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First Light March
Non classifié
12
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Vous avez sélectionné:
First Light March
Piano seul
Partitions à imprimer
13 partitions trouvées
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1
All Beautiful the March of Days (Forest Green)
All Beautiful the March of Days (Forest Green)
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Piano seul
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INTERMÉDIAIRE/AVANCÉ
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Bradley Sowash
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All Beautiful the March of Day
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Bradley Sowash
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SheetMusicPlus
Piano Solo - Level 4 - SKU: A0.750203 Arranged by Bradley Sowash. Christian,Jazz,Sacred. Score. 5 pages. Bradley Sowash #6618101. Published by Bradley S...
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Piano Solo - Level 4 - SKU: A0.750203 Arranged by Bradley Sowash. Christian,Jazz,Sacred. Score. 5 pages. Bradley Sowash #6618101. Published by Bradley Sowash (A0.750203). Great for blended worship.Rooted in an English folk ballad, the cheerful underlying tune Forest Green was first converted to a hymn with Ralph Vaughn William’s setting of O Little Town of Bethlehem. Others include All Beautiful the March of Days (with Wintry words), I Sing the Mighty Power of God and When Morning Dawns and Evening Fades. This version has a light Latin feel that fits right in with contemporary and blended worship styles. Useful for service preludes, offertories, postludes and transitions.Level: Late intermediate Duration: 2:41 5 pages with cover
$7.95 ≈
¥56.95
Sonata, Op 27, No 2 Sonata Quasi una Fantasia (Moonlight Sonata)
Sonata, Op 27, No 2 Sonata Quasi una Fantasia (Moonlight Sonata)
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Piano seul
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Classique
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Ludwig van Beethoven
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Arte Nova Music Lab
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Sonata, Op 27, No 2 Sonata Qua
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Arte Nova Music Lab
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SheetMusicPlus
Piano Solo - SKU: A0.742469 Composed by Ludwig van Beethoven. Arranged by Arte Nova Music Lab. Classical,Concert,Standards,World. Score. 6 pages. Arte N...
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Piano Solo - SKU: A0.742469 Composed by Ludwig van Beethoven. Arranged by Arte Nova Music Lab. Classical,Concert,Standards,World. Score. 6 pages. Arte Nova Music Lab #4412113. Published by Arte Nova Music Lab (A0.742469). The Piano Sonata No. 14 in C♯ minor Quasi una fantasia, Op. 27, No. 2, popularly known as the Moonlight Sonata, is a piano sonata by Ludwig van Beethoven. It was completed in 1801 and dedicated in 1802 to his pupil, Countess Giulietta Guicciardi. The piece is one of Beethoven's most popular compositions for the piano, and it was a popular favorite even in his own day. Beethoven wrote the Moonlight Sonata in his early thirties, after he had finished with some commissioned work; there is no evidence that he was commissioned to write this sonata. The first edition of the score is headed Sonata quasi una fantasia, a title this work shares with its companion piece,Op. 27, No. 1. Grove Music Online translates the Italian title as sonata in the manner of a fantasy.The title could also be interpreted to imply ...as though improvised. The name Moonlight Sonata comes from remarks made by the German music critic and poet Ludwig Rellstab. In 1832, five years after Beethoven's death, Rellstab likened the effect of the first movement to that of moonlight shining upon Lake Lucerne. Within ten years, the name Moonlight Sonata (Mondscheinsonate in German) was being used in German and English publications. Later in the nineteenth century, the sonata was universally known by that name. Many critics have objected to the subjective, romantic nature of the title Moonlight, which has at times been called a misleading approach to a movement with almost the character of a funeral march and absurd. Other critics have approved of the sobriquet, finding it evocative or in line with their own interpretation of the work. Gramophone founder Compton Mackenzie found the title harmless, remarking that it is silly for austere critics to work themselves up into a state of almost hysterical rage with poor Rellstab, and adding, what these austere critics fail to grasp is that unless the general public had responded to the suggestion of moonlight in this music Rellstab's remark would long ago have been forgotten. Notes taken from https://en.wikipedia.org/wiki/Piano_Sonata_No._14_(Beethoven)#cite_note-8
$5.00 ≈
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Sonatina - The March
Sonatina - The March
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Piano seul
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INTERMÉDIAIRE
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Contemporain
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Kevin Frecker
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Sonatina - The March
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Kevin Frecker
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SheetMusicPlus
Piano Solo - Level 3 - SKU: A0.1356153 Composed by Kevin Frecker. 20th Century,Contemporary. Score. 4 pages. Kevin Frecker #940697. Published by Kevin F...
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Piano Solo - Level 3 - SKU: A0.1356153 Composed by Kevin Frecker. 20th Century,Contemporary. Score. 4 pages. Kevin Frecker #940697. Published by Kevin Frecker (A0.1356153). Considered the composer's first original composition. Written at the age of 10, this short, 3-movement sonatina displays the limited harmonic vocabulary and sometimes quirky creativity of its youthful composer. The third movement is constructed as a slightly larger movement than the first and second to give it more weight. This makes it the most difficult movement technically, but also makes it weaker in musical consistently than the other two movements.
$5.00 ≈
¥35.82
Hansel und Gretel - New Urtext Edition
Hansel und Gretel - New Urtext Edition
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Piano seul
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INTERMÉDIAIRE/AVANCÉ
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Opera
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Engelbert Humperdinck
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Hansel und Gretel - New Urtext
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Schott Music - Digital
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SheetMusicPlus
Fairy-tale Opera in three acts. Composed by Engelbert Humperdinck (1854-1921). This edition: vocal/piano score. Klavierauszug, Marchen, Oper. Download...
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Fairy-tale Opera in three acts. Composed by Engelbert Humperdinck (1854-1921). This edition: vocal/piano score. Klavierauszug, Marchen, Oper. Downloadable. Duration 120 minutes. Schott Music - Digital #Q16445. Published by Schott Music - Digital
German - English.
For the first time, all available sources of Engelbert Humperdinck's fairy-tale opera, Hansel und Gretel, have been consulted in the preparation of the present new edition. In evaluating them it became clear that a great number of corrections needed to be taken into account, for which the composer was indebted to the experiences of conductors known to him - Richard Strauss (Weimar), Hermann Levi (Munich) and Ludwig Rottenberg (Frankfurt) - as well as hiw own insight. In this way, a critical edition has been produced which not only offers an Urtext entirely faithful to the sources, but also provides important new improvements, tested on the stage an approved by the composer. Where, previously, slight alterations have unquestionably been necessary in order to prevent the vocal lines from being covered by the large-scale orchestration, convincing and authentic solutions are now available. Also, for the first time, the work's 'Desau-Finale' has been published, which Humperdinck composed for the production by Cosima Wagner.
The edition is part of the ABRSM syllabus (grades 6,8).
$33.99 ≈
¥243.50
Elegie in Eb Minor (Classical Music for Tablet Series)
Elegie in Eb Minor (Classical Music for Tablet Series)
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Piano seul
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AVANCÉ
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Classique
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Stephen R Dalrymple
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Edited by Stephen R Dalrymple
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Elegie in Eb Minor
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Stephen R Dalrymple
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SheetMusicPlus
Instrumental Solo - Level 5 - SKU: A0.818281 By Stephen R Dalrymple. By Sergei Rachmaninoff. Arranged by Edited by Stephen R Dalrymple. Romantic Period....
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Instrumental Solo - Level 5 - SKU: A0.818281 By Stephen R Dalrymple. By Sergei Rachmaninoff. Arranged by Edited by Stephen R Dalrymple. Romantic Period. Individual part. 18 pages. Stephen R Dalrymple #4966281. Published by Stephen R Dalrymple (A0.818281). Élegié in E Flat Minor for solo piano (Classical Music for Tablet Series) ♫ by Sergei Vasilyevich Rachmaninoff (Opus 3.1) ♫ Rachmaninoff (born in 1873) , Russian composer, virtuoso pianist, and conductor, was considered one of the finest pianists of his day. His compositions belong to the Romantic period of music history. He graduated at the Moscow Conservatory in 1892. After the premiere of his First Symphony in 1897, the negative reaction by an important critic sent him into a tailspin of depression that lasted several years. ♫ In 1909 he performed a series of 26 performances with the Boston Symphony Orchestra in the USA. In 1914 he travelled to England for a concert tour. ♫ In February 1917 on the day the Socialist Revolution began in St Petersburg, he performed a benefit piano recital in Moscow for wounded Russian soldiers. When he returned home, he found that a group of Social Revolutionary Party members had seized his property as their own communal property. He had invested most of his earnings on the estate, but left it behind. Rachmaninoff's concert performance in Yalta on 5 September 1917 was to be his last in Russia. The chaos and tension of the October Revolution was daunting. He composed with the noise of gunshots and rallies in the background. He received an invitation to perform 10 recitals across Scandinavia. He accepted the offer, using it as an excuse to obtain permits so he and his family could flee Russia. ♫ He returned to the USA in November 1918 and America became his home. When he became an American citizen in 1943, Sergei Rachmaninoff said: “This is the only place on earth where a human being is respected for what he is and what he does, and it does not matter who he is and where he came from.†He died in March 1943 from cancer at the age of 70. (condensed from Wikipedia - October 2022) ♫ Rachmaninoff’s Opus 3 contains 5 piano pieces. The first is the Élegié in E Flat Minor, the second is the Prelude in C# Minor (one of his most famous piano compositions). This opus was finished in 1892, when he was 19 years old. The Prelude in C# Minor is loud, explosive, and declarative; the Élegié in E Flat Minor is soft, fluid, and contemplative. ♫ Edited for 10 inch tablet by Stephen R Dalrymple ♫ Sequenced by the Editor ♫ The Classical Music for Tablet Series offers piano masterworks by classical composers formatted to be read on 10 inch tablets. I use an Amazon Kindle with Mobile Sheets Pro and an Air Turn blue tooth foot pedal to practice and perform piano music. Similar products available to provide other tablets the same functionality. ♫ The pieces in this series have not been arranged, but most have been edited slightly, and have been formatted to fit screen size. For example, in the tablet versions, first and second endings are often removed and the repeated measures and endings written into the music so the performer can avoid having to go back to previous pages. These kinds of section repeats were invented to spare the composer’s time and the cost of extra paper and ink. But with a tablet the cost of paper and ink is irrelevant. ♫ Although there are a lot more page turns with a 10 inch screen compared with letter size pages, the readability of the music (due to the backlighting on the tablet) and the portability of the music (travelling with a small tablet instead of oversized books or portfolios of sheet music) easily makes up for the extra page turns. ♫ Your purchase provides one .pdf file that contains both the tablet edition and the letter size page (printable) version. There are several programs available online that will allow you to separate this .pdf file into 2 .pdf files to make it more useful.
$3.99 ≈
¥28.58
Suite for Piano
Suite for Piano
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Piano seul
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AVANCÉ
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Contemporain
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Francis Kayali
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Suite for Piano
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Francis Kayali
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SheetMusicPlus
Piano Solo - Level 5 - SKU: A0.973026 Composed by Francis Kayali. 20th Century,Concert,Contemporary. Score. 26 pages. Francis Kayali #5718759. Published...
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Piano Solo - Level 5 - SKU: A0.973026 Composed by Francis Kayali. 20th Century,Concert,Contemporary. Score. 26 pages. Francis Kayali #5718759. Published by Francis Kayali (A0.973026). Composed between January and March 2003, the Suite for Piano was written for a recital by pianist Qi Liu (1976-2017), at Stony Brook University, in March of 2003.The opening of the first movement evokes bells, not unlike those in Rachmaninoff’s RusÂsian Easter (the finale of his First Suite for Two Pianos). This is contrasted with a short and murky rising gesture. The middle section incorporates pianistic patterns (some reminiscent of Debussy), a yearning IbeÂrian melody, and a barely-recognizÂable snippet of Chopin used for a climax. The murky gesture eventually returns, introducing a triumphant stateÂment of the opening bells.Early on, I had decided the piece should include references to the other pieces on the reÂcital’s program: Beethoven’s Piano Sonata No. 18 (op. 31, No. 3) and Brahms’s F minor SoÂnata (op. 5). As soon as I had word from Qi that she was going to play the Beethoven, I immediÂately wanted to hear it. I wasn’t familiar with the piece, and since I didn’t have a score or a reÂcording of it at home, I decided to download it in MIDI format from the internet. Unbeknownst to me, the computer’s rendition transformed the lively secÂond movement scherzo into a slow-moving hymn which reminded me of the Ode to Joy. I was quite surÂprised the next mornÂing when I went to the muÂsic library and listened to a reÂcording played by a human. Nonetheless, I was drawn to the melody, and I found the slow effect interesting, so I deÂcided to base my middle movement (the slow movement) around the theme of BeethoÂven’s scherzo, making it the hidÂden theme for a short set of variations. The end of the movement also contains less direct referÂences to the music of Brahms (very short alluÂsions to the Sonata and to the Variations on a Theme by Haydn).The last movement explores fast and light fingerwork, in a sort of toccata or capriccio, proÂviding a flashy ending to the piece. As in the first movement, the form is A-B-A. Before the return of the first section, a little dance evokes the opening of the piece. (The murky gesture from the first movement also finds its way into this last movement).Each of the three movements experiments at one point with using the sustain pedal in order to create a wash of sound. This effect is used most prominently in the second movement.Movement I: https://www.youtube.com/watch?v=n-NKcs076UIMovement II: https://www.youtube.com/watch?v=XSxkOcdlpiYMovement III: https://www.youtube.com/watch?v=CntmWYdOA9Y
$12.00 ≈
¥85.96
Carson Cooman: Nine Preludes for piano
Carson Cooman: Nine Preludes for piano
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Piano seul
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INTERMÉDIAIRE/AVANCÉ
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Carson Cooman
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Carson Cooman: Nine Preludes f
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Musik Fabrik Music Publishing
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SheetMusicPlus
Piano Solo - Level 4 - SKU: A0.533554 Composed by Carson Cooman. Concert,Contemporary,Standards. Score. 37 pages. Musik Fabrik Music Publishing #3018601...
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Piano Solo - Level 4 - SKU: A0.533554 Composed by Carson Cooman. Concert,Contemporary,Standards. Score. 37 pages. Musik Fabrik Music Publishing #3018601. Published by Musik Fabrik Music Publishing (A0.533554). I. (Flowing)II. (Fast, nimble)III. (Funereal) (in memoriam Donald Martino)IV. (Dancing)V. (Distant, echoing) (for Richard and Dee Wilson)VI. (Moderate, singing, with humor) (for Michael Finnissy)VII. (Slow, very lyrical)VIII. (March)IX. (Envoi: Very slow, from afar)Nine Preludes (2007) for piano was written for and is dedicated to pianist Marilyn Nonken; it was commissioned byRichard Mason.Although the work is composed as a set of discrete movements, the preludes are very much interconnected, as motivicand developmental ideas run throughout the entire set. The basic musical material (founded upon collections of minorand major thirds) is shared among all nine movements. An elegiac quality runs throughout the work.The first prelude (Flowing) is inspired by the piano music of Johannes Brahms, whose contributions to the instrument’sliterature have been a significant and ongoing influence on my work.The second prelude is fast and bright. Consistent staccato textures are maintained as the two hands intertwine.The third prelude (Funereal) is dedicated to the memory of American composer Donald Martino (1931–2005). The musicrefers very obliquely to Martino’s setting of Robert Herrick’s poems of death and eternity in The White Island (1985).The fourth prelude (Dancing) is light and buoyant. After a melodic middle section, the opening music reverses itself to theend.The fifth prelude (Distant, echoing) is dedicated to Richard and Dee Wilson. Through large blocks of sustained sound (bothquiet and loud), the movement explores certain harmonic colors of the piano.The sixth prelude (Moderate, singing, with humor) is dedicated to English composer Michael Finnissy. The opening ismarked “like an ‘off-kilter’ folk song,†and this original melody is subjected to a variety of transformations and textures.The rhythmic patterns are constantly in flux.The seventh prelude (Slow, very lyrical) is melodic and passionate, with a nocturnal character. The middle builds to anintense climax before dying away.The eighth prelude (March) is spiky and crisp. In the trio, the march theme is turned first into a tonal ballad beforegradually transforming back into the language of the march. A faster reprise of the opening music follows.The ninth prelude (Envoi: Very slow, from afar) is an elegaic “farewell.†Romantic gestures and harmonies try to assertthemselves before the music dies away.Performance Note: Although it is preferred that the entire set of nine preludes be played in concert, individual preludes (or smallerassembled groupings) may be performed when necessary for programming needs. If the entire set is played, however, the order of thepreludes should not be changed. The movements should be listed in the program in the format shown at the top of this page.Recorded by Donna Amato on Carson Cooman: Piano works ALTARUS AIR-CD-9015
$25.95 ≈
¥185.90
Rondo Alla Turca (MEDIUM PIANO) Sonata A-major No. 11, KV 331 [Wolfgang Amadeus Mozart]
Rondo Alla Turca (MEDIUM PIANO) Sonata A-major No. 11, KV 331 [Wolfgang Amadeus Mozart]
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Piano seul
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INTERMÉDIAIRE
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Classique
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Wolfgang Amadeus Mozart
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Darek
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Rondo Alla Turca
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Darek
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SheetMusicPlus
Piano Solo - Level 3 - SKU: A0.1258165 Composed by Wolfgang Amadeus Mozart. Arranged by Darek. Classical,March. Score. 1 pages. Darek #851411. Published...
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Piano Solo - Level 3 - SKU: A0.1258165 Composed by Wolfgang Amadeus Mozart. Arranged by Darek. Classical,March. Score. 1 pages. Darek #851411. Published by Darek (A0.1258165). Rondo Alla Turca (MEDIUM PIANO) Sonata A-major No. 11, KV 331 [Wolfgang Amadeus Mozart]Intermediate arrangement for pianists of Rondo Alla Turca (Turkish March / Turkish Rondo) from Sonata A-major No. 11, KV 331 by Wolfgang Amadeus Mozart. Intermediate version / Intermadiate arrangement for pianists. Included: Fingering, Dynamics and video youtube tutorial. Â Immerse yourself in the captivating world of classical piano with our meticulously crafted sheet music for Mozart's Rondo Alla Turca (Turkish March / Turkish Rondo) from Sonata A-major No. 11, KV 331. Tailored for intermediate pianists, this sheet music edition presents a thrilling challenge that will elevate your skills and expand your repertoire. Experience the brilliance of Mozart as you navigate through this iconic composition from the Classical era. Our carefully annotated sheet music includes precise fingering instructions, providing you with expert guidance on hand placement and technique. With our comprehensive notation of dynamics, you'll be able to bring out the subtle nuances and expressive qualities that define this captivating piece. To enhance your learning experience, we offer an invaluable YouTube tutorial accompanying our sheet music. Delivered by a seasoned pianist, this video tutorial offers in-depth insights and techniques that will help you refine your interpretation and master the challenges presented by Rondo Alla Turca. Embrace the opportunity to explore the depths of Mozart's genius and immerse yourself in the rhythmic allure of this renowned composition. Our sheet music package is meticulously curated to cater specifically to intermediate pianists, striking the perfect balance between challenge and accessibility. Expand your musical horizons as you conquer the technical demands and interpretive choices within Rondo Alla Turca. Delve into the intricacies of Mozart's composition, honing your skills and experiencing the profound beauty of his music firsthand. Position yourself as an accomplished pianist by embracing the challenge of mastering Rondo Alla Turca at an intermediate level. With our exceptional sheet music, you'll embark on a fulfilling journey of growth and refinement, unlocking new dimensions of musical expression. Discover the joy of performing one of Mozart's most beloved compositions, carefully arranged for intermediate pianists. Our sheet music provides the ideal platform for you to showcase your skill and artistry, paying homage to the genius of Mozart and the timeless beauty of classical music. Don't miss the chance to elevate your piano playing to new heights. Embrace the complexity, the beauty, and the artistry of Mozart's Rondo Alla Turca with our expertly crafted sheet music package, complete with fingering, dynamics, and an enlightening YouTube tutorial. Start your musical journey today and unlock the hidden treasures of this extraordinary composition.
$2.00 ≈
¥14.33
After the Storm
After the Storm
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Piano seul
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FACILE
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Dirk Ettelt
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After the Storm
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Dirk Ettelt
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SheetMusicPlus
Piano Solo - Level 2 - SKU: A0.926199 Composed by Dirk Ettelt. 20th Century,Christian,Concert,Film/TV,Graduation. Score. 3 pages. Dirk Ettelt #3038927. ...
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Piano Solo - Level 2 - SKU: A0.926199 Composed by Dirk Ettelt. 20th Century,Christian,Concert,Film/TV,Graduation. Score. 3 pages. Dirk Ettelt #3038927. Published by Dirk Ettelt (A0.926199). After the Storm is a composition for solo piano and was written in March 2017. It represents the composer's attempt to musically capture the mood of a storm which is overcome by the first rays of sunlight. After the storm is written in G major. With a bright character and a duration of about 3 minutes, it is suitable to be performed at various occasions. Difficulty level for the pianist: easy to intermediate.
$2.99 ≈
¥21.42
Apocalyptic
Apocalyptic
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Piano seul
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INTERMÉDIAIRE/AVANCÉ
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Jacob Graham
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Apocalyptic
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Jacob Graham
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SheetMusicPlus
Instrumental Solo,Keyboard - Level 4 - SKU: A0.1435774 By Jacob Graham. By Jacob Graham. 21st Century,Contemporary. Individual part. 9 pages. Jacob Grah...
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Instrumental Solo,Keyboard - Level 4 - SKU: A0.1435774 By Jacob Graham. By Jacob Graham. 21st Century,Contemporary. Individual part. 9 pages. Jacob Graham #1015865. Published by Jacob Graham (A0.1435774). Written in the first weeks of Covid, this music is highlighting the erie silence and dread we faced in the initial quarantine periods of March & April 2020, while expressing unease with the use of dissonance and heavy piano pedal use, while having runs in both hands add to that frantic emotion in the world at the time.
$5.00 ≈
¥35.82
Pianistic piano book
Pianistic piano book
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Piano seul
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FACILE
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Tom Horton
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Pianistic piano book
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Tom Horton
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SheetMusicPlus
Piano Solo - Level 2 - SKU: A0.931709 Composed by Tom Horton. Film/TV,Jazz,Latin,Pop,Standards. Score. 23 pages. Tom Horton #5375289. Published by Tom H...
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Piano Solo - Level 2 - SKU: A0.931709 Composed by Tom Horton. Film/TV,Jazz,Latin,Pop,Standards. Score. 23 pages. Tom Horton #5375289. Published by Tom Horton (A0.931709). Piano Book. A stunning selection of 10 new pieces and arrangements for Piano with performance notes and chord symbolsThe pieces in this Piano book range from post Piano Grade 1 up to approx. Grade 3Pieces include:March of the Quavers – a Baroque style piano piece featuring Quavers and SemiquaversStrollin’ – a loose, relaxed and pleasant little swing number in G major.La Paloma – with a ‘Latin’ feel, typical of the Habaneras style of music and danceRainbow Sorbet – a piece in a driving disco styleBill Bailey (won’t you please come home) – a classic standard from the 1900's popular with Dixie and trad jazz bandsA Penguin’s Curiosity – picture a small baby penguin on its first adventure away from the nestFlâner – a French word meaning ‘to wander’, this piece represents an individual taking a strollSole Bay Solitude – inspired by the delightful and well-known seaside town of SouthwoldWaltz for Jenna – a simple little waltz written for the family cat JennaSmiley Face – dedicated to the composers daughter Abigail, the 'smiliest' baby – ever!For more details visit Tom's website: www.tomhorton.co.uk
$13.95 ≈
¥99.93
Debussy Inconnu: Album of works for the piano by Claude Debussy completed by Robert Orledge, Vol. 2
Debussy Inconnu: Album of works for the piano by Claude Debussy completed by Robert Orledge, Vol. 2
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Piano seul
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Claude Debussy/Robert Orledg
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Debussy Inconnu: Album of work
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Musik Fabrik Music Publishing
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SheetMusicPlus
Piano Solo - Advanced Intermediate - Digital Download Composed by Claude Debussy/Robert Orledge. 20th Century, Impressionistic, Repertoire. Score. 76...
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Piano Solo - Advanced Intermediate - Digital Download Composed by Claude Debussy/Robert Orledge. 20th Century, Impressionistic, Repertoire. Score. 76 pages. Published by Musik Fabrik Music Publishing
Contains Le Roi Lear: Prlude,Premire Fanfare, and La Mort de Cordlia,Toomai des lphants, Rodrigue et Chimne: Prlude l?acte 1p. Le Martyre de Saint Sbastien: La Passion , and No-ja-li ou Le Palais du Silence
From Robert Orledge's notes:
My interest in the wonderful music of Claude Debussy began in the 1980s when I researched and published a book with Cambridge University Press entitled Debussy and the Theatre. During the course of my studies in Paris, I was amazed to discover that Debussy planned over 50 theatrical works but only finished two of these entirely by himself (the opera Pellas et Mlisande in 1893?1902 and the ballet Jeux for Diaghilev?s Ballets Russes in 1912?13). Of the rest, many were never started musically (like Siddartha and Orphe-roi with the Oriental scholar Victor Segalen, 1907); some had a few tantalising sketches (like the Edgar Allan Poe opera Le Diable dans le beffroi, 1902?03); some were half-finished (like his other Poe opera La Chute de la Maison Usher, 1908?17); while others were musically complete but had their orchestrations completed by other composers (like Khamma, by Charles Koechlin, 1912?13; or Le Martyre de Saint Sbastien and La Bote joujoux by his ?angel of corrections? [?l?ange des Corrections?] Andr Caplet in 1911 and 1919 respectively).
For it has to be admitted that what some scholars call Debussy?s ?compulsive achievement? could equally well be viewed as laziness, especially as far as the minute detail required for calligraphing his orchestral scores was concerned. It was as if creating the music itself was of greater importance than controlling its final sound, even if Debussy was an imaginative orchestrator when he found the time and energy to do it. It also seems true that Debussy also preferred inventing ideas to turning them into complete pieces. However, despite the lack of detail in many of his sketches (missing clefs, key signatures, dynamics, phrasing, etc.) the notes themselves are surprisingly accurate, whether or not they can be compared with a later draft. Thus, a large number of sketches exist for his Chinese ballet No-ja-li ou Le Palais du Silence and it is not too difficult to see which parts of Georges de Feure?s 1913 scenario (see below) inspired which ideas. But Debussy hardly made any attempt to join them together after the first few bars.
It was usually up to his publisher, Jacques Durand, to find solutions when Debussy risked a breach of contract. Debussy was supposed to supervise the orchestrations completed by others, but this supervision was usually very light and restricted to quiet, sensitive moments in which problems were easier to spot. Far from jealously guarding every one of his created notes, as Ravel did, Debussy once even went as far as to ask Koechlin to ?write a ballet for him that he would sign? on 26 March 1914 when he was hard-pressed to fulfil his lucrative contract for No-ja-li with Andr Charlot at the Alhambra Theatre in London. In the end, Debussy (through Durand) sent Charlot the symphonic suite Printemps instead, whose orchestration had been completed by Henri Busser in the Spring of 1912.
So, when I was offered early retirement as Professor of Music at Liverpool University in 2004, I seized the opportunity it would give me to spend time trying to reconstruct some of Debussy?s lost potential masterpieces from his existing sketches and drafts?then orchestrating them in Debussy?s style when this was appropriate. I had begun this mission in 2001 with the most promising project, the missing parts of Scene 2 of La Chute de la Maison Usher and the sheer joy it gave me at every stage persuaded me to tackle other projects, especially when Debussy experts were unable to identify exactly where I took over from Debussy (and vice versa) in Usher.
$38.95 ≈
¥279.03
Debussy Inconnu: Album of works for the piano by Claude Debussy completed by Robert Orledge, Vol. 1
Debussy Inconnu: Album of works for the piano by Claude Debussy completed by Robert Orledge, Vol. 1
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Piano seul
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Claude Debussy/Robert Orledg
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Debussy Inconnu: Album of work
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Musik Fabrik Music Publishing
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SheetMusicPlus
Piano Solo - Advanced Intermediate - Digital Download Composed by Claude Debussy/Robert Orledge. 20th Century, Impressionistic, Repertoire, Recital. ...
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Piano Solo - Advanced Intermediate - Digital Download Composed by Claude Debussy/Robert Orledge. 20th Century, Impressionistic, Repertoire, Recital. Score. 71 pages. Published by Musik Fabrik Music Publishing
Contains A Night in the House of Usher Un Jour affreux avec Le Diable dans le beffroi, Les accords de septime regrettent!!!, Petite Valse,Ftes galantes, and Prlude ?L?Histoire de Tristan?
From Robert Orledge's notes:
My interest in the wonderful music of Claude Debussy began in the 1980s when I researched and published a book with Cambridge University Press entitled Debussy and the Theatre. During the course of my studies in Paris, I was amazed to discover that Debussy planned over 50 theatrical works but only finished two of these entirely by himself (the opera Pellas et Mlisande in 1893?1902 and the ballet Jeux for Diaghilev?s Ballets Russes in 1912?13). Of the rest, many were never started musically (like Siddartha and Orphe-roi with the Oriental scholar Victor Segalen, 1907); some had a few tantalising sketches (like the Edgar Allan Poe opera Le Diable dans le beffroi, 1902?03); some were half-finished (like his other Poe opera La Chute de la Maison Usher, 1908?17); while others were musically complete but had their orchestrations completed by other composers (like Khamma, by Charles Koechlin, 1912?13; or Le Martyre de Saint Sbastien and La Bote joujoux by his ?angel of corrections? [?l?ange des Corrections?] Andr Caplet in 1911 and 1919 respectively).
For it has to be admitted that what some scholars call Debussy?s ?compulsive achievement? could equally well be viewed as laziness, especially as far as the minute detail required for calligraphing his orchestral scores was concerned. It was as if creating the music itself was of greater importance than controlling its final sound, even if Debussy was an imaginative orchestrator when he found the time and energy to do it. It also seems true that Debussy also preferred inventing ideas to turning them into complete pieces. However, despite the lack of detail in many of his sketches (missing clefs, key signatures, dynamics, phrasing, etc.) the notes themselves are surprisingly accurate, whether or not they can be compared with a later draft. Thus, a large number of sketches exist for his Chinese ballet No-ja-li ou Le Palais du Silence and it is not too difficult to see which parts of Georges de Feure?s 1913 scenario (see below) inspired which ideas. But Debussy hardly made any attempt to join them together after the first few bars.
It was usually up to his publisher, Jacques Durand, to find solutions when Debussy risked a breach of contract. Debussy was supposed to supervise the orchestrations completed by others, but this supervision was usually very light and restricted to quiet, sensitive moments in which problems were easier to spot. Far from jealously guarding every one of his created notes, as Ravel did, Debussy once even went as far as to ask Koechlin to ?write a ballet for him that he would sign? on 26 March 1914 when he was hard-pressed to fulfil his lucrative contract for No-ja-li with Andr Charlot at the Alhambra Theatre in London. In the end, Debussy (through Durand) sent Charlot the symphonic suite Printemps instead, whose orchestration had been completed by Henri Busser in the Spring of 1912.
So, when I was offered early retirement as Professor of Music at Liverpool University in 2004, I seized the opportunity it would give me to spend time trying to reconstruct some of Debussy?s lost potential masterpieces from his existing sketches and drafts?then orchestrating them in Debussy?s style when this was appropriate. I had begun this mission in 2001 with the most promising project, the missing parts of Scene 2 of La Chute de la Maison Usher and the sheer joy it gave me at every stage persuaded me to tackle other projects, especially when Debussy experts were unable to identify exactly where I took over from Debussy (and vice versa) in Usher.
$38.95 ≈
¥279.03
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