SAM-Klang. Par FAURE GABRIEL. Le Requiem de Gabriel Fauré est sans doute l’œuvre chorale la plus connue et la plus fréquemment interprétée de la fin du XIXe siècle et du début du XXe siècle. En tant que chef de chœur et organiste, Fauré a cherché à façonner une nouvelle musique religieuse, loin du bel canto qui régnait à Paris et du style romantique allemande plébiscité qui dominait une grande partie du paysage musical européen. Son style musical distinctif a constitué la base de l’école impressionniste de Debussy et Ravel (son élève) qui a suivi. Avec des versions pour église (1893) ou salle de concert (1900), le Requiem est une œuvre quasi unique en son genre par sa sobriété, notamment en raison de l’omission d’une Séquence complète du ‘Dies irae’ et de la finale séraphique ‘In Paradisum’. L’œuvre fait sienne la conviction de Fauré selon laquelle la mort doit être considérée “comme une heureuse délivrance, une aspiration vers le bonheur céleste, plutôt qu’une expérience douloureuse”. Cette réduction pour piano présentée ici est fidèle à l’édition de Desmond Ratcliffe publiée par Novello en 1975. Le tempo original de Fauré et les subtilités de la dynamique ont été conservés, bien que certaines des marques de respiration originales du compositeur, aujourd’hui considérées comme superflues dans les partitions contemporaines, aient été supprimées. Les passages pour voix de ténor dans l’Introit et l’Agnus Dei peuvent être chantés par toutes les voix basses lorsque cela est possible. Si non, le passage peut être chanté par un ensemble de voix masculines plus aiguës et d’altos. Note éditoriale : De par sa conception, cette édition SAM-Klang propose un défi de circonstance en proposant un niveau de chant légèrement plus élevé que dans la version SATB originale. À certains endroits, une subtile redistribution des entrées vocales dans les sections polyphoniques a été nécessaire. Néanmoins, l’accompagnement orchestral original peut être utilisé sans restriction avec cette version, et l’œuvre peut tout aussi bien être interprétée avec piano. / Date parution : 2023-06-01/ Répertoire / SAM et Piano

?Ich glaube ohne falsche Eitelkeit dass diese drei Stücke sich gut machen und ihren Platz in der Klavierliteratur einnehmen werden ? zur Linken Schumanns oder zur Rechten Chopins ? as you like it? schrieb Debussy im August 1905 selbstbewusst an seinen Verleger Jacques Durand. Die ?Images? verzaubern durch irisierende Klangfarben und schillernde Harmonien ?nach den neuesten Entdeckungen der harmonischen Chemie? getragen von einem im zweiten Heft durchgehend auf drei Systemen notierten virtuosen Klaviersatz.Zum 150. Geburtstag des Komponisten legt Bärenreiter die bereits zu Debussys Lebzeiten überaus erfolgreichen Images in einem auf der Grundlage neuesterForschungsergebnisse und Quellenrecherchen aktuell und zuverlässig edierten Urtext vor. Ein klar strukturiertes Notenbild Fingersätze von Tamara Stefanovich und aufführungspraktische Hinweise bieten optimale Voraussetzungen für das Studium dieser Werke.- Urtext auf der Grundlage neuester Forschungsergebnisse und Quellenrecherchen- Mit Fingersätzen von Tamara Stefanovich- Detailliertes Vorwort (dt./engl.) und Kritischer Kommentar (engl.)Tamara Stefanovich studierte an der Universität in Belgrad am Curtis Institute of Music und an der Hochschule für Musik und Tanz in Köln. Sie konzertierte u. a. mit dem Cleveland Orchestra dem London Philharmonic und dem Chicago Symphony Orchestra unter Dirigenten wie Esa-Pekka Salonen Vladimir Jurowski und Pierre Boulez und machte Aufnahmen für die Deutsche Grammophon. Debussys ?Images? interpretierte sie 2011 beim ?Klavier-Festival Ruhr?. Zusammen mit Pierre-Laurent Aimard verfasste sie die Fingersätze für das ?Klavier-Festival Ruhr Bärenreiter Piano Album? (BA 9659). ?

Debussy's music can be daunting to beginning pianists: his abstract sense of composition sometimes makes listeners feel lost the harmonies are more chromatic than traditional works and often his use of advanced keysis beyond the grasp of even more experienced players. This compilation however makes the composer's works highly accessible to beginning pianists.These introductory arrangements focus on Debussy's melodies andstyle. The more abstract works are excerpted and presented in manageable samples and the keys are simplified. Suggested fingerings are also provided. Beginning pianists will be able to enjoy a wide variety of works thatpreviously seemed unapproachable: 'Claire de Lune ' 'Prelude to the Afternoon of a Faun ' 'Beau Soir ' 'Danse Bohémienne ' and many other etudes preludes and melodies. Best of all freedownloadable MP3s of each piece will familiarize players with the music.**Please note: The CD included with this title can only be played through an MP3 compatible program.**

Anfang des 20. Jahrhunderts erfreuten sich in den Pariser Salons langsame Walzer besonderer Beliebtheit - worauf Debussy mit einem leichten Augenzwinkern seinen Klavierwalzer ?La plus que lente' (?Noch langsamer als langsam') vorlegte. Der im Juli 1910 erschienenen Erstausgabe dieses Klavierwalzers ließ der Pariser Verleger Durand zur weiteren Verbreitung noch im selben Jahr einen Sonderabdruck im Figaro sowie (fremde) Arrangements für Violine und Klavier und Klavier zu 4 Händen folgen. Debussy selbst lieferte später noch eine Orchestrierung des Stücks und spielte es 1913 sogar - übrigens mit durchaus zügigem Tempo - auf einer Lochstreifenrolle der Firma Welte-Mignon ein. Das mit ?molto rubato con morbidezza' überschriebene Werk ist nun auch einzeln als Henle-Urtext erhältlich - ein gegenüber den Sammelbänden HN 1194 und 404 erweitertes Vorwort macht auf diese charmante Walzer-Miniatur neugierig. / Piano / Chanson En Séparée

Clair de Lune is one of the most famous Piano works by Claude Debussy. Strictly speaking it is the third movement of the four-movement 'Suite bergamasque'. Due to its fascinating tonal poetry and its moderate technical demands it soon became one of the most popular and most frequently performed individual pieces by Debussy which is why the Wiener Urtext Edition now publishes a separate edition on the occasion of the composer's 150th birthday. Debussy's music reflects the poem of the same name 'Clair de Lune' by Paul Verlaine which outlines the landscape of the soul of a faraway Arcadia in which reminiscences of the ancient'fêtes galantes' of the 'ancien régime' are combined with the modern sound experiments of the fin de siècle. In this edition Verlaine's poem is printed not only in the original French version but also in German and English translations preceding the musical text.

In his youth when still searching for his own personal style Debussy composed a series of short stand-alone piano pieces. He took traditional genres such as the ballade mazurka nocturne and waltz but in general used each ofthem just once as if trying them out. One such was the ?Valse romantique? published by Choudens of Paris in 1891 and thus written at the same time as his famous piano works Two Arabesques and the Suite bergamasque. This charmingwaltz is of moderate difficulty and thus ideal either as a pedagogical piece or for concert performance. Our collected volume Debussy: Piano Pieces (HN 404) offers numerous other short piano pieces of modest difficulty for thosewho find that this practical stand-alone edition awakens in them a desire for more.

Compilation de 43 ?uvres Classique de compositeurs français pour piano solo.' Livre de 160 pages.' ?uvres françaises du 17ème au 20ème siècles avec des compositeurs tels que Ravel, Debussy ou encore Bizet.' / Variétés / Partition /

Description The tragic tale of brothers who are in love with the same mysterious woman, Debussy's only opera is a perfect marriage of music and verse. The culmination of an eight-year effort on the part of the composer, the five-act lyric drama premiered in 1902. This volume, reprinted from the E. Fromont 1904 edition, reproduces the full orchestral-vocal score in a clear, modern engraving.

Transcription de Gustave SamazeuilhCompositeur/Auteur : DEBUSSY Claude
Discipline/Instrument : flûte ou violon et piano Support : Partition
Style/Genre : classique
Date de parution : janv.-25 Nombre de pages : 11+3

The Top Ten Most Beautiful Pieces To Play On Piano is part of a series that has been specially designed to help pianists of all levels to find the repertoire they really want to play. Featuring some ofthe world's greatest pieces of music from a variety of different genres the 'Top Ten' series contains music for everyone. Whether you're a beginner who wants to know the best classical pieces to learn or a more experiencedplayer looking for the ultimate Piano songs to add to your repertoire we have a 'Top Ten' for you! Each piece comes with interesting background notes to give you that extra bit of insight. The Top Ten MostBeautiful Pieces To Play On Piano brings you the most stunning musical outpourings offered by composers over the last 300 years. Lose yourself in heart-rending melodies by Beethoven Elgar and Debussy. Thiscollection contains Barber's Adagio For Strings Handel's Lascia Ch'io Pianga from Rinaldo HWV 7 Richter's On The Nature Of Daylight/Written On The Sky Einaudi's Nuvole Bianche and more.

The Classical Highlights series presents the best-known and most popular performance pieces of the classical repertoire in arrangements for various instruments - and now for string quartet. Apart from 'classic' string quartet arrangements like Pachelbel's Canon, J.S. Bach's Air, Mozart's Ave Verum, or Fauré's Après un rêve, there are also some surprises, such as Recuerdos de la Alhambra by Tárrega or Debussy's Golliwogg's Cakewalk. / Quatuor A Cordes + Contrebasse ad. lib.

ABRSM Grades 7-8 . This special collection of intermediate to advanced piano repertoire has been lovingly curated by internationally renowned pianist, Isata Kanneh-Mason. Inspired by her musical journey from childhood prodigy to accomplished performer, and drawing on her championship of female composers and composers of colour, Isata has handpicked a wonderfully diverse melange of music for players to explore. Alongside classical masterpieces such as Clara Schumann?s Notturno, players will find repertoire by Samuel Coleridge-Taylor, George Gershwin and Alexander Desplat as well as a stunning new work by Errollyn Wallen. Carefully edited and fingered, Piano Inspiration 2 is ideal both for recreational playing and those seeking own-choice repertoire for ABRSM Performance Grades (Grades 7 ). ? 12 pieces for intermediate to advanced players, each holding special significance to Isata ? A wonderful array of styles, composers and traditions that span four centuries of piano music ? An original work by Errollyn Wallen, specially composed for this collection ? Ideal for own-choice repertoire selection in ABRSM Performance Grades (Grades 7 ) Pianist Isata Kanneh-Mason is in great demand in the UK and internationally as a soloist and chamber musician. She offers eclectic and interesting repertoire and has performed at many of the world?s finest concert venues, including the Royal Albert Hall for her BBC Proms solo debut in 2023. As a Decca recording artist, she entered the UK classical charts at No. 1 with her 2019 album Romance, and has since released Summertime, featuring twentieth-century American repertoire; Muse, a duo album with her brother Sheku; and Childhood Tales, which showcases music inspired by a nostalgia for youth. Isata is recipient of the coveted Leonard Bernstein Award and the Opus Klassik Award for best young artist.

The Concert Performer Series brings you 12 well-known piano pieces beautifully presented on strong high-sheen card complete with a special CD-Rom which contains both audio and MIDI to help you practise for a truly greatperformance. About the CD: Track 1 contains an audio concert performance. This track is playable on any CD player or computer equipped with a CD-Rom drive and audio CD player software. Track 2 is a special audio 'study track' on which you'll hear the same performance as Track 1 at a slower speed. Listening to and playing along with this track can help you resolve questions of rhythm and interpretation as you are learning the piece. MIDI data isprovided for both Macintosh PC. In order to use these files you must have software and hardware designed to play and/or edit MIDI files. The file is a type 1 standard MIDI file (SMF) and is completely compatible with most currenthardware and software sequencers and players. The instrument assignments conform to the General MIDI Standard. Mute one of the channels to practise one hand alone. Change the tempo or even transpose the whole piece to a new key.Add an orchestral or rock background - the possibilities are endless!