Search results for ""author claude debussy""

Score to Claude Debussy's La puerta del vino (Prelude 12), orchestrated by Colin Matthews. During his time as the Hallé Orchestra’s Composer in Association between 2001 and 2010, Colin Matthews spent five years making orchestral versions of all 24 of Debussy’s Preludes. He has been heralded for the success with which he has taken the inspiration of the piano masterpieces and skilfully created orchestral works of great variety, beauty and drama. Indeed, following their critical reception these works are being taken up and performed by orchestras across the world.

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Score to Claude Debussy's Brouillards (Prelude 10), orchestrated by Colin Matthews. During his time as the Hallé Orchestra’s Composer in Association between 2001 and 2010, Colin Matthews spent five years making orchestral versions of all 24 of Debussy’s Preludes. He has been heralded for the success with which he has taken the inspiration of the piano masterpieces and skilfully created orchestral works of great variety, beauty and drama. Indeed, following their critical reception these works are being taken up and performed by orchestras across the world.

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La Cathédrale Engloutie (Prelude 24) by Claude Debussy, orchestrated by Colin Matthews. During his time as the Hallé Orchestra’s Composer in Association between 2001 and 2010, Colin Matthews spent five years making orchestral versions of all 24 of Debussy’s Preludes. He has been heralded for the success with which he has taken the inspiration of the piano masterpieces and skilfully created orchestral works of great variety, beauty and drama. Indeed, following their critical reception these works are being taken up and performed by orchestras across the world.

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Bruyères (Prelude 14) was commissioned by the Hallé Concerts Society in 2006 and first performed by the Hallé Orchestra and conducted by Mark Elder at the Bridgewater Hall, Manchester on 6 May 2007. During his time as the Hallé Orchestra’s Composer in Association between 2001 and 2010, Colin Matthews spent five years making orchestral versions of all 24 of Debussy’s Preludes. He has been heralded for the success with which he has taken the inspiration of the piano masterpieces and skilfully created orchestral works of great variety, beauty and drama. Indeed, following their critical reception these works are being taken up and performed by orchestras across the world. Orchestral parts available for hire from Faber Music Limited.

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Score to Claude Debussy's Le vent dans la plaine (Prelude 13), orchestrated by Colin Matthews. During his time as the Hallé Orchestra’s Composer in Association between 2001 and 2010, Colin Matthews spent five years making orchestral versions of all 24 of Debussy’s Preludes. He has been heralded for the success with which he has taken the inspiration of the piano masterpieces and skilfully created orchestral works of great variety, beauty and drama. Indeed, following their critical reception these works are being taken up and performed by orchestras across the world.

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Score to Claude Debussy's Feux d'artifice (Prelude 3), orchestrated by Colin Matthews. During his time as the Hallé Orchestra’s Composer in Association between 2001 and 2010, Colin Matthews spent five years making orchestral versions of all 24 of Debussy’s Preludes. He has been heralded for the success with which he has taken the inspiration of the piano masterpieces and skilfully created orchestral works of great variety, beauty and drama. Indeed, following their critical reception these works are being taken up and performed by orchestras across the world.

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Score to Claude Debussy's Ce Qu'a Vu Le Vent D'Ouest (Prelude 1), orchestrated by Colin Matthews. During his time as the Hallé Orchestra’s Composer in Association between 2001 and 2010, Colin Matthews spent five years making orchestral versions of all 24 of Debussy’s Preludes. He has been heralded for the success with which he has taken the inspiration of the piano masterpieces and skilfully created orchestral works of great variety, beauty and drama. Indeed, following their critical reception these works are being taken up and performed by orchestras across the world.

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In this Guide to Pelleas and Melisande, Maeterlinck's original play is reprinted in full, so that the opera lover can read the scenes that Debussy did not set to music. Hugh Macdonald's much praised English translation is published here for the first time, with an essay uncovering the musical roots of Pelleas and Melisande and illustrating its importance to the music of the twentieth century. Alain Raitt, author of several studies of Symbolist writers, evaluates Maeterlinck's status as a dramatist, and Roger Nichols analyses the score. Proust's short pastiche of the opera and Arthur Symons's review of the first English performances challenge us to come to terms with this eternally intriguing masterpiece.

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