.\u003c\/p\u003e\n\u003cp\u003e72 pages\u003cbr\u003e\nDuration: 33m\u003cbr\u003e\nInstrumentation: 2+1, 2+1, 2+1, 2+1 - 4, 3, 3, 1 - timp - perc  - hp - cel - str\u003c\/p\u003e\n\n\u003cp\u003eThe first of Tchaikovskyʼs operas was Voyevoda (The Provincial Governor), based on Ostrovskyʼs comedy Son na Volge (A Volga Dream), written in 1867-68, its libretto originally the work of Ostrovsky and the composer, until Ostrovsky withdrew from the enterprise, leaving Tchaikovsky to reduce the opera from four to three acts, removing the most lively and interesting elements and characters, if we are to accept Tchaikovskyʼs brother Modestʼs judgement. After Tchaikovskyʼs training at Anton Rubinsteinʼs St Petersburg Conservatory, where he had been among the first graduating class in 1866, he had been appointed by Nikolay Rubinstein to teach harmony at the parallel institution in Moscow. Bearing in mind Tchaikovskyʼs relative lack of experience, it is not surprising that the new opera was a failure. The plot of Ostrovskyʼs play was far too diffuse to serve as the basis of an opera, and the necessary abridgement of the work made the plot uneventful. The work was staged at the Bolshoy Theatre in 1869 and given five performances before it was withdrawn. Tchaikovsky finally destroyed it, having made use of elements from the score in his ballet Swan Lake and in the opera Oprichnik in the early 1870s. Voyevoda was reconstructed in 1937 by Sergey Popov, using surviving sketches and orchestral and choral parts, and again in 1949 by Pavel Lamm, with the composers Visarion Shebalin and Yuri Kochurov, to a newly devised libretto.\u003cbr\u003e\nThe opera is set in the mid-seventeenth century in a town on the Volga. The opening scene is the garden of Dyuzhoy, a rich merchant. His daughter Praskovya is to marry Shaligin, the Voyevoda; her nurse Nedviga disapproves, while her sister Mariya is impatient for her own marriage and sings a tale of a girl, imprisoned in a tower, but, as she improvises in a new ending, united with her lover, while her parents and guards sleep. Mariyaʼs lover Bastryukov tries to gain admittance, serenades her and is accepted as her future husband, although the opposition of his enemy, the Voyevoda, is anticipated. They pledge fidelity, but are interrupted by the arrival of the Voyevoda, with Dyuzhoy and his wife, with the Jester. Bastryukov hides, while the Voyevoda demands to see his future wife again, a breach of convention. Mariya rushes in, after an encounter in the bushes with the Jester, who has left the company when no drink came his way. The Voyevoda immediately finds her more acceptable as a wife than her sister, and Dyuzhoy agrees to allow him to marry her. When they have all gone, Bastryukov emerges and, betrayed by the Jester, is only protected from arrest by his servants. The act ends with all determined to achieve their own aims.\u003cbr\u003e\nThe second act opens in the entrance hall of Bas- tryukovʼs house. He is sad at the loss of his beloved Mariya. Dubrovin enters. He has been forced to become a fugitive, after the Voyevoda took his wife and ruined him and will now help Bastryukov. It seems that the Voyevoda is to leave the next day on a pilgrimage and his wife, Olyona, and Mariya will wait in the garden for rescue. The scene changes to the Voyevodaʼs house. Mariya sings of a girl imprisoned and of a nightingale, and freedom. She is joined by Olyona, who explains her own predicament; they are to await rescue the following night.\u003c\/p\u003e\n\n\u003cp\u003eIn the third act, set at night in a courtyard, Bastryukov and Dubrovin have made the guards drunk and prepare to carry out their plan. They are joined by Mariya and Olyona, the latter united once more with Dubrovin. They are interrupted by the unexpected return of the Voyevoda, who threatens death and drags Mariya away. Matters are resolved by a deus ex machina in the person of a new Voyevoda, who appears in the nick of time, ensuring a happy ending for the lovers. The first excerpt orchestrated is taken partly from the opening of the second act, with elements drawn from the preceding scene. The second is Bastryukovʼs serenade of Mariya in the first act. This is followed by the duet between Dubrovin and Olyona in the third act, when they foresee their future happiness together. The third act provides the fourth excerpt with Dubrovinʼs opening aria in which he reveals his plan to rescue Olyona and wonders whether she still loves him. The fifth excerpt is taken from the opening of the second scene of the second act, when maidens dance around Mariya, now a prisoner of the Voyevoda. The series of extracts ends with an orchestration based on the Overture, which establishes the Russian nature of the story to come.\u003c\/p\u003e\n\n\u003cp\u003eKeith Anderson\u003c\/p\u003e\n\u003chr\u003e\u003cp\u003eAudio Sample\u003c\/p\u003e\u003ciframe frameborder=\"0\" style=\"overflow:hidden\" scrolling=\"no\" width=\"100%\" height=\"50\" src=\"https:\/\/artaria.naxosmusiclibrary.com\/embedded\/player\/work?s=%C2%A02878813\"\u003e\u003c\/iframe\u003e","brand":"Naxos Publishing","offers":[{"title":"Printed score","offer_id":44532786561201,"sku":"PB050","price":69.0,"currency_code":"USD","in_stock":true},{"title":"PDF Download (Score)","offer_id":44532786593969,"sku":"PB050-PDF","price":55.0,"currency_code":"USD","in_stock":true},{"title":"Hire performance material","offer_id":15752737259609,"sku":"PB050-HIRE","price":69.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0033\/9273\/3273\/products\/PB050_Tchaikovsky_Voyevoda_FS_Page_01_bcec1997-f247-413b-ae1d-fa0f6ce265fa.png?v=1539765133"},{"product_id":"pyotr-ilyich-tchaikovsky-peter-breiner-queen-of-spades-suite","title":"Pyotr Ilyich Tchaikovsky: Queen of Spades Suite – arranged by Peter Breiner (PB051)","description":"\u003cp\u003eSheet music edition. Choose your format from the selection above.\u003c\/p\u003e\n\u003cp\u003e68 pages\u003cbr\u003e\nDuration: 33m\u003cbr\u003e\nInstrumentation: 2+1, 2+1, 2+1, 2+1 - 4, 3, 3, 1 - timp - perc  - hp - cel - str\u003c\/p\u003e\n\n\u003cp\u003eIt is possibly for reasons of language that only two of Tchaikovskyʼs operas have found a continuing place in international operatic repertoire. Yevgeny Onegin (Eugene Onegin) and Pikovaya Dama (The Queen of Spades), both based on Pushkin, are more or less familiar to international audiences, while other operas by Tchaikovsky appear only intermittently in major opera houses. Tchaikovsky left ten completed operas, one in two versions. Peter Breinerʼs orchestral arrangements of excerpts from two of these operas will do something towards bringing their music into the concert hall to a new audience.\u003cbr\u003e\nThe three-act opera The Queen of Spades was completed in 1890 and first staged in the same year at the Mariinsky Theatre in St Petersburg. Based on Pushkin, the libretto was by Tchaikovskyʼs brother Modest.\u003c\/p\u003e\n\n\u003cp\u003eIn the Summer Garden in St Petersburg friends of Hermann, a young army officer, discuss his strange behaviour, how he watches others gambling, but never takes part. Hermann, entering with Count Tomsky, explains his sadness by his love for a girl whose name he does not know. Prince Yeletsky joins them and is congratulated on his engagement, but Hermann is horrified to find that Yeletskyʻs betrothed is the girl with whom he has fallen in love, Lisa, granddaughter of the old Countess. Count Tomsky tells his friends the story of the Countess and why she never gambles. When she was young in Paris, she had been given the secret of winning at cards and had used this to recoup her fortunes. She has been, thereafter, pledged never to play again, and, having revealed her secret to two others, is to die at the hands of the third to whom she confides it. Hermann is agitated at the story, and now left alone resolves to win the hand of Lisa from Prince Yeletsky by means of the Countessʼs secret.\u003c\/p\u003e\n\n\u003cp\u003eIn Lisaʻs room at the country house where she and the old Countess live, she and Pauline, with their friends, entertain one another with songs. They are told to restrain themselves by the Governess, sent to them by the Countess. On her balcony, now alone, Lisa has doubts about her betrothal, remembering the young officer she had seen in the park who had looked at her with such intensity. Hermann appears below and the two declare their love for each other, their meeting interrupted by the Countess telling Lisa to go to bed.\u003c\/p\u003e\n\n\u003cp\u003eThe second act is set at a ball. Yeletsky sings to Lisa of his love for her. Hermann is teased by his friends, who suggest that he will be the third man, the one to learn the secret of the Countess. The Master of Ceremonies intro- duces a pastoral interlude and Lisa tells Hermann how to reach the Countessʼs room. There, the same evening, the Countess regrets modern fashions, remembering the past. Hermann breaks in, demanding to learn her secret of winning and threatening her with his revolver. The Countess dies and Lisa, disturbed by the noise, comes in to find that Hermann has apparently used her to learn of the gamblerʻs secret.\u003c\/p\u003e\n\n\u003cp\u003eIn the third act, at his army quarters, Hermann is distraught. The ghost of the Countess appears to him and tells him the secret, three, seven, ace. By the side of the Winter Canal Lisa waits for Hermann, who appears, as the clock strikes midnight. Their meeting is interrupted, however, when Hermann insists on leaving at once for the gaming-house, where he may use what he has learned. Lisa realises Hermannʻs sole obsession and throws herself into the river. In the gaming-house Hermann plays against Yeletsky, staking everything on the last of the three cards, the expected ace. Instead it is the queen of spades that appears, seeming to look at him with the face of the Countess. In final madness he kills himself.\u003c\/p\u003e\n\n\u003cp\u003eThe first excerpt is based on Tomskyʼs ballad in the first act, when he tells the story of the Countess. It is followed by a version of Hermannʼs arioso in the first act, when he sings of his love for Lisa, whose name he does not yet know, amazing his interlocutors Chekalinsky, addicted to gambling, and Surin, an army officer. The second scene, in Lisaʼs room, provides the basis of the third excerpt, when Paulina sings a sad song and Lisaʼs friends try to cheer her up with a Russian clapping-song. The fourth excerpt is taken from the third act, where Lisa waits for Hermann. The final scene, in a gambling house, has Tomsky sing a song of love, applauded by the company, who join in a chorus, elements of the sixth excerpt. The sixth extract is based on the final scene of the opera, with Hermannʼs aria, and the concluding chorus, praying for his soul. Elements of the end of the first act, with its love scene in Lisaʼs room, when she admits to Hermann her love for him, form the final orchestral arrangement.\u003c\/p\u003e\n\u003chr\u003e\u003cp\u003eAudio Sample\u003c\/p\u003e\u003ciframe frameborder=\"0\" style=\"overflow:hidden\" scrolling=\"no\" width=\"100%\" height=\"50\" src=\"https:\/\/artaria.naxosmusiclibrary.com\/embedded\/player\/work?s=2850244\"\u003e\u003c\/iframe\u003e","brand":"Naxos Publishing","offers":[{"title":"Printed score","offer_id":44532786495665,"sku":"PB051","price":69.0,"currency_code":"USD","in_stock":true},{"title":"PDF Download (Score)","offer_id":44532786528433,"sku":"PB051-PDF","price":55.0,"currency_code":"USD","in_stock":true},{"title":"Hire performance material","offer_id":15752767111257,"sku":"PB051-HIRE","price":69.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0033\/9273\/3273\/products\/PB051_Tchaikovsky_The_Queen_of_Spades_FS_Page_01_de6353af-1e7d-4081-b7f0-a9534918058b.png?v=1539765103"},{"product_id":"modest-mussorgsky-peter-breiner-pictures-at-an-exhibition","title":"Modest Mussorgsky: Pictures at an Exhibition – arranged by Peter Breiner (PB052)","description":"\u003cp\u003eSheet music edition. Choose your format from the selection above.\u003c\/p\u003e\n\u003cp\u003e90 pages\u003cbr\u003e\nDuration: 40m\u003cbr\u003e\nInstrumentation: 4 (IV=alf) +1, 4+1, 4+1, 4+1 - 4, 4, 4, 1 - timp - perc  - hp - pf - cel - str\u003c\/p\u003e\n\n\u003cp\u003ePictures at an Exhibition was written in 1874 as a set of piano pieces, a translation into music of paintings, designs, models and drawings by Mussorgsky’s friend Victor Hartmann, who had died the year before. These piano pieces have been orchestrated by various composers, with the version by Maurice Ravel probably the best known. Peter Breiner has here orchestrated the pieces for an orchestra of piccolo, three flutes, alto flute, four oboes, cor anglais, four clarinets, bass clarinet, four bassoons, contrabassoon, four horns, four trumpets, four trombones, tuba, timpani, and six percussion players, with bass drum, snare drum, cymbals, tam-tam, anvil, temple blocks, cabassa, tambourine, tubular bells, glockenspiel, xylophone, marimba, and vibraphone. The orchestra used also has piano, harp and celeste, with a string section of sixty players.\u003c\/p\u003e\n\n\u003cp\u003eThe exhibits are linked by a Promenade, as the visitor to the exhibition goes from exhibit to exhibit. The titles of the works are largely self-explanatory. Gnomus is a design for nutcrackers in the shape of a gnome; The Old Castle shows a troubadour singing outside the castle walls and the Tuileries depicts children at play and quarrelling, while nursemaids gossip, in the famous Paris gardens. Bydlo is a traditional Polish peasant ox-cart, with its creaking wooden wheels slowly turning; Ballet of the Chickens in their Shells shows designs for children’s costumes, as described in the title, and Samuel Goldenberg and Schmuyle, the names of those portrayed being apparently the invention of the composer, is a picture of two Jews, one rich, one poor, a present by Hartmann to the composer. In Limoges market-place old women gossip, discussing the fate of an escaped cow, and more trivial nonsense, while the Roman Catacombs, subtitled Sepulchrum Romanum, are lit by a flickering lamp, the skulls piled on either side beginning to glow in the light from within. This is linked to the eerie With the Dead in the Language of the Dead. The macabre continues with The Hut on Fowl’s Legs, a clock in the form of the hut of the witch Baba Yaga, who crunches up children’s bones and flies through the night on a pestle. The impressive conclusion offers a design for a triumphal gate in Kiev, to commemorate the escape of Tsar Alexander II from assassination in 1866. The music contrasts the massive structure with the sound of a solemn procession of chanting monks.\u003c\/p\u003e\n\n\u003cp\u003eNote on the Orchestration:\u003cbr\u003e\nI was not trying to re-create Mussorgsky’s orchestral sound in this recording, but actually to create a contemporary sound. I wanted to create it without using a lot of unusual sounds and to stay within the limits of the traditional symphony orchestra with a substantial expansion in woodwind and percussion. I tried to create a contemporary sound with unusual combinations and settings.\u003c\/p\u003e\n\n\u003cp\u003eFrom the very beginning, the first Promenade combines alto flute, cor anglais and violins divisi in eight parts, with martellato violas. In places the piccolo doubling another solo woodwind at the octave and a fifth above creates an organ-like mixture effect, with the bassoon in Il vecchio castello. The possibility of setting the harmonies within one group of woodwind, thanks to the employment of four instruments in each group, creates also a lot of unusual sounds. Some solo passages were assigned to instruments that would not be really expected in that rôle — a trumpet solo in Tuileries, and a combination of trombones, four flutes and vibraphone in Cum mortuis in lingua morta.\u003c\/p\u003e\n\n\u003cp\u003eThere are a few things added to the score that were not in the piano version, such as horn glissandi in Gnomus and Bydlo, harp\/vibraphone figurations in Gnomus, piano\/celeste figurations in Il vecchio castello, flute figures in Samuel Goldberg and Schmuyle and La cabane sur des pattes de poule. At the end a body of 104 musicians creates quite a spectacular Great Gate of Kiev.\u003c\/p\u003e\n\n\u003cp\u003ePeter Breiner\u003c\/p\u003e\n\u003chr\u003e\u003cp\u003eAudio Sample\u003c\/p\u003e\u003ciframe frameborder=\"0\" style=\"overflow:hidden\" scrolling=\"no\" width=\"100%\" height=\"50\" src=\"https:\/\/artaria.naxosmusiclibrary.com\/embedded\/player\/work?s=3195908\"\u003e\u003c\/iframe\u003e","brand":"Naxos Publishing","offers":[{"title":"Printed score","offer_id":44532785610929,"sku":"PB052","price":91.0,"currency_code":"USD","in_stock":true},{"title":"PDF Download (Score)","offer_id":44532785643697,"sku":"PB052-PDF","price":73.0,"currency_code":"USD","in_stock":true},{"title":"Hire performance material","offer_id":15752796373081,"sku":"PB052-HIRE","price":91.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0033\/9273\/3273\/products\/PB052_Mussorgsky_Pictures_FS_Page_01_176da9cd-c209-4e9b-9b51-57599a8263c6.png?v=1539765080"},{"product_id":"modest-mussorgsky-peter-breiner-songs-and-dances-of-death","title":"Modest Mussorgsky: Songs and Dances of Death – arranged by Peter Breiner (PB053)","description":"\u003cp\u003eSheet music edition. Choose your format from the selection above.\u003c\/p\u003e\n\u003cp\u003e32 pages\u003cbr\u003e\nDuration: 19m\u003cbr\u003e\nInstrumentation: 2+1, 2+1, 2+1, 2+1, 4, 3, 4, 1 - timp - perc  - hp - pf - cel - str\u003c\/p\u003e\n\n\u003cp\u003eMussorgsky wrote songs throughout his life, the first at the age of nineteen and the last in 1879. Pesni i piyaski smerti (Songs and Dances of Death) date from 1875, with the fourth song written in 1877. Based on a suggestion from Stasov and with texts by Arseny Golenischchev-Kutuzov, the songs reflect encounters with death. In the first, Kolïbel’naya (Lullaby), dedicated to the veteran singer Anna Vorobyeva-Petrova, Death lulls to final sleep a child, dying in his mother’s arms, and in the second, Serenada, dedicated to Glinka’s sister, Death serenades a dying girl, claiming her as his own. In Trepak, dedicated to the bass Osip Petrov, Death dances with a drunken peasant, lured to die in the ice and snow. The fourth song, Polkovodets (The Field Marshal), dedicated to Kutuzov, presents a scene of battle, after which Death surveys the field, having conquered all. Peter Breiner’s orchestral arrangement of the songs is scored for two flutes with piccolo, two oboes with cor anglais, two clarinets and a bass clarinet, two bassoons and a contrabassoon, four horns, three trumpets, four trombones, tuba, timpani, snare drum, cymbals, bass drum, triangle, tubular bells, glockenspiel, xylophone, harp, celesta, piano and a string section of fifty players.\u003c\/p\u003e\n\u003chr\u003e\u003cp\u003eAudio Sample\u003c\/p\u003e\u003ciframe frameborder=\"0\" style=\"overflow:hidden\" scrolling=\"no\" width=\"100%\" height=\"50\" src=\"https:\/\/artaria.naxosmusiclibrary.com\/embedded\/player\/work?s=3227086\"\u003e\u003c\/iframe\u003e","brand":"Naxos Publishing","offers":[{"title":"Printed score","offer_id":44532785479857,"sku":"PB053","price":36.0,"currency_code":"USD","in_stock":true},{"title":"PDF Download (Score)","offer_id":44532785512625,"sku":"PB053-PDF","price":29.0,"currency_code":"USD","in_stock":true},{"title":"Hire performance material","offer_id":15752820850777,"sku":"PB053-HIRE","price":36.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0033\/9273\/3273\/products\/PB053_Mussorgsky_Songs_and_Dances_of_Death_FS_Page_01_120f5d0e-d82e-47bb-8c91-d1d44f785457.png?v=1539765057"},{"product_id":"modest-mussorgsky-peter-breiner-nursery","title":"Modest Mussorgsky: Nursery – arranged by Peter Breiner (PB054)","description":"\u003cp\u003eSheet music edition. Choose your format from the selection above.\u003c\/p\u003e\n\u003cp\u003e41 pages\u003cbr\u003e\nDuration: 19m\u003cbr\u003e\nInstrumentation: 2+1, 2+1, 2+1, 2+1, 4.3.4.1 - timp - perc - hp - pf - cel - str\u003c\/p\u003e\n\n\u003cp\u003eFor his orchestral arrangement of The Nursery Peter Breiner uses similar forces, with the addition of tambourine, marimba and vibraphone to the percussion section. Mussorgsky was good with children and the songs that make up The Nursery reflect this ability to enter a child’s world on equal terms. The words, in prose, their rhythms and intonations reflected in the vocal line, are by the composer. The first song of the cycle, S nyaney (With Nurse), was written in 1868 and is dedicated to Dargomïzhsky, described as ‘the great teacher of musical truth’. A child begs his nurse to tell him stories of bogeymen, of a limping Tsar and a sneezing Tsaritsa; in the end, though, he would rather have a funny story. V uglu (In the Corner) has Nanny rebuking her charge for splashing ink over a sock and upsetting her knitting; the child rejects these accusations, claiming to have been good, while Nanny is being horrible. The song, with the following three of the series, was written in 1870. It is dedicated to Victor Hartmann. Zhuk (The Beetle), dedicated to Vladimir Stasov, has the boy telling Nanny about a beetle that appeared while he was playing and flew into him, and now lies on its back hardly moving; he puzzles over what has happened to it. S kukloy (With the Doll), dedicated to his niece and nephew Tanyushka and Goga, children of his brother Filaret, has the child, presumably a litle girl, lulling a doll to sleep, with threats of bogeymen and speculation about the fine land of dreams. Na son gryadushchiy (Going to Sleep) is dedicated to his godson, César Cui’s child Sasha. The little girl says her prayers, listing all those to be remembered, corrected finally to include herself, a sinner, to Nanny’s final approval.\u003c\/p\u003e\n\n\u003cp\u003eThe last two songs of the set were written in 1872 and originally intended to form part of another group, At the Dacha. In Kot Matros (The Cat Sailor) the little girl searches for a sunshade and finally rescues their caged bullfinch from their cat, Sailor. Poyekal na palochke (On the Hobby Horse), originally described as ‘An Episode from a Child’s Life’, is dedicated to Vladimir Stasov’s brother Dimitri and his wife Polixena. The boy rides his wooden hobbyhorse, pretending to ride out for the day, urging his horse onward, only to hurt his foot and need his mother’s consolation.\u003c\/p\u003e\n\u003chr\u003e\u003cp\u003eAudio Sample\u003c\/p\u003e\u003ciframe frameborder=\"0\" style=\"overflow:hidden\" scrolling=\"no\" width=\"100%\" height=\"50\" src=\"https:\/\/artaria.naxosmusiclibrary.com\/embedded\/player\/work?s=3227087\"\u003e\u003c\/iframe\u003e","brand":"Naxos Publishing","offers":[{"title":"Printed score","offer_id":44532785316017,"sku":"PB054","price":47.0,"currency_code":"USD","in_stock":true},{"title":"PDF Download (Score)","offer_id":44532785348785,"sku":"PB054-PDF","price":38.0,"currency_code":"USD","in_stock":true},{"title":"Hire performance material","offer_id":15752853127257,"sku":"PB054-HIRE","price":47.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0033\/9273\/3273\/products\/PB054_Mussorgsky_The_Nursery_FS_Page_01_1a6b2a83-f34a-431b-a96e-79bcaf85b9fb.png?v=1539765035"},{"product_id":"felix-mendelssohn-bartholdy-peter-breiner-songs-without-words-op67","title":"Felix Mendelssohn Bartholdy: Songs without Words, Op.67 – arranged by Peter Breiner (PB055)","description":"\u003cp\u003eSheet music edition. 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The caravan approaches from the distance, before the main theme emerges, the solo violin leading the caravan forward in the vast surrounding desert. The song Lan Hua Hua is widely known in Shanxi and the North of China. In a village in Shanxi the beautiful Lan Hua Hua has been forced to marry a rich husband. She resents this kind of marriage, and meets her lover secretly, her sadness reflected in the music. Following Muslim custom, some women belonging to ethnic minorities in Xinjiang wear the veil. The Uygur folk-song Lift Your Veil celebrates a wedding. After lifting up the veil of his bride, the bridegroom sings in happiness, the music a reflection of the man's joy and the girl's modesty. 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The caravan approaches from the distance, before the main theme emerges, the solo violin leading the caravan forward in the vast surrounding desert. The song Lan Hua Hua is widely known in Shanxi and the North of China. In a village in Shanxi the beautiful Lan Hua Hua has been forced to marry a rich husband. She resents this kind of marriage, and meets her lover secretly, her sadness reflected in the music. Following Muslim custom, some women belonging to ethnic minorities in Xinjiang wear the veil. The Uygur folk-song Lift Your Veil celebrates a wedding. After lifting up the veil of his bride, the bridegroom sings in happiness, the music a reflection of the man's joy and the girl's modesty. 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The caravan approaches from the distance, before the main theme emerges, the solo violin leading the caravan forward in the vast surrounding desert. The song Lan Hua Hua is widely known in Shanxi and the North of China. In a village in Shanxi the beautiful Lan Hua Hua has been forced to marry a rich husband. She resents this kind of marriage, and meets her lover secretly, her sadness reflected in the music. Following Muslim custom, some women belonging to ethnic minorities in Xinjiang wear the veil. The Uygur folk-song Lift Your Veil celebrates a wedding. After lifting up the veil of his bride, the bridegroom sings in happiness, the music a reflection of the man's joy and the girl's modesty. 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Choose your format from the selection above.\u003c\/p\u003e\n\u003cp\u003e8 pages\u003cbr\u003e\nDuration: 5m\u003cbr\u003e\nInstrumentation: 2, 2, 2+1, 1 - 4,1,3,1 - timp - perc  - hp\u003c\/p\u003e\n\n\u003cp\u003eSongs and Dances of the Silk Road, a suite for solo violin and Western orchestra, is based on traditional melodies to be heard in the West of China, from where the famous Silk Road takes its course through Central Asia to the Occident. These themes are used by the Slovak-born composer Peter Breiner to form a suite that provides a further synthesis of East and West. Well known internationally for his many recordings, broadcasts, telecasts and concert appearances, Peter Breiner had his musical training at the Košice Conservatory and at the Academy of Performing Arts in Bratislava, where he was a composition pupil of Alexander Moyzes. In 1992 he settled in Canada, where he has continued his varied career as a composer, conductor and pianist. 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The caravan approaches from the distance, before the main theme emerges, the solo violin leading the caravan forward in the vast surrounding desert. The song Lan Hua Hua is widely known in Shanxi and the North of China. In a village in Shanxi the beautiful Lan Hua Hua has been forced to marry a rich husband. She resents this kind of marriage, and meets her lover secretly, her sadness reflected in the music. Following Muslim custom, some women belonging to ethnic minorities in Xinjiang wear the veil. The Uygur folk-song Lift Your Veil celebrates a wedding. After lifting up the veil of his bride, the bridegroom sings in happiness, the music a reflection of the man's joy and the girl's modesty. 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Choose your format from the selection above.\u003c\/p\u003e\n\u003cp\u003e19 pages\u003cbr\u003e\nDuration: 3m\u003cbr\u003e\nInstrumentation: 2+1, 2, 2+1, 2 - 4, 3, 3, 1 - timp - perc  - hp - cel - violin solo - str\u003c\/p\u003e\n\n\u003cp\u003eSongs and Dances of the Silk Road, a suite for solo violin and Western orchestra, is based on traditional melodies to be heard in the West of China, from where the famous Silk Road takes its course through Central Asia to the Occident. These themes are used by the Slovak-born composer Peter Breiner to form a suite that provides a further synthesis of East and West. Well known internationally for his many recordings, broadcasts, telecasts and concert appearances, Peter Breiner had his musical training at the Košice Conservatory and at the Academy of Performing Arts in Bratislava, where he was a composition pupil of Alexander Moyzes. In 1992 he settled in Canada, where he has continued his varied career as a composer, conductor and pianist. In his suite he draws on Chinese melodies to create an attractive and skilfully crafted addition to solo violin repertoire. A Beloved Rose, also known as Dao Da'er and Ma Liya, is a Kazakh folk-song, celebrating the rose as it comes into bloom. The Half Moon Climbs is an Uygur folk-song that became popular in the 1940s. When the half moon climbs up into the sky and shines onto the girl's dressing-table, the boy can no longer suppress his feelings towards her, and serenades her through her window. Spinning is a folk-song from Gansu province. The spinners rest their hope on the spinning-wheel, as they work day and night. Work All Out is a well-known work-song from Northwestern China, suggesting unity of purpose. Sa li hong ba is a folk-song, previously known as Where do the camel caravans come from?, but re-arranged during the 1940s and 1950s. This Uygur song depicts the merchants travelling from Xinjiang. The caravan approaches from the distance, before the main theme emerges, the solo violin leading the caravan forward in the vast surrounding desert. The song Lan Hua Hua is widely known in Shanxi and the North of China. In a village in Shanxi the beautiful Lan Hua Hua has been forced to marry a rich husband. She resents this kind of marriage, and meets her lover secretly, her sadness reflected in the music. Following Muslim custom, some women belonging to ethnic minorities in Xinjiang wear the veil. The Uygur folk-song Lift Your Veil celebrates a wedding. After lifting up the veil of his bride, the bridegroom sings in happiness, the music a reflection of the man's joy and the girl's modesty. 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