Les plus grandes ?uvres pour Piano de Claude Debussy, arrangées pour Piano Solo / Classique / Partition /

Description This volume contains the complete music for solo piano written by Claude Debussy between 1888 and 1905. Beginning with Deux Arabesques , it offers the Suite Bergamasque , Reverie , Danse , Estampes and many more. This edition has been designed to be used at the piano. Songlist Ballade Clair De Lune Danse Deux Arabesques D'un Cahier D'esquisses Estampes: Hommage A Rameau Images: Jardins Sous La Pluie L'isle Joyeuse Masques Mazurka Menuet Mouvement Pagodes Passepied Pour Le Piano: Prelude Reflets Dans L'eau Reverie [Dancla, Charles] Sarabande Soiree Dans Grenade Suite Bergamasque: Toccata Valse Romantique

Description Debussy's two books of piano Preludes, written around the turn of the century, are widely regarded as being among his very best. They incorporate the superb harmonies and tonal palette which Debussy is famous for. This volume remains true to the original, and will delight all those pianists who are fond of Debussy's music. Songlist Preludes

This pair of attractive intermediate Piano pieces were written to commemorate the births of Prince George (2013) and Princess Charlotte (2015). Also enjoyed by readers of Pianist Magazine the music inhabits a gentle soporific mood: a lullaby and a nocturne. Quick-witted pianists may spot the allusion to the bells of Westminster in the opening chords of the Nocturne; cast in the key of C major the top notes spell out the initials of Charlotte Elizabeth Diana: CDE. The faintest whiff of an oft-quoted Piano piece by Debussy might also be detected in the penultimate line.

Henri Dutilleux (1916-2013) was greatly influenced by his contemporaries Ravel Debussy and Roussel yet implemented his own unique style. His Figures De Résonance is an excellent duet for Two Pianos. This Dutilleux piece was first published in 1980 and is made up of four movements.Figures De Résonance is a group of sequences which forms a variety of sounds within an acoustic. It is a virtuosic and modern work with pedalling included throughout. Dutilleux's Figures De Résonance remains popular to this day and is a sublime highly complexpiece for performers and audiences alike.

Jacques Ibert (1890-1962) studied at the Paris Conservatoire before embarking upon a successful composing career. Stories increased his popularity when it was published in the mid-1920s and it remains significant in the advanced pianist's repertoire. This edition contains the eigth movement of Stories  La Cage De Cristal. It is marked 'a bit fast' and begins staccato and at a high tessitura. The movements of Ibert's Stories including La Cage De Cristal contain significant influences of Debussy and impressionism. Addressing a variety of musical aspects andtechniques Ibert's La Cage De Cristal is an exciting addition to the Piano repertoire.

Aldo Ciccolini est sans conteste l'un des plus grands pianistes contemporains. II fut partenaire des plus grands chefs et interprètes (Mitropoulos, Furtwängler, Cluytens, Schwarzkopf, Thibaud...) - son immense carrière internationale n'a cessée d'être saluée par de nombreux prix et distinctions, depuis ce jour de 1949 où il remporta le 1er prix du concours Marguerile-Long à Paris. Interprète au répertoire éclectique, ayant à son actif plus 80 références discographiques, son nom prestigieux est désormais rattaché à celui de Debussy, Satie, Séverac, Janacek, Liszt,... Mais en disant cela, l'on ne dit rien : rien de la magie qui opère à chaque concert lorsque, dès les premières mesures, l'artiste, dans une économie d'effets, capte l'émotion d'une salle entière par la seule densité de sa sonorité et la justesse du phrasé. Ni de l'intensité de son interprétation, fondée sur un respect absolu de l'écriture et une compréhension intime des oeuvres qu'il travaille encore et encore jusqu'à I'imprégnation totale. `Je suis un lirico spinto`, aime à répéter Aldo Ciccolini en référence à cette voix lyrique puissante et surtout incisive. Alors que certains parlent d'alchimie, il vous répond sacerdoce et mission. Car Aldo Ciccolini se définit comme un passeur, un messager, habité depuis l'enfance par une unique exigence intérieure : saisir l'essence de la musique pour mieux en transmettre le message. Fruit de ses entretiens avec le pianiste Pascal Le Corre, son ancien élève et ami, ce livre est l'occasion de revisiter `de l'intérieur` le parcours de cet artiste hors du commun : sa formation à Naples où la promesse d'une carrière d'enfant prodige ne suffît pas à le détourner de sa quête artistique - son installation en France, sa patrie de coeur, ferment de culture et de liberté, où il enrichit sa vision de la musique et de l'Art au contact de Marguerite Long, AIfred Cortot mais aussi d'acteurs comme Marie Marquet ou d'écrivains tels Jean Cocleau - son rôle de pédagogue au Conservatoiree de Paris qui lui permet de transmettre l'originalité de sa démarche artistique. Au travers de ses réflexions sur I'enseignement du piano, la place de l'Art en Occident ou encore le rôle de l'artiste contemporain, l'on découvre que cet artiste discret et modeste cache un être passionné, ennemi des fausses valeurs, libre dans ses choix et ses opinions jusqu'à parfois l'impertinence. Fort de la complicité qui lie l'élève à son maître, c'est l'attachant portrait d'un homme en quête perpétuelle d'absolu que nous livre ici Pascal Le Corre. Pascal Le Corre est pianiste, professeur de piano et d'accompagnement aux conservatoires de Paris et Orléans et auteur de divers ouvrages pédagogiques.

Those interested in French music have often had reason to be grateful to Roger Nichols; his writings on Debussy Ravel Messiaen and Poulenc are indispensable to the music lover.Nichols now turns his attentions to the mélodie where it is his mission to encourage singers to explore beyond the well-trodden paths of French song. In these two anthologies he does not ignore masterpieces by composers of the stature of Fauré and Duparc but sets them alongside music - almost impossible to find elsewhere in print - by such under-estimated figures as Reber Viardot Massé and Paladilhe.Even the more celebrated songs are often not easilyfound in practical editions which makes this selection an ideal starting point for wider exploration. In each of these volumes the songs appear in the chronological order of their composer's birth but Nichols somehow contrives a line-up of music which seems delightfully arbitrary at the same time as carefully designed to enrich everyone's understanding of the mélodie. The books also contain a remarkable amount of scholarship lightly worn and pithily expressed.As well as complete translations of the songs there is a useful and concise introduction on singing in French together with an illuminating historical note and critical commentary; and Nichols gives full due to the poets who were of crucial importance in the development of the mélodie tradition.Complete with translations and guidance on pronunciationReber GuitareGounod Le soirGounod Le premier jour de maiViardot Les deux rosesViardot La mésangeFranck NocturneMassé SouvenirsLalo Chant BretonSaint-Saëns Chanson tristeBizet Vieille chanson Massenet Madrigal

Kevin Volans' L?Africaine for Piano solo. Duration: 22 minutes. Composers Note: Most of the piano music I have written has focussed on a number of 20th century musical concerns: withcomplex rhythmic patterning a- and poly-tonality multiple layering of parts on occasion introducing different tone colours (like playing inside the instrument or electronic modulation) ? but above all resonance. The development of the piano in 19th century with its increased size pitch and dynamic range led above all to an instrument capable of rich and full resonance that could rival even an orchestra. All centred around thepedal ? in Anton Rubinstein's words: The soul of the piano. This time I thought it would be interesting to write a piece which pays no attention to this tradition; to write a piece from the point of view ofsome African compositional methods and ways of patterning ? mainly interlocking parts which result in shifting downbeats. For a large part of the piece I treat the left and right hands as two complementaryperformers. So hardly any pedal no concerns with contemporary harmony style structure or technology. I did slip in a slightly concealed reference to Debussy's L'Isle Joyeuse however. The pieceis roughly 22 minutes long in three sections and the title is a slightly tongue-in-cheek reference to Couperin. 

Rosemary Brown (1916 - 2001) was a medium who sensationally claimed that dead composers were dictating new musical works to her. She created a small media sensation in the 1970s by claiming to produce works dictated to her by Franz Liszt Johannes Brahms Johann Sebastian Bach Rachmaninov Franz Schubert Edvard Grieg Claude Debussy Chopin Schumann and Ludwig Beethoven. The opinions of musical critics were varied on the merit of Rosemary's transcriptions but most agreed that in their style they bore a great resemblance to the composers' published works.Opinion is still divided about her claims and although there is scepticism many musicians of note such asRichard Rodney Bennett who said A lot of people can improvise but you couldn't fake music like this without years of training. I couldn't have faked some of the Beethoven myself have shown great interest.In 1969 she was put to a test by the British Broadcasting Corporation who set her at a piano where she waited for the spirit of Liszt to contact her. In due course she produced a piece that she said had been dictated to her by the dead composer. It proved too hard for her to play so another pianist was engaged to play it. The piece was subsequently studied by a Liszt expert who said it had definite similarities to Liszt's work.

The contents represent composers of fifteen nationalities and cover the most typical examples of each composer's style. Includes works by Bartok Debussy and Dunparc. Piano accompaniment.

The title of Ravel?s Miroirs (1904/05) can be interpreted as ?reflections? of the human world of experiences. Among the nature pictures in this cycle ?Une barque sur l?océan? is particularly popular forming a pianisticcomplement to Debussy?s orchestral work ?La mer? which was written at about the same time. The spacious arpeggios with fifths fourths and seconds hovering above them in subtle rhythms paint a maritime tableau that is in agenre all of its own: on the one hand we have a stylised picture of a boat at the mercy of the wind and the waves while on the other hand an allegory of the volatile nature of human life. This is the second separate edition of apiece from Ravel?s ?Miroirs? to be published by G. Henle Publishers after ?Alborado del gracioso? (HN 1295).

Jacques Ibert (1890-1962) studied at the Paris Conservatoire before embarking upon a successful composing career. Stories increased his popularity when it was published in the mid-1920s and it remains significant in the advanced pianist's repertoire. This edition contains the second movement of Stories The Little White Donkey. It is marked 'with quiet good humour' and begins staccato yet pianissimo. The movements of Ibert's Stories including The Little White Donkey contain significant influences of Debussy and impressionism. Addressing a variety of musical aspects andtechniques Ibert's The Little White Donkey is an exciting addition to the Piano repertoire.

Born in Paris in 1899 Francis Poulenc soon became a notable composer and pianist. His Trois Pièces for Piano were composed in 1928 towards the beginning of his career and paved the way for exceptional Piano works from the composer. Poulenc as a member of Les Six composed music in a style contrary to that of Richard Wagner and impressionists Claude Debussy and Maurice Ravel. Trois Pièces for Piano is made up of three movements 1. Pastorale 2. Hymne and 3. Toccata all of which exploit the Piano to its full potential. Being an imaginative and evocative composition TroisPièces for Piano is a pleasure to play for all pianists.

Those interested in French music have often had reason to be grateful to Roger Nichols; his writings on Debussy Ravel Messiaen and Poulenc are indispensable to the music lover.Nichols now turns his attentions to the mélodie where it is his mission to encourage singers to explore beyond the well-trodden paths of French song. In these two anthologies he does not ignore masterpieces by composers of the stature of Fauré and Duparc but sets them alongside music - almost impossible to find elsewhere in print - by such under-estimated figures as Reber Viardot Massé and Paladilhe.Even the more celebrated songs are often not easilyfound in practical editions which makes this selection an ideal starting point for wider exploration. In each of these volumes the songs appear in the chronological order of their composer's birth but Nichols somehow contrives a line-up of music which seems delightfully arbitrary at the same time as carefully designed to enrich everyone's understanding of the mélodie. The books also contain a remarkable amount of scholarship lightly worn and pithily expressed.As well as complete translations of the songs there is a useful and concise introduction on singing in French together with an illuminating historical note and critical commentary; and Nichols gives full due to the poets who were of crucial importance in the development of the mélodie tradition.Reber GuitareGounod Le soirGounod Le premier jour de maiViardot Les deux rosesViardot La mésangeFranck NocturneMassé SouvenirsLalo Chant BretonSaint-Saëns Chanson tristeBizet Vieille chanson Massenet MadrigalMassenet Ouvre tes yeux bleusChabrier Les