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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
#
Piano seul
#
INTERMÉDIAIRE/AVANCÉ
#
Classique
#
Claude Debussy/Robert Orledg
#
Debussy Inconnu: Album of work
#
Musik Fabrik Music Publishing
#
SheetMusicPlus
Piano Solo - Advanced Intermediate - Digital Download Composed by Claude Debussy/Robert Orledge. 20th Century, Impressionistic, Repertoire. Score. 76...
(+)
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 ≈
$52.73
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
#
Piano seul
#
INTERMÉDIAIRE/AVANCÉ
#
Classique
#
Claude Debussy/Robert Orledg
#
Debussy Inconnu: Album of work
#
Musik Fabrik Music Publishing
#
SheetMusicPlus
Piano Solo - Advanced Intermediate - Digital Download Composed by Claude Debussy/Robert Orledge. 20th Century, Impressionistic, Repertoire, Recital. ...
(+)
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 ≈
$52.73
Claude Debussy: Prléude à L'Histoire de Tristan for solo piano, completed by Robert Orledge
Claude Debussy: Prléude à L'Histoire de Tristan for solo piano, completed by Robert Orledge
#
Piano seul
#
INTERMÉDIAIRE/AVANCÉ
#
Classique
#
Claude Debussy/Robert Orledg
#
Claude Debussy: Prléude à L'
#
Musik Fabrik Music Publishing
#
SheetMusicPlus
Piano Solo - Advanced Intermediate - Digital Download Composed by Claude Debussy/Robert Orledge. Romantic Period, Impressionistic, Repertoire, Reci...
(+)
Piano Solo - Advanced Intermediate - Digital Download Composed by Claude Debussy/Robert Orledge. Romantic Period, Impressionistic, Repertoire, Recital. Score. 6 pages. Published by Musik Fabrik Music Publishing
Recorded by Nicolas Horvath on Grand Piano records (GP822)
Debussy?s friendship with the versatile poet and playwright Gabriel Mourey began in 1899, and in July 1907 Mourey offered Debussy a libretto based on Le roman de Tristan - Joseph Bdier?s adaptation of a twelfth-century Breton romance by the Anglo-Norman poet known as Thomas - which had recently been published in Paris. Debussy enthusiastically outlined the four-act plot to Victor Segalen that October, and the main differences from Wagner?s Tristan und Isolde are that none of the action takes place in Cornwall and that ?Isolde of the White Hands? is found guilty of cuckolding King Marc with Tristan, who has to rescue her from the leper colony in which she is abandoned in Act 1. She also betrays him when he goes mad at the end.
The idea of a Tristan that restored its ?legendary character? and had no connections with Wagner, appealed to Debussy, who was extremely moved by the circumstances of Tristan?s death. Even if he thought that Mourey?s poetry was ?not very lyrical and many passages do not exactly ?invite? music?, he did work on the libretto and the music that summer and sent his publisher, Jacques Durand, ?one of the 363 themes for the ?Roman de Tristan?? in a letter sent from Pourville on 23 August, 1907. The present prelude grows from this theme, together with the poignant Breton folksong ?Le Faucon?. After a short atmospheric introduction, Debussy?s dance-like theme (which is definitely not a leitmotif) gradually gains momentum and after it reaches its ecstatic climax, representing the transient happiness of the lovers, it dissolves into an expressive coda and an elegiac close (all growing from Debussy?s opening, off-stage trumpet calls), leaving us with the ultimate tragedy of their ill-fated affair.
Unfortunately, Mourey?s actual libretto has been lost and the project eventually foundered because Bdier?s cousin, Louis Artus, wanted Debussy to use the scenario he had prepared and copyrighted for the stage, and would not allow him to proceed with Mourey?s version. Debussy, it need hardly be said, would never have dreamed of collaborating with the author of the vaudeville hit La culotte (The pants)!
Robert Orledge
$10.35 ≈
$14.01
Claude Debussy: Fêtes Galantes for solo piano, completed by Robert Orledge
Claude Debussy: Fêtes Galantes for solo piano, completed by Robert Orledge
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Piano seul
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Claude Debussy/Robert Orledge
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Claude Debussy: Fêtes Ga
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Musik Fabrik Music Publishing
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SheetMusicPlus
Piano Solo - Level 4 - SKU: A0.534653 Composed by Claude Debussy/Robert Orledge. 20th Century,Concert,Romantic Period,Standards. Score. 16 pages. Musik ...
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Piano Solo - Level 4 - SKU: A0.534653 Composed by Claude Debussy/Robert Orledge. 20th Century,Concert,Romantic Period,Standards. Score. 16 pages. Musik Fabrik Music Publishing #5726995. Published by Musik Fabrik Music Publishing (A0.534653). Recorded for Grand Piano (GP822) by Nicolas Horvath.IFêtes galantes was actually planned as a hybrid opera-ballet to a libretto by Debussy’s friend Louis Laloy. For this, Laloy arranged selected poetry by Paul Verlaine into three tableaux, replacing an earlier (unstarted) Debussyan project with Charles Morice entitled Crimen amoris. During his last productive summer of 1915, Debussy set a sequence from the start of the first tableau, ‘Les Masques’, involving stanzas 1 and 3 of the opening song for Mezzetin in Verlaine’s comedy Les Uns et les autres. The action is set in a park à la Watteau late one summer afternoon as Mezzetin attempts to entertain a group of nonchalant masqueraders with only the aid of his voice and a mandolin..This appears to have been prefaced by a slower, elegiac introduction reminiscent of the opening of the comtemporary Cello Sonata and it leads to a danced minuet by the masqued dancers which has clear echoes of the piano piece L’Isle Joyeuse (1904). Following Laloy’s scenario, the mas-queraders then sing extracts from Verlaine’s ‘A la promenade’ (from Fêtes galantes itself). The minuet returns at greater length before being cut short by a chilly gust of wind, after which the park returns to its orginal state (and music) as though nothing had really happened.
$12.95 ≈
$17.53
Petite Classics for Easiest Piano Booklet X3
Petite Classics for Easiest Piano Booklet X3
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Piano Facile
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DÉBUTANT
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Debussy Strauss Sousa
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SilverTonalities
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Petite Classics for Easiest Pi
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SilverTonalities
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SheetMusicPlus
Easy Piano - Level 1 - SKU: A0.645292 Composed by Debussy Strauss Sousa. Arranged by SilverTonalities. Classical,Folk,Patriotic,Romantic Period. Score. ...
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Easy Piano - Level 1 - SKU: A0.645292 Composed by Debussy Strauss Sousa. Arranged by SilverTonalities. Classical,Folk,Patriotic,Romantic Period. Score. 17 pages. SilverTonalities #5801017. Published by SilverTonalities (A0.645292). Petite Classics for Easiest Piano Booklet X3 Popular Classics for Beginner and Novice Pianists by SilverTonalities! Letter Names Embedded in Noteheads For Quick and Easy Reading! Booklet X3 includes: - Clair de Lune from Suite Bergamasque by Claude Debussy - Violetta Polka Opus 404 by Johann Strauss Junior - Washington Post March by John Philip Sousa
$6.99 ≈
$9.46
Claude Debussy ‒ Estampes, Orchestra Suite, Orchestrated by Arkady Leytush, No. 2 La soirée dans
Claude Debussy ‒ Estampes, Orchestra Suite, Orchestrated by Arkady Leytush, No. 2 La soirée dans
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Orchestre
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Classique
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Claude Debussy
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Arkady Leytush
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Claude Debussy ‒ Estamp
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Arkady Leytush
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SheetMusicPlus
Full Orchestra - SKU: A0.1008374 Composed by Claude Debussy. Arranged by Arkady Leytush. 20th Century. Score and parts. 24 pages. Arkady Leytush #484977...
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Full Orchestra - SKU: A0.1008374 Composed by Claude Debussy. Arranged by Arkady Leytush. 20th Century. Score and parts. 24 pages. Arkady Leytush #4849775. Published by Arkady Leytush (A0.1008374). Estampes (Engravings) is the title of the triptych of three pieces which Debussy put together in 1903. The first complete performance was given on 9 January 1904 in the Salle Erard, Paris, by the young Spanish pianist Ricardo Viñes, who was already emerging as the prime interpreter of the new French music of Debussy and Ravel. The first two pieces were completed in 1903, but the third derives from an earlier group of pieces from 1894, collectively titled Images, which remained unpublished until 60 years after Debussy’s death, when they were printed as Images (oubliées). Estampes marks an expansion of Debussy’s keyboard style: he was apparently spurred to fuse neo-Lisztian technique with a sensitive, impressionistic pictorial impulse under the impact of discovering Ravel’s Jeux d’eau, published in 1902. The opening movement, ‘Pagodes’, is Debussy’s first pianistic evocation of the Orient and is essentially a fixed contemplation of its object, as in a Chinese print. This static impression is partly caused by Debussy’s use of long pedal-points, partly by his almost constant preoccupation with pentatonic melodies which subvert the sense of harmonic movement. He uses such pentatonic fragments in many different ways: in delicate arabesques, in two-part counterpoint, in canon, harmonized in fourths and fifths and as an underpinning for pattering, gamelan-like ostinato writing. Altogether the piece reflects the decisive impression made on him by hearing Javanese and Cambodian musicians at the 1889 Paris Exposition, which he had striven for years to incorporate effectively in music. In its final bars the music begins to dissolve into elaborate filigree.Just as ‘Pagodes’ was his first Oriental piece, so ‘La soirée dans Grenade’ was the first of Debussy’s evocations of Spain-that preternatural embodiment of an ‘imaginary Andalusia’ which would inspire Manuel de Falla, the native Spaniard, to go back to his country and create a true modern Spanish music based on Debussyan principles. Debussy’s personal acquaintance with Spain was virtually non-existent (he had spent a day just over the border at San Sebastian) and it is possible that one model for the piece was Ravel’s Habanera. Yet he wrote of this piece (to his friend Pierre Louÿs, to whom it was dedicated), ‘if this isn’t the music they play in Granada, so much the worse for Granada!’-and there is no debate about the absolute authenticity of Debussy’s use of Spanish idioms here. Falla himself pronounced it ‘characteristically Spanish in every detail’. ‘La soirée dans Grenade’ is founded on an ostinato that echoes the rhythm of the habanera and is present almost throughout. Beginning and ending in almost complete silence, this dark nocturne of warm summer nights builds powerfully to its climaxes. The melodic material ranges from a doleful Moorish chant with a distinctly oriental character to a stamping, vivacious dance-measure, taking in brief suggestions of guitar strumming and perfumed Impressionist haze. There is even a hint of castanets near the end. The piece fades out in a coda that seems to distil all the melancholy of the Moorish theme and a last few distant chords of the guitar. ‘Jardins sous la pluie’ is based on the children’s song ‘Nous n’rons plus au bois’ (We shan’t go to the woods): its original 1894 form was in fact entitled Quelques aspects de ‘Nous n’rons plus au bois’. The two versions are really two distinct treatments of the same set of ideas, but in ‘Jardins sous la pluie’ Estampes the earlier piece has been entirely rethought. The whole conception is more impressionistic, and subtilized. The teeming semiquaver motion is more all-pervasive, the tunes (for Debussy has added a second children’s song for treatment, ‘Do, do, l’enfant do’) more elusive and tinged sometimes with melancholy or nostalgia. The ending of the piece is entirely new. What it loses, perha.
$25.00 ≈
$33.85
Claude Debussy ‒ Estampes, Orchestra Suite, Orchestrated by Arkady Leytush No. 1 Pagodes (Pagodas
Claude Debussy ‒ Estampes, Orchestra Suite, Orchestrated by Arkady Leytush No. 1 Pagodes (Pagodas
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Orchestre
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Classique
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Claude Debussy
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Arkady Leytush
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Claude Debussy ‒ Estamp
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Arkady Leytush
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SheetMusicPlus
Full Orchestra - SKU: A0.1008372 Composed by Claude Debussy. Arranged by Arkady Leytush. 20th Century. Score and parts. 24 pages. Arkady Leytush #484976...
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Full Orchestra - SKU: A0.1008372 Composed by Claude Debussy. Arranged by Arkady Leytush. 20th Century. Score and parts. 24 pages. Arkady Leytush #4849769. Published by Arkady Leytush (A0.1008372). Estampes (Engravings) is the title of the triptych of three pieces which Debussy put together in 1903. The first complete performance was given on 9 January 1904 in the Salle Erard, Paris, by the young Spanish pianist Ricardo Viñes, who was already emerging as the prime interpreter of the new French music of Debussy and Ravel. The first two pieces were completed in 1903, but the third derives from an earlier group of pieces from 1894, collectively titled Images, which remained unpublished until 60 years after Debussy’s death, when they were printed as Images (oubliées). Estampes marks an expansion of Debussy’s keyboard style: he was apparently spurred to fuse neo-Lisztian technique with a sensitive, impressionistic pictorial impulse under the impact of discovering Ravel’s Jeux d’eau, published in 1902. The opening movement, ‘Pagodes’, is Debussy’s first pianistic evocation of the Orient and is essentially a fixed contemplation of its object, as in a Chinese print. This static impression is partly caused by Debussy’s use of long pedal-points, partly by his almost constant preoccupation with pentatonic melodies which subvert the sense of harmonic movement. He uses such pentatonic fragments in many different ways: in delicate arabesques, in two-part counterpoint, in canon, harmonized in fourths and fifths and as an underpinning for pattering, gamelan-like ostinato writing. Altogether the piece reflects the decisive impression made on him by hearing Javanese and Cambodian musicians at the 1889 Paris Exposition, which he had striven for years to incorporate effectively in music. In its final bars the music begins to dissolve into elaborate filigree. Just as ‘Pagodes’ was his first Oriental piece, so ‘La soirée dans Grenade’ was the first of Debussy’s evocations of Spain-that preternatural embodiment of an ‘imaginary Andalusia’ which would inspire Manuel de Falla, the native Spaniard, to go back to his country and create a true modern Spanish music based on Debussyan principles. Debussy’s personal acquaintance with Spain was virtually non-existent (he had spent a day just over the border at San Sebastian) and it is possible that one model for the piece was Ravel’s Habanera. Yet he wrote of this piece (to his friend Pierre Louÿs, to whom it was dedicated), ‘if this isn’t the music they play in Granada, so much the worse for Granada!’-and there is no debate about the absolute authenticity of Debussy’s use of Spanish idioms here. Falla himself pronounced it ‘characteristically Spanish in every detail’. ‘La soirée dans Grenade’ is founded on an ostinato that echoes the rhythm of the habanera and is present almost throughout. Beginning and ending in almost complete silence, this dark nocturne of warm summer nights builds powerfully to its climaxes. The melodic material ranges from a doleful Moorish chant with a distinctly oriental character to a stamping, vivacious dance-measure, taking in brief suggestions of guitar strumming and perfumed Impressionist haze. There is even a hint of castanets near the end. The piece fades out in a coda that seems to distil all the melancholy of the Moorish theme and a last few distant chords of the guitar. ‘Jardins sous la pluie’ is based on the children’s song ‘Nous n’rons plus au bois’ (We shan’t go to the woods): its original 1894 form was in fact entitled Quelques aspects de ‘Nous n’rons plus au bois’. The two versions are really two distinct treatments of the same set of ideas, but in ‘Jardins sous la pluie’ Estampes the earlier piece has been entirely rethought. The whole conception is more impressionistic, and subtilized. The teeming semiquaver motion is more all-pervasive, the tunes (for Debussy has added a second children’s song for treatment, ‘Do, do, l’enfant do’) more elusive and tinged sometimes with melancholy or nostalgia. Th.
$25.00 ≈
$33.85
Claude Debussy ‒ Estampes, Orchestra Suite, Orchestrated by Arkady Leytush, No. 3 Jardins sous la
Claude Debussy ‒ Estampes, Orchestra Suite, Orchestrated by Arkady Leytush, No. 3 Jardins sous la
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Orchestre
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Classique
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Claude Debussy
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Arkady Leytush
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Claude Debussy ‒ Estamp
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Arkady Leytush
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SheetMusicPlus
Full Orchestra - SKU: A0.1008375 Composed by Claude Debussy. Arranged by Arkady Leytush. 20th Century. Score and parts. 39 pages. Arkady Leytush #488544...
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Full Orchestra - SKU: A0.1008375 Composed by Claude Debussy. Arranged by Arkady Leytush. 20th Century. Score and parts. 39 pages. Arkady Leytush #4885449. Published by Arkady Leytush (A0.1008375). Estampes (Engravings) is the title of the triptych of three pieces which Debussy put together in 1903. The first complete performance was given on 9 January 1904 in the Salle Erard, Paris, by the young Spanish pianist Ricardo Viñes, who was already emerging as the prime interpreter of the new French music of Debussy and Ravel. The first two pieces were completed in 1903, but the third derives from an earlier group of pieces from 1894, collectively titled Images, which remained unpublished until 60 years after Debussy’s death, when they were printed as Images (oubliées). Estampes marks an expansion of Debussy’s keyboard style: he was apparently spurred to fuse neo-Lisztian technique with a sensitive, impressionistic pictorial impulse under the impact of discovering Ravel’s Jeux d’eau, published in 1902. The opening movement, ‘Pagodes’, is Debussy’s first pianistic evocation of the Orient and is essentially a fixed contemplation of its object, as in a Chinese print. This static impression is partly caused by Debussy’s use of long pedal-points, partly by his almost constant preoccupation with pentatonic melodies which subvert the sense of harmonic movement. He uses such pentatonic fragments in many different ways: in delicate arabesques, in two-part counterpoint, in canon, harmonized in fourths and fifths and as an underpinning for pattering, gamelan-like ostinato writing. Altogether the piece reflects the decisive impression made on him by hearing Javanese and Cambodian musicians at the 1889 Paris Exposition, which he had striven for years to incorporate effectively in music. In its final bars the music begins to dissolve into elaborate filigree.Just as ‘Pagodes’ was his first Oriental piece, so ‘La soirée dans Grenade’ was the first of Debussy’s evocations of Spain-that preternatural embodiment of an ‘imaginary Andalusia’ which would inspire Manuel de Falla, the native Spaniard, to go back to his country and create a true modern Spanish music based on Debussyan principles. Debussy’s personal acquaintance with Spain was virtually non-existent (he had spent a day just over the border at San Sebastian) and it is possible that one model for the piece was Ravel’s Habanera. Yet he wrote of this piece (to his friend Pierre Louÿs, to whom it was dedicated), ‘if this isn’t the music they play in Granada, so much the worse for Granada!’-and there is no debate about the absolute authenticity of Debussy’s use of Spanish idioms here. Falla himself pronounced it ‘characteristically Spanish in every detail’. ‘La soirée dans Grenade’ is founded on an ostinato that echoes the rhythm of the habanera and is present almost throughout. Beginning and ending in almost complete silence, this dark nocturne of warm summer nights builds powerfully to its climaxes. The melodic material ranges from a doleful Moorish chant with a distinctly oriental character to a stamping, vivacious dance-measure, taking in brief suggestions of guitar strumming and perfumed Impressionist haze. There is even a hint of castanets near the end. The piece fades out in a coda that seems to distil all the melancholy of the Moorish theme and a last few distant chords of the guitar. ‘Jardins sous la pluie’ is based on the children’s song ‘Nous n’rons plus au bois’ (We shan’t go to the woods): its original 1894 form was in fact entitled Quelques aspects de ‘Nous n’rons plus au bois’. The two versions are really two distinct treatments of the same set of ideas, but in ‘Jardins sous la pluie’ Estampes the earlier piece has been entirely rethought. The whole conception is more impressionistic, and subtilized. The teeming semiquaver motion is more all-pervasive, the tunes (for Debussy has added a second children’s song for treatment, ‘Do, do, l’enfant do’) more elusive and tinged sometimes with melancholy or nostalgia. The ending of the piece is entirely new. What it loses, perha.
$25.00 ≈
$33.85
Petite Classics for Easiest Piano Booklet B1
Petite Classics for Easiest Piano Booklet B1
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Piano Facile
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DÉBUTANT
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Classique
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Debussy Waldteufel Grieg
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SilverTonalities
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Petite Classics for Easiest Pi
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SilverTonalities
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SheetMusicPlus
Easy Piano - Level 1 - SKU: A0.644755 Composed by Debussy Waldteufel Grieg. Arranged by SilverTonalities. 20th Century,Classical,Romantic Period. Score....
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Easy Piano - Level 1 - SKU: A0.644755 Composed by Debussy Waldteufel Grieg. Arranged by SilverTonalities. 20th Century,Classical,Romantic Period. Score. 11 pages. SilverTonalities #3684989. Published by SilverTonalities (A0.644755). Petite Classics for Easiest Piano Booklet B1 Popular Classics for Beginner and Novice Pianists by SilverTonalities! Letter Names Embedded in Noteheads For Quick and Easy Reading! Booklet B1 includes: - Clair de Lune from Suite Bergamasque by Claude Debussy - Violet Waltz Opus 148 by Emile Waldteufel - The Woman In Green from the Peer Gynt Suite by Edvard Grieg
$6.99 ≈
$9.46
Claude Debussy/Robert Orledge: Prélude à L'Histoire de Tristan for orchestra, score only
Claude Debussy/Robert Orledge: Prélude à L'Histoire de Tristan for orchestra, score only
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Orchestre
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Claude Debussy/Robert Orledg
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Claude Debussy/Robert Orledge:
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Musik Fabrik Music Publishing
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SheetMusicPlus
Full Orchestra - Advanced Intermediate - Digital Download Composed by Claude Debussy/Robert Orledge. 20th Century, Impressionistic. Score. 19 pages. ...
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Full Orchestra - Advanced Intermediate - Digital Download Composed by Claude Debussy/Robert Orledge. 20th Century, Impressionistic. Score. 19 pages. Published by Musik Fabrik Music Publishing
Scored for 21EH22/2200/timp/1perc/hp/strings Parts on rental.
Debussy?s friendship with the versatile poet and playwright Gabriel Mourey began in 1899, and in July 1907, Mourey offered Debussy a libretto based on Le roman de Tristan - Joesph Bdier?s adaptation of a twelfth-century Breton romance by the Anglo-Norman poet known as Tomas - which had recently been published in Paris. Debussy enthusiastically outline the four-act plot to Victor Segalen that October, and the main differences from Wagner?s Tristan und Isolde are that none of the action takes place in Cornwal and that ?Isolde of the white hands? is found guilty of cuckolding King Marc with Tristan, who has to rescue her from the leper colony in which she is abandoned in Act 1. She also betrays hi when he goes mad at the end.
The idea of a Tristan that restorced its ?legendary character? and had no connections with Wagner, appealed to Debussy, who was extremely moved by the circumstances of Tristan?s death. Even if he thought that Mourey?s poetry was ?not very lyrical and many passages do not exactly ?invite? music?, he did work on the libretto and the music that summer and sent his pubisher Jacques Durand, ?one of the 363 themes for the ?Roman de Tristan?? in a letter sent from Pourville on 23 August, 1907. The present prelude grows from this theme, together with the poignant Breton folksong ?Le Faucon?. After a short atmospheric introduction, Debussy?s dance-like theme (which is definitely not a leitmotif) gradually gains momentum and after it reaches it ecstatic climas, representing the transient happiness of the lovers, it dissolves into an expressive coda and an elegiac close (all growing from Debussy?s opennning, off-stage trumpet calls), leaving us with the ultimate tragedy of their ill-fated advice.
Unforunately, Mourey?s actual libretto has been lost and the project eventually foundered because Bdier?s cousin, Louis Artus, wanted Debussy to use the scenario he had prepared and copyrights for the stage, and would not allow him to proceed with Mourey?s version. Debussy, it need hardly be said, would never have dreamed of collaborating with the author of the vaudeville hit La culotte (The pants)!
$19.95 ≈
$27.01
Debussy: Sarabande (Pour le piano) (For the piano), L. 95- wind dectet
Debussy: Sarabande (Pour le piano) (For the piano), L. 95- wind dectet
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Orchestre
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Classique
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Claude Debussy
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Ray Thompson
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Debussy: Sarabande
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RayThompsonMusic
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SheetMusicPlus
Large Ensemble - Digital Download Composed by Claude Debussy (1862-1918). Arranged by Ray Thompson. 20th Century. Score and parts. 17 pages. RayThomp...
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Large Ensemble - Digital Download Composed by Claude Debussy (1862-1918). Arranged by Ray Thompson. 20th Century. Score and parts. 17 pages. RayThompsonMusic #6109107. Published by RayThompsonMusic
Pour le piano (For the piano), L. 95, is a suite for solo piano by Claude Debussy. It consists of three individually composed movements, Prlude, Sarabande and Toccata. The suite was completed and published in 1901. It was premiered on 11 January 1902 at the Salle rard, played by Ricardo Vies. Maurice Ravel orchestrated the middle movement.
This is my arrangement of that movement.based on Ravel's orchestration.
Regarded as Debussy's first mature piano composition, the suite has frequently been recorded.Arranged double wind quintet/double bass
Clarinet parts are for clarinets in A
Oboe 2 is for cor anglais
$14.95 ≈
$20.24
Claude Debussy: Toomai des éléphants for solo piano, completed by Robert Orledge
Claude Debussy: Toomai des éléphants for solo piano, completed by Robert Orledge
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Piano seul
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Claude Debussy/Robert Orledge
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Claude Debussy: Toomai des &ea
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Musik Fabrik Music Publishing
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SheetMusicPlus
Piano Solo - Level 4 - SKU: A0.534657 Composed by Claude Debussy/Robert Orledge. 20th Century,Concert,Standards. Score. 10 pages. Musik Fabrik Music Pub...
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Piano Solo - Level 4 - SKU: A0.534657 Composed by Claude Debussy/Robert Orledge. 20th Century,Concert,Standards. Score. 10 pages. Musik Fabrik Music Publishing #5732665. Published by Musik Fabrik Music Publishing (A0.534657). In January 1913, Debussy struggled to complete Toomai des éléphants as the 11th prelude in Book2, finally replacing it by a rather Stravinskian study Les Tierces alternées. However, his daughter Chouchou was fascinated by elephants and in the summer of 1913, Debussy wrote her a ‘Toybox Ballet’ (La Boîte à joujoux) which contains a ‘Pas de l’éléphant’ and an ‘old Hindu chant which is still used to train elephants [in India]. It is constructed on the scale of “5 o’clock in the morningâ€,which means it must be in 5/4 time.’ My reconstruction of this lost prelude is based around this material and it evokes a day in the life of Toomai, the young mahout, and his faithful elephant Kala Nag from one dawn to the next, incorporating the legendary ‘Elephants’ Dance’ from Rudyard Kip ling’s First Jungle Book (1894) which only Toomai was ever privileged to witness. The version presented here is the revised second version of this prelude which contains an effect of piano harmonics as the dawn returns towards the end.
$10.35 ≈
$14.01
Robert Orledge: A Night in the House of Usher for organ, based on themes from Debussy's "La Chute de
Robert Orledge: A Night in the House of Usher for organ, based on themes from Debussy's "La Chute de
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Orgue
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AVANCÉ
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Classique
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Claude Debussy/Robert Orledge
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Robert Orledge: A Night in the
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Musik Fabrik Music Publishing
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SheetMusicPlus
Organ - Level 5 - SKU: A0.534661 Composed by Claude Debussy/Robert Orledge. 20th Century,Concert,Halloween. Score. 16 pages. Musik Fabrik Music Publishi...
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Organ - Level 5 - SKU: A0.534661 Composed by Claude Debussy/Robert Orledge. 20th Century,Concert,Halloween. Score. 16 pages. Musik Fabrik Music Publishing #5739561. Published by Musik Fabrik Music Publishing (A0.534661). Over the years 1908–16, Debussy had produced a viable scenario for Usher on his third attempt. But when he came to making a complete draft of the music, he seems to have lost interest during Roderick Usher’s long monologue, even though he was setting his own text. As in No-ja-li he jumped to the next passage that interested him, in this case the exciting final melodrama and the collapse of the Usher house itself.In the process of completing the missing half of the score, I discovered that by reusing Debussy’s material for similar psychological situations across the opera, and by metamorphosing existing ideas (as Debussy does with Mélisande’s theme in his opera Pelléas et Mélisande), the only things I really needed to add were linking material and any passages where fast music was required. So the ‘nightmare scherzo’, and Lady Madeline’s escape from her coffin and her final bloody revenge on her brother are all mine, but most of the rest is existing Debussy in changing contexts (in which the Russian technique of ‘changing backgrounds’, both harmonic and textural, proved extremely useful, as it did to Debussy in his Prélude à l’après-midi d’un faune). Eventually, both my completed ballet No-ja-li and the House of Usher were successfully premiered in 2006 and the latter soon began to find its way into the established repertoire in Europe and the US. To further support this, I transcribed some of the highlights of Debussy’s score as A Night in the House of Usher for organ, and subsequently piano—with a focus on Scene 2 and the final, horrific and maca-bre melodrama. This climaxes in the double deaths of Roderick Usher and his Sister Madeline, together with the disintegration of the ill-fated House of Usher into the stagnant lake-all beneath a blood-red moon.In this form it was first performed by Ian Buckle in the Howard Assembly Rooms, Leeds in 2010.
$12.95 ≈
$17.53
Claude Debussy: Sérénade for violin and piano
Claude Debussy: Sérénade for violin and piano
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Violon et Piano
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Claude Debussy/Robert Orledge
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Claude Debussy: Sér&eac
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Musik Fabrik Music Publishing
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SheetMusicPlus
Piano,Violin - Level 4 - SKU: A0.534583 Composed by Claude Debussy/Robert Orledge. 20th Century,Concert,Romantic Period,Standards. 21 pages. Musik Fabri...
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Piano,Violin - Level 4 - SKU: A0.534583 Composed by Claude Debussy/Robert Orledge. 20th Century,Concert,Romantic Period,Standards. 21 pages. Musik Fabrik Music Publishing #4727479. Published by Musik Fabrik Music Publishing (A0.534583). Preface:In the early 1890s, Debussy composed the opening of a lyrical piece in E major for violin and piano, perhaps as a shorter companion piece for the violin Nocturne he was planning for the Belgian violinist Eugène Ysaÿe. After Debussy’s death in 1918, his second wife Emma often gave away sketch pages to performers or composers as memorials to her beloved husband , and this particular page was given to the Cuban born pianist and composer Joaquin Nin (1879-1949). It came up for sale in the catalogue of the British antiquarian dealer Lisa Cox in 2010 and although it might possibly be an early song for contralto and piano, the more dynamic idea in bar 12 strongly suggests the violin, especially as it begins on an open D string. Moreover, there is no text and in pieces of this length, Debussy usually wrote at least one word in, if only to remind himself where he had got to in any song. So my starting point was a complete 12-bar melody gently undulating in the violin’s lowest register over a sensual accompaniment, rising to a climax in bar 12 and giving me a contrasting idea that I could use as a link between sections and in the cadenza. As the B section (bars 14-26) derives directly from Debussy’s opening theme by metamorphosis, my own additions were restricted to the central section (bars 27-57) - comprising a new scherzando idea (C) and the more lyrical D (bars 36-46). C returns at bar 47, followed by the opening sections in reverse order, so that the Sérénade begins and ends with Debussy’s material and is cast in arch form (ABCDCBA). Robert OrledgeBrighton, 19 June 2019Robert Orledge was born in Bath in 1948 and educated at Clare College, Cambridge, where he gained his doctorate for his study of the composer Charles Kœchlin in 1973. Between 1971 and 1991 He rose from Lecturer to Professor in the Music Department of the University of Liverpool, publishing books on Gabriel Fauré, Claude Debussy, Charles Kœchlin and Erik Satie, as well as numerous articles, editions and reviews. As a historical musicologist, Professor Orledge specialized in the way composers composed, ,and since taking early retirement in 2004, he has concentrated on completing and orchestrating Debussy’s unfinished works, and especially his theatre projects. His completion of Debussy’s opera The Fall of the House of Usher (1908-17) was successfully premiered at the Bregenz Opera Festival in Austria in August 2006 and has since been performed in America, Portugal Germany and Holland, as well as being broadcast throughout Europe. A DVD of the Bregenz premier is available on Capriccio 93517, produced by Phylida Lloyd and conducted by Lawrence Foster. His completion of the Chinese ballet No-ja-li ou Le Palais du Silence (1914) was also premiered in 2006 in Los Angeles and other completions include La Saulaie and the Nocturne and Poème for violin and orchestra as well as Debussy’s other Poe opera Le Diable dans le Beffroi.Préface en français : Au debut des années 1890, Debussy a composé le debut d’une pièce lyrique en Mi majeur pour violon et piano, peut-être pour accompagner la Nocturne pour violon que Debussy a destinée pour le violoniste belge Eugène Ysaÿe. Après la morte de Debussy en 1918, sa deuxième femme Emma avait l’habitude d’offrir ses pages d’esquisses aux intérpètes et compositeurs en souvenir de son regreté mari. Cette page d’esquisse a été offerte aux compositeur et pianiste cubain Joaquin Nin (1879-1949). Cette page a été mise en vente dans la catalogue de l’antiquaire britannique Lisa Cox en 2010 et malgré que cette esquisse est peut-être le début d‘une mélodie pour contralto et piano, l‘idée dynamique dans la douzième mesure suggère la violon, surtout qu‘elle commence sur la.
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Petite Classics for Easiest Piano Booklet W1
Petite Classics for Easiest Piano Booklet W1
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Piano Facile
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DÉBUTANT
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Classique
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Dowland Debussy Beethoven
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SilverTonalities
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Petite Classics for Easiest Pi
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SilverTonalities
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SheetMusicPlus
Easy Piano - Level 1 - SKU: A0.644833 Composed by Dowland Debussy Beethoven. Arranged by SilverTonalities. Baroque,Classical,Renaissance,Romantic Period...
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Easy Piano - Level 1 - SKU: A0.644833 Composed by Dowland Debussy Beethoven. Arranged by SilverTonalities. Baroque,Classical,Renaissance,Romantic Period. Score. 11 pages. SilverTonalities #4297959. Published by SilverTonalities (A0.644833). Petite Classics for Easiest Piano Booklet W1 Popular Classics for Beginner and Novice Pianists by SilverTonalities! Letter Names Embedded in Noteheads For Quick and Easy Reading! Booklet W1 includes: - Adew for Master Oliver Cromwell by John Dowland - Claire de Lune from Suite Bergamasque by Claude Debussy - Sonatina Number 1 First Movement Anh5 by Ludwig van Beethoven
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Petite Classics for Easiest Piano Booklet Y2
Petite Classics for Easiest Piano Booklet Y2
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Piano Facile
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DÉBUTANT
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Classique
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Debussy Chopin Beethoven
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SilverTonalities
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Petite Classics for Easiest Pi
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SilverTonalities
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SheetMusicPlus
Easy Piano - Level 1 - SKU: A0.645035 Composed by Debussy Chopin Beethoven. Arranged by SilverTonalities. Classical,Romantic Period. Score. 16 pages. Si...
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Easy Piano - Level 1 - SKU: A0.645035 Composed by Debussy Chopin Beethoven. Arranged by SilverTonalities. Classical,Romantic Period. Score. 16 pages. SilverTonalities #4849255. Published by SilverTonalities (A0.645035). Petite Classics for Easiest Piano Booklet Y2 Popular Classics for Beginner and Novice Pianists by SilverTonalities! Letter Names Embedded in Noteheads For Quick and Easy Reading! Booklet Y2 includes: - Jimbo’s Lullaby from the Children’s Corner by Claude Debussy - Mazurka Opus 7 Number 2 by Frederick Chopin - Moonlight Sonata First Movement by Ludwig van Beethoven
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Petite Classics for Easiest Piano Booklet Q1
Petite Classics for Easiest Piano Booklet Q1
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Piano Facile
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DÉBUTANT
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Classique
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Debussy Satie Saint Saens
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SilverTonalities
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Petite Classics for Easiest Pi
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SilverTonalities
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SheetMusicPlus
Easy Piano - Level 1 - SKU: A0.644820 Composed by Debussy Satie Saint Saens. Arranged by SilverTonalities. Classical,Romantic Period. Score. 12 pages. S...
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Easy Piano - Level 1 - SKU: A0.644820 Composed by Debussy Satie Saint Saens. Arranged by SilverTonalities. Classical,Romantic Period. Score. 12 pages. SilverTonalities #4270093. Published by SilverTonalities (A0.644820). Petite Classics for Easiest Piano Booklet Q1 Popular Classics for Beginner and Novice Pianists by SilverTonalities! Letter Names Embedded in Noteheads For Quick and Easy Reading! Booklet Q1 includes: - Clair de Lune from Suite Bergamasque by Claude Debussy - Gnossienne Number 1 by Erik Satie - The Swan from the Carnival of the Animals by Camille Saint Saens
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Petite Classics for Easiest Piano Booklet C2
Petite Classics for Easiest Piano Booklet C2
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Piano Facile
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DÉBUTANT
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Ravel Debussy Gibbons
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SilverTonalities
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Petite Classics for Easiest Pi
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SilverTonalities
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SheetMusicPlus
Easy Piano - Level 1 - SKU: A0.644872 Composed by Ravel Debussy Gibbons. Arranged by SilverTonalities. 20th Century,Classical,Renaissance,Romantic Perio...
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Easy Piano - Level 1 - SKU: A0.644872 Composed by Ravel Debussy Gibbons. Arranged by SilverTonalities. 20th Century,Classical,Renaissance,Romantic Period. Score. 14 pages. SilverTonalities #4403942. Published by SilverTonalities (A0.644872). Petite Classics for Easiest Piano Booklet C2 Popular Classics for Beginner and Novice Pianists by SilverTonalities! Letter Names Embedded in Noteheads For Quick and Easy Reading! Booklet C2 includes: - Bolero by Maurice Ravel - Clair de Lune from Suite Bergamasque by Claude Debussy - The Queen’s Command by Orlando Gibbons
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Petite Classics for Easiest Piano Booklet X2
Petite Classics for Easiest Piano Booklet X2
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Piano Facile
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Classique
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Debussy Brahms Beethoven
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SilverTonalities
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Petite Classics for Easiest Pi
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SilverTonalities
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SheetMusicPlus
Easy Piano - Level 1 - SKU: A0.645017 Composed by Debussy Brahms Beethoven. Arranged by SilverTonalities. Classical,Romantic Period. Score. 16 pages. Si...
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Easy Piano - Level 1 - SKU: A0.645017 Composed by Debussy Brahms Beethoven. Arranged by SilverTonalities. Classical,Romantic Period. Score. 16 pages. SilverTonalities #4820551. Published by SilverTonalities (A0.645017). Petite Classics for Easiest Piano Booklet X2 Popular Classics for Beginner and Novice Pianists by SilverTonalities! Letter Names Embedded in Noteheads For Quick and Easy Reading! Booklet X2 includes: - Clair de Lune from Suite Bergamasque by Claude Debussy - Hungarian Dance Number 5 by Johannes Brahms - Moonlight Sonata First Movement by Ludwig van Beethoven
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Petite Classics for Easiest Piano Booklet W
Petite Classics for Easiest Piano Booklet W
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Piano Facile
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Classique
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Debussy Tchaikovsky Wagner
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SilverTonalities
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Petite Classics for Easiest Pi
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SilverTonalities
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SheetMusicPlus
Easy Piano - Level 1 - SKU: A0.644740 Composed by Debussy Tchaikovsky Wagner. Arranged by SilverTonalities. 20th Century,Classical,Romantic Period. Scor...
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Easy Piano - Level 1 - SKU: A0.644740 Composed by Debussy Tchaikovsky Wagner. Arranged by SilverTonalities. 20th Century,Classical,Romantic Period. Score. 12 pages. SilverTonalities #3638733. Published by SilverTonalities (A0.644740). Petite Classics for Easiest Piano Booklet W Popular Classics for Beginner and Novice Pianists by SilverTonalities! Letter Names Embedded in Noteheads For Quick and Easy Reading! Booklet W includes: - Clair de Lune from Suite Bergamasque by Claude Debussy - Dance of the Reed Flutes from the Nutcracker Suite by Peter Ilyich Tchaikovsky - The Mastersingers of Nuremberg by Wilhelm Richard Wagner
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Petite Classics for Easiest Piano Booklet G1
Petite Classics for Easiest Piano Booklet G1
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Piano Facile
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Classique
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Dvorak Beethoven Debussy
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SilverTonalities
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Petite Classics for Easiest Pi
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SilverTonalities
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SheetMusicPlus
Easy Piano - Level 1 - SKU: A0.644771 Composed by Dvorak Beethoven Debussy. Arranged by SilverTonalities. Classical,Romantic Period. Score. 13 pages. Si...
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Easy Piano - Level 1 - SKU: A0.644771 Composed by Dvorak Beethoven Debussy. Arranged by SilverTonalities. Classical,Romantic Period. Score. 13 pages. SilverTonalities #3872245. Published by SilverTonalities (A0.644771). Petite Classics for Easiest Piano Booklet G1 Popular Classics for Beginner and Novice Pianists by SilverTonalities! Letter Names Embedded in Noteheads For Quick and Easy Reading! Booklet G1 includes: - Humoresque by Anton Dvorak - Moonlight Sonata First Movement by Ludwig van Beethoven - Reverie by Claude Debussy
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Petite Classics for Easiest Piano Booklet Z3
Petite Classics for Easiest Piano Booklet Z3
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Piano Facile
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DÉBUTANT
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Classique
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Saint Saens Giordani Debussy
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SilverTonalities
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Petite Classics for Easiest Pi
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SilverTonalities
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SheetMusicPlus
Easy Piano - Level 1 - SKU: A0.645318 Composed by Saint Saens Giordani Debussy. Arranged by SilverTonalities. Classical,Romantic Period. Score. 13 pages...
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Easy Piano - Level 1 - SKU: A0.645318 Composed by Saint Saens Giordani Debussy. Arranged by SilverTonalities. Classical,Romantic Period. Score. 13 pages. SilverTonalities #5888285. Published by SilverTonalities (A0.645318). Petite Classics for Easiest Piano Booklet Z3 Popular Classics for Beginner and Novice Pianists by SilverTonalities! Letter Names Embedded in Noteheads For Quick and Easy Reading! Booklet Z3 includes: - Aquarium from the Carnival of the Animals by Camille Saint Saens - Caro Mio Ben by Guiseppe Giordani - Clair de Lune from Suite Bergamasque by Claude Debussy
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Petite Classics for Easiest Piano Booklet X
Petite Classics for Easiest Piano Booklet X
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Piano Facile
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DÉBUTANT
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Classique
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Schubert Debussy Beethoven
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SilverTonalities
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Petite Classics for Easiest Pi
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SilverTonalities
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SheetMusicPlus
Easy Piano - Level 1 - SKU: A0.644746 Composed by Schubert Debussy Beethoven. Arranged by SilverTonalities. 20th Century,Classical,Romantic Period. Scor...
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Easy Piano - Level 1 - SKU: A0.644746 Composed by Schubert Debussy Beethoven. Arranged by SilverTonalities. 20th Century,Classical,Romantic Period. Score. 14 pages. SilverTonalities #3664331. Published by SilverTonalities (A0.644746). Petite Classics for Easiest Piano Booklet X Popular Classics for Beginner and Novice Pianists by SilverTonalities! Letter Names Embedded in Noteheads For Quick and Easy Reading! Booklet X includes: - Ave Maria by Franz Schubert - La Fille aux Cheveux de Lin the Girl With the Flaxen Hair by Claude Debussy - Moonlight Sonata Second Movement by Ludwig van Beethoven
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$9.46
Petite Classics for Easiest Piano Booklet V
Petite Classics for Easiest Piano Booklet V
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Piano Facile
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DÉBUTANT
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Classique
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Debussy Grieg Dvorak
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SilverTonalities
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Petite Classics for Easiest Pi
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SilverTonalities
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SheetMusicPlus
Easy Piano - Level 1 - SKU: A0.644735 Composed by Debussy Grieg Dvorak. Arranged by SilverTonalities. Classical,Romantic Period. Score. 11 pages. Silver...
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Easy Piano - Level 1 - SKU: A0.644735 Composed by Debussy Grieg Dvorak. Arranged by SilverTonalities. Classical,Romantic Period. Score. 11 pages. SilverTonalities #3637953. Published by SilverTonalities (A0.644735). Petite Classics for Easiest Piano Booklet V Popular Classics for Beginner and Novice Pianists by SilverTonalities! Letter Names Embedded in Noteheads For Quick and Easy Reading! Booklet V includes: - Clair de Lune from Suite Bergamasque by Claude Debussy - Morning from the Peer Gynt Suite by Edvard Grieg - Largo from the New World Symphony by Antonin Dvorak
$6.99 ≈
$9.46
Petite Classics for Easiest Piano Booklet T1
Petite Classics for Easiest Piano Booklet T1
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Piano Facile
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DÉBUTANT
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Classique
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Debussy Bach Vivaldi
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SilverTonalities
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Petite Classics for Easiest Pi
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SilverTonalities
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SheetMusicPlus
Easy Piano - Level 1 - SKU: A0.644825 Composed by Debussy Bach Vivaldi. Arranged by SilverTonalities. Baroque,Classical,Romantic Period. Score. 13 pages...
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Easy Piano - Level 1 - SKU: A0.644825 Composed by Debussy Bach Vivaldi. Arranged by SilverTonalities. Baroque,Classical,Romantic Period. Score. 13 pages. SilverTonalities #4283753. Published by SilverTonalities (A0.644825). Petite Classics for Easiest Piano Booklet T1 Popular Classics for Beginner and Novice Pianists by SilverTonalities! Letter Names Embedded in Noteheads For Quick and Easy Reading! Booklet T1 includes: - Clair de Lune from Suite Bergamasque by Claude Debussy - Sleeper’s Awake Cantata BWV 140 by Johann Sebastian Bach Summer from the Four Seasons by Antonio Vivaldi
$6.99 ≈
$9.46
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