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Claude Debussy: Prléude à L'Histoire de Tristan for solo piano, completed by Robert Orledge
Piano seul
Piano Solo - Advanced Intermediate - Digital Download Composed by Claude Debussy/Ro…
(+)
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)<br> <br> 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 Bédier’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.<br> <br> 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.<br> <br> Unfortunately, Mourey’s actual libretto has been lost and the project eventually foundered because Bédier’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)!<br> <br> Robert OrledgeRecorded by Nicolas Horvath on Grand Piano records (GP822)<br> <br> 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 Bédier’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.<br> <br> 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.<br> <br> Unfortunately, Mourey’s actual libretto has been lost and the project eventually foundered because Bédier’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)!<br> <br> Robert Orledge
$10.35
9.5 €
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Piano seul
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Claude Debussy/Robert Orledge
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Claude Debussy: Prléude à L'Histoire de Tristan for solo piano, completed by Robert Orledge
#
Musik Fabrik Music Publishing
#
SheetMusicPlus
Debussy Inconnu: Album of works for the piano by Claude Debussy completed by Robert Orledge, Vol. 2
Piano seul
Piano Solo - Advanced Intermediate - Digital Download Composed by Claude Debussy/Ro…
(+)
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: Prélude,Première Fanfare, and La Mort de Cordélia,Toomai des éléphants, Rodrigue et Chimène: Prélude à l’acte 1p. Le Martyre de Saint Sébastien: La Passion , and No-ja-li ou Le Palais du Silence<br> <br> From Robert Orledge's notes:<br> <br> 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 Pelléas et Mélisande 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 Orphée-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 Sébastien and La Boîte à joujoux by his ‘angel of corrections’ [‘l’ange des Corrections’] André Caplet in 1911 and 1919 respectively).<br> <br> 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.<br> <br> 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 André 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.<br> <br> 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.Contains Le Roi Lear: Prélude,Première Fanfare, and La Mort de Cordélia,Toomai des éléphants, Rodrigue et Chimène: Prélude à l’acte 1p. Le Martyre de Saint Sébastien: La Passion , and No-ja-li ou Le Palais du Silence<br> <br> From Robert Orledge's notes:<br> <br> 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 Pelléas et Mélisande 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 Orphée-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 Sébastien and La Boîte à joujoux by his ‘angel of corrections’ [‘l’ange des Corrections’] André Caplet in 1911 and 1919 respectively).<br> <br> 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.<br> <br> 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 André 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.<br> <br> 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
35.74 €
#
Piano seul
#
Claude Debussy/Robert Orledge
#
Debussy Inconnu: Album of works for the piano by Claude Debussy completed by Robert Orledge, Vol. 2
#
Musik Fabrik Music Publishing
#
SheetMusicPlus
Debussy Inconnu: Album of works for the piano by Claude Debussy completed by Robert Orledge, Vol. 1
Piano seul
Piano Solo - Advanced Intermediate - Digital Download Composed by Claude Debussy/Ro…
(+)
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 septième regrettent!!!, Petite Valse,Fêtes galantes, and Prélude à ‘L’Histoire de Tristan’<br> <br> From Robert Orledge's notes:<br> <br> 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 Pelléas et Mélisande 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 Orphée-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 Sébastien and La Boîte à joujoux by his ‘angel of corrections’ [‘l’ange des Corrections’] André Caplet in 1911 and 1919 respectively).<br> <br> 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.<br> <br> 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 André 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.<br> <br> 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.Contains A Night in the House of Usher Un Jour affreux avec Le Diable dans le beffroi, Les accords de septième regrettent!!!, Petite Valse,Fêtes galantes, and Prélude à ‘L’Histoire de Tristan’<br> <br> From Robert Orledge's notes:<br> <br> 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 Pelléas et Mélisande 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 Orphée-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 Sébastien and La Boîte à joujoux by his ‘angel of corrections’ [‘l’ange des Corrections’] André Caplet in 1911 and 1919 respectively).<br> <br> 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.<br> <br> 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 André 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.<br> <br> 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
35.74 €
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Piano seul
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Claude Debussy/Robert Orledge
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Debussy Inconnu: Album of works for the piano by Claude Debussy completed by Robert Orledge, Vol. 1
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Musik Fabrik Music Publishing
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SheetMusicPlus
Carson Cooman : A Robertsbridge Estampie (2010) for piano
Piano seul
Piano Solo - Digital Download SKU: A0.775949 Composed by Carson Cooman. Contemporar…
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Piano Solo - Digital Download SKU: A0.775949 Composed by Carson Cooman. Contemporary. Score. 8 pages. Musik Fabrik Music Publishing #2033567. Published by Musik Fabrik Music Publishing (A0.775949). A Robertsbridge Estampie (2010) for piano was written for Jeffrey Grossman. It is a concert piano transcription of an anonymous estampie from the Robertsbridge Codex (c. 1360), the earliest surviving collection of music explicitly written for keyboard (likely a portative organ). The medieval two and three voice original is re-imagined in the context of the style and technique of the modern piano. Carson.
$9.06
8.31 €
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Piano seul
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Carson Cooman
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Carson Cooman : A Robertsbridge Estampie
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Musik Fabrik Music Publishing
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SheetMusicPlus
La calle del pecado - Tango por Roberto Rufino y Lambertucci
Piano seul
Piano Solo - Level 4 - Digital Download SKU: A0.958800 Composed by Roberto Lambertu…
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Piano Solo - Level 4 - Digital Download SKU: A0.958800 Composed by Roberto Lambertucci - Roberto Rufino. Arranged by Juan Carlos Cortés A. Concert,Standards,Traditional,World. Score. 4 pages. Juan Carlos Cortés Aguirre #6873167. Published by Juan Carlos Cortés Aguirre (A0.958800). Transcripción para piano solo por:JUAN CARLOS CORTÉS A.Basado en el tango vocalizado por el cantante chileno Antonio Prieto con el acompañamiento de la orquesta de Juan D´arienzo, con letra del cantante Roberto Rufino y música de Roberto Lambertucci. LA CALLE DEL PECADOLetra: Roberto Lambertucci.Música: Roberto Rufino.Introducción Orquesta:No hace falta que me cuentes tu pasado, aunque tengas mil pecados en tu haber,hoy tan solo me interesa tu presente y el valor de tu futuro proceder.No hagas caso, no hagas caso a lo que digan, que la envidia nunca puede hacemos mal.Piensa solo que hay un alma que te adora, y eso si, que lo tendrás que respetar.La vida no es tan cruel como uno piensa, pues existe la conciencia, la verdad y la razón,No me importan tus errores del pasado, si en la calle del pecado yo también rodé.Soñemos en un mundo diferente y dejemos que la gente, nos critique y hable mal.Orquesta:La vida no es tan cruel como uno piensa, pues existe la conciencia, la verdad y la razón.No me importan tus errores del pasado, si en la calle del pecado yo también rodé.Soñemos en un mundo diferente y dejemos que la gente, nos critique y hable mal.Soñemos en un mundo diferente y dejemos que la gente, nos critique y hable mal.
$7.99
7.33 €
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Piano seul
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Roberto Lambertucci - Roberto Rufino
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Juan Carlos Cortés A
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La calle del pecado - Tango por Roberto Rufino y Lambertucci
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Juan Carlos Cortés Aguirre
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SheetMusicPlus
"Iolanta": Scene 6. Robert's Scene (without Robert's aria). DICTION SCORE with IPA & translation
Piano, Voix
Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.1477888 By Peter Ilyich Tcha…
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Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.1477888 By Peter Ilyich Tchaikovsky. By Peter Ilyich Tchaikovsky. Arranged by Russian for Singers. 19th Century,Classical,Instructional,Opera,Romantic Period. Score. 11 pages. Natalia Melnik #1055270. Published by Natalia Melnik (A0.1477888). Tchaikovsky Scene 6. Robert's Scene (without Robert's aria)Diction score - sheet music with IPA phonetics, word-by-word translation and grammatically correct translation.FREE DOWNLOAD! A quick and comprehensive tutorial on Russian phonetics: https://www.russian4singers.com/russian-diction-for-singers-1FULL SONG PACK:- Diction score (sheet music with IPA phonetics and translations),- Diction audio guides - slow syllabic reading of the text for every part by a native speaker- 4 computer-generated rehearsal tracks: - full song audio - accompaniment - Robert + piano - Vaudemont + pianois available here: https://www.russian4singers.com/product-page-2/tchaikovsky-iolanta-scene-6-robert-s-scene-full-packWe are offering a range of Russian diction coaching services:- individual coaching- group webinars- lectures on Russian Music Literature for singersPlease visit our website for more information https://www.russian4singers.com/bookingPlease SUBSCRIBE to Russian for Singers YouTube Channel https://www.youtube.com/@RussianForSingers
$12.50
11.47 €
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Piano, Voix
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Peter Ilyich Tchaikovsky
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Russian for Singers
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"Iolanta": Scene 6. Robert's Scene
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Natalia Melnik
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SheetMusicPlus
Roberta Flack : Killing Me Softly With His Song (Voix Roberta Flack, acc. piano et orchestre)
Piano seul
Téléchargez la partition Piano Killing Me Softly With His Song (Voix Roberta…
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Téléchargez la partition Piano Killing Me Softly With His Song (Voix Roberta Flack, acc. piano et orchestre) de Roberta Flack. Partition pour Piano avec accomp. orchestre -- Jazz
5.99 €
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Piano seul
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Roberta Flack
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Killing Me Softly With His Son
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Tomplay
DEAREST WISH (Piano Solo) by ROBERT VAN HORNE
Piano seul
Piano Solo - Level 3 - Digital Download SKU: A0.1267517 By ROBERT VAN HORNE. By ROB…
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Piano Solo - Level 3 - Digital Download SKU: A0.1267517 By ROBERT VAN HORNE. By ROBERT VAN HORNE. Classical,Contemporary,Film/TV,Instructional,New Age. Score. 6 pages. White Piano International Publishing #860049. Published by White Piano International Publishing (A0.1267517). DEAREST WISH by ROBERT VAN HORNEIntermediate Piano Solo6 pagesDuration is about 4:15 with repeatDEAREST WISH was composed in 2010 as an intermediate level piano piece. It allows the performer to express and personalize the music with his or her own musical taste, making it very unique and gratifying. I was inspired to compose this music by imagining a New Age piano solo, reflecting tranquility, peace and harmony… qualities that may enhance your spirit as it does mine.    The sheet music is clearly notated with dynamic and articulation marks, phrasing, pedal indications, chord identifications, suggested fingerings and appropriate musical terms for playing.DEAREST WISH is an excellent teaching piece that incorporates left hand arpeggios and advanced chord voicings. It has a simple, yet reflective sounding melody, ideal for recitals and school musical events as well as an excellent encore for professionals. The piece allows the performer to experiment with nuances and tempo, making it a delightful musical listening treat for audiences. It is also the perfect piece for teaching “rubato.â€Â A 2010 YouTube performance of Robert playing DEAREST WISH is available at: http://www.youtube.com/watch?v=3CoUkddrE4ERobert Van Horne is a long standing member of ASCAP.Official Website: www.robertvanhorne.com
$4.99
4.58 €
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Piano seul
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ROBERT VAN HORNE
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DEAREST WISH
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White Piano International Publishing
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SheetMusicPlus
AMOUR LOINTAIN (LOVE FROM AFAR) Piano Solo by ROBERT VAN HORNE
Piano seul
Piano Solo - Level 4 - Digital Download SKU: A0.914972 Composed by ROBERT VAN HORNE…
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Piano Solo - Level 4 - Digital Download SKU: A0.914972 Composed by ROBERT VAN HORNE. 20th Century,Classical,Instructional,New Age,Romantic Period. Score. 9 pages. White Piano International Publishing #6448451. Published by White Piano International Publishing (A0.914972). AMOUR LOINTAIN (LOVE FROM AFAR) Advanced Intermediate Piano Soloby ROBERT VAN HORNE9 Pages In 2010, AMOUR LOINTAIN (LOVE FROM AFAR) won 2nd in the Division 7 State Contest sponsored by the Music Teachers' Association Of California. After attending a piano concert in 2009 featuring several works by Maurice Ravel, Robert was inspired to write this piano work in the style of the Impressionistic French composers. It comprises lyrical melodies in mostly 9/8 and 5/4 meters and sequential patterns, using predominately notes from the whole tone scales. The left hand ostinato occurs mostly throughout while the right hand melody is heard in different keys. As the piece concludes, there is a brief reprise of the waltz melody that slowly fades away. The score is clearly and carefully notated with dynamic marks, phrasing, pedal indications, suggested fingerings, and appropriate musical terms for playing. This piano solo makes a wonderful recital and encore piece that will delight audiences...ideal for both students and professionals. Duration time is about 4:30. A 2021 Youtube video of Robert's performance is available at: https://www.youtube.com/watch?v=V-i0GHRycok AMOUR LOINTAIN was premiered by pianist, Karen Sugano on July 3, 2010 at the 100th Music Teachers' Association of California Convention held at the LAX Marriott Hotel in Los Angeles.  Here is the video link of her performance: http://www.youtube.com/watch?v=yQUzUezA-vo Website: www.robertvanhorne.comEmail: rvh@robertvanhorne.comRobert is a member of ASCAP       Â
$6.99
6.41 €
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Piano seul
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ROBERT VAN HORNE
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AMOUR LOINTAIN
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White Piano International Publishing
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SheetMusicPlus
Ballet Class: Plies, from Ballet Etudes album by Robert Long
Piano seul
Piano Solo - Level 3 - Digital Download SKU: A0.972874 Composed by Robert Long. 20t…
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Piano Solo - Level 3 - Digital Download SKU: A0.972874 Composed by Robert Long. 20th Century,Contemporary. Score. 3 pages. Robert Long #3511037. Published by Robert Long (A0.972874). Original piano music for ballet class, composed by Robert Long. Plies is a flowing adagio 6/8, with music for introduction and 4 positions.
$2.99
2.74 €
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Piano seul
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Robert Long
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Ballet Class: Plies, from Ballet Etudes album by Robert Long
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Robert Long
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SheetMusicPlus
Ballet Piano: Robert Long's Etudes Volume 3 Album Complete
Piano seul
Piano Solo - Level 2 - Digital Download SKU: A0.972952 Composed by Robert Long. 20t…
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Piano Solo - Level 2 - Digital Download SKU: A0.972952 Composed by Robert Long. 20th Century,Instructional. Score. 110 pages. Robert Long #6479559. Published by Robert Long (A0.972952). Ballet class sheet music for piano: Robert Long's Etudes Volume 3 album complete. Music for barre and centre practice, including port de bras, adage, petit allegro and grand allegro.
$29.95
27.48 €
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Piano seul
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Robert Long
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Ballet Piano: Robert Long's Etudes Volume 3 Album Complete
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Robert Long
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SheetMusicPlus
Ballet Piano: Robert Long's Ballet Etudes Album Complete
Piano seul
Piano Solo - Level 2 - Digital Download SKU: A0.972913 Composed by Robert Long. Ins…
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Piano Solo - Level 2 - Digital Download SKU: A0.972913 Composed by Robert Long. Instructional. Score. 80 pages. Robert Long #6412845. Published by Robert Long (A0.972913). Ballet piano sheet music for Robert Long's popular Ballet Etudes album complete. Music for barre and center practice, including pirouettes, adage, batterie, petit allegro and grand allegro. Released in 2000, this album remains a favorite with ballet teachers and dance students.
$24.95
22.9 €
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Piano seul
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Robert Long
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Ballet Piano: Robert Long's Ballet Etudes Album Complete
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Robert Long
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SheetMusicPlus
BUMBLE BOOGIE CONCERTO by Robert Van Horne (Advanced Piano Solo)
Piano seul
Piano Solo - Level 5 - Digital Download SKU: A0.914986 Composed by Edvard Grieg & N…
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Piano Solo - Level 5 - Digital Download SKU: A0.914986 Composed by Edvard Grieg & Nikolai Rimsky-Korsakov. Arranged by ROBERT VAN HORNE. Blues,Classical,Instructional,Jazz,Standards. Score. 9 pages. White Piano International Publishing #6853875. Published by White Piano International Publishing (A0.914986). BUMBLE BOOGIE CONCERTO Advanced Piano Solo by Robert Van Horne Adapted from Grieg's A MINOR PIANO CONCERTO & Rimsky-Korsakov's FLIGHT OF THE BUMBLE BEE. 9 Pages Approx. Time: 2:30 A kindly old gentleman who attended my concerts would always request BUMBLE BOOGIE. To honor his request, I decided to create my own arrangement using two Classical music favorites. As a piano entertainer, Liberace was known for taking Classical music and popularizing it. So in the style of Liberace, I took Grieg's A MINOR PIANO CONCERTO and Rimsky-Korakov's FLIGHT OF THE BUMBLE BEE, added a twist of left hand Boogie Woogie and created the BUMBLE BOOGIE CONCERTO. This arrangement is clearly notated with dynamic marks, phrasing, suggested fingerings, pedal indications, and appropriate musical terms for playing. The left hand incorporates a Boogie Woogie style ostinato while the right hand plays the main themes of the famous Grieg Concerto and Flight Of The Bumble Bee. I added my own musical transitions to create a flamboyant sound of suspenseful tremolandos and showy runs, concluding with two flashy glissandos. This is a wonderful recital and encore piece that will delight audiences...ideal for both students and professionals. A Youtube video of Robert's 2012 performance is available at: https://www.youtube.com/watch?v=sWziAOkF8cU Robert Van Horne is a long standing member of ASCAP. Official Website: www.robertvanhorne.comEmail: rvh@robertvanhorne.com  Â
$5.99
5.5 €
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Piano seul
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Edvard Grieg & Nikolai Rimsky-Korsakov
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ROBERT VAN HORNE
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BUMBLE BOOGIE CONCERTO by Robert Van Horne
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White Piano International Publishing
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SheetMusicPlus
LOVELY HAWAII OF MY DREAMS (Piano/Vocal) by Robert Van Horne
Piano, Voix
Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.1109536 By ROBERT VAN HORNE.…
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Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.1109536 By ROBERT VAN HORNE. By ROBERT VAN HORNE. Contemporary,Film/TV,Folk,Pop,Singer/Songwriter. Score. 6 pages. White Piano International Publishing #711927. Published by White Piano International Publishing (A0.1109536). LOVELY HAWAII OF MY DREAMSby ROBERT VAN HORNEPiano/Vocal6 Pages Duration: 3 minutes If you ever visited any of the Hawaiian Islands, you know how wonderful the experience can be. A few years ago, I stayed for 10 days in beautiful Kauai. Being there inspired me to compose this song. The sheet music is clearly notated with lyrics about being in lovely Hawaii. The score contains chords, piano accompaniment and the vocal part. This is a popular song for singers who would like to add a new and original piece to their repertoire. LOVELY HAWAII OF MY DREAMS is also a song to entertain audiences who love Hawaii and all the beauty, enchantment and emotional attachment the Islands have to offer. A 2019 Youtube video premiering LOVELY HAWAII OF MY DREAMS was performed by the composer for the residents at Brookdale San Jose. https://youtu.be/BKoWql3d0Ww Robert Van Horne is a member of ASCAP. Official Website: www.robertvanhorne.comEmail: rvh@robertvanhorne.com.
$5.99
5.5 €
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Piano, Voix
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ROBERT VAN HORNE
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LOVELY HAWAII OF MY DREAMS
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White Piano International Publishing
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SheetMusicPlus
THE BLACK CAT WALTZ (One Piano / Four Hands) By Robert Van Horne
1 Piano, 4 mains
Instrumental Duet Instrumental Duet - Level 4 - Digital Download SKU: A0.914984 Com…
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Instrumental Duet Instrumental Duet - Level 4 - Digital Download SKU: A0.914984 Composed by ROBERT VAN HORNE. Arranged by ROBERT VAN HORNE. Children,Classical,Holiday,Instructional,Jazz. Score and parts. 7 pages. White Piano International Publishing #6720309. Published by White Piano International Publishing (A0.914984). THE BLACK CAT WALTZ (Piano Duet) One Piano / Four HandsAdvanced Intermediate Approx. Performance TIme: 2:306 PagesOriginally composed in 2002 as a piano solo, THE BLACK CAT WALTZ was arranged years later as a One Piano, Four Hands Duet in 2010.The sheet music is clearly notated with dynamic and articulation marks, phrasing, suggested fingerings and appropriate musical terms for playing.Both Primo and Secondo players each have numbered measures and sections with easy to locate corresponding bars.The piece is written in the key of D minor. It then changes to G minor at measure 76 giving a refreshing color to the melody.THE BLACK CAT WALTZ (Duet) makes a wonderful piano selection for two advanced intermediate students - great for teaching ensemble techniques. It is an appropriate piece for Halloween, recitals and school musical events...a delightful listening treat for audiences.The sample music is a March 13, 2011 premier live performance at the KPMF Piano Ensemble Club Spring Concert performed by Hiro Nakae and Ryota Watanabe, both students of Yoko Kurosawa. Here is their video: http://www.youtube.com/watch?v=8rDI5JwiLOYA Youtube video of Robert's original solo performance of THE BLACK CAT WALTZ in 2009 is available at: http://www.youtube.com/watch?v=qGtzxCdSlrQRobert's Official Website: www.robertvanhorne.comASCAP AffiliationWebsite: www.robertvanhorne.comEmail: rvh@robertvanhorne.com
$5.99
5.5 €
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1 Piano, 4 mains
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ROBERT VAN HORNE
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ROBERT VAN HORNE
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THE BLACK CAT WALTZ
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White Piano International Publishing
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SheetMusicPlus
The Sword of Robert Lee
Piano, Voix
Piano and voice - Digital Download SKU: LV.22509 Composed by Rev. Father Rotchford.…
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Piano and voice - Digital Download SKU: LV.22509 Composed by Rev. Father Rotchford. Civil war--Confederate, Patriotism, Robert E. Lee, Military officers. Lester S. Levy Collection. 5 pages. Published by Johns Hopkins University Sheridan Libraries (LV.22509). The Sword of Robert Lee. Words by Father A.J. Ryan. Music Composed by Rev. Father Rotchford of Memphis, Tenn. Published 1867 by E.A. Benson, 317 Main St. in Memphis, Tenn. Composition of strophic with piano and voice instrumentation. Subject headings for this piece include Civil war--Confederate, Patriotism, Robert E. Lee, Military officers. First line reads Forth from its scabbard pure and bright, flash'd the sword of Lee.. About The Lester S. Levy CollectionThe Lester S. Levy Collection of Sheet Music consists of over 29,000 pieces of American popular music. Donated to Johns Hopkins University Sheridan Libraries, the collection's strength is its thorough documentation of nineteenth-century American through popular music. This sheet music has been provided by Project Gado, a San Francisco Bay Area startup whose mission is to digitize and share the world's visual history.WARNING: These titles are provided as historical documents. Language and concepts within reflect the opinions and values of the time and may be offensive to some.
$5.99
5.5 €
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Piano, Voix
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Rev
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The Sword of Robert Lee
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Johns Hopkins University Sheridan Libraries
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SheetMusicPlus
Robert Schumann - Reverie (Traumerei)
Piano seul
Piano - Level 3 - Digital Download SKU: A0.1135122 By Robert Schumann. By Robert Sc…
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Piano - Level 3 - Digital Download SKU: A0.1135122 By Robert Schumann. By Robert Schumann. Arranged by Unimusic Academy (Academia Unimusica). Classical. Score (Chords/Lyrics). 1 pages. Unimusic Academy (Academia Unimusica) #735164. Published by Unimusic Academy (Academia Unimusica) (A0.1135122). Robert Schumann[a] (German: [ˈÊoËbÉ›Êt ˈʃuËman]; 8 June 1810 – 29 July 1856) was a German composer, pianist, and influential music critic. He is widely regarded as one of the greatest composers of the Romantic era. Schumann left the study of law, intending to pursue a career as a virtuoso pianist. His teacher, Friedrich Wieck, a German pianist, had assured him that he could become the finest pianist in Europe, but a hand injury ended this dream. Schumann then focused his musical energies on composing.
$8.00
7.34 €
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Piano seul
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Robert Schumann
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Robert Schumann - Reverie
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Unimusic Academy
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SheetMusicPlus
Ballet Class: Plies, from Etudes II album by Robert Long
Piano seul
Piano Solo - Level 3 - Digital Download SKU: A0.972876 Composed by Robert Long. 20t…
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Piano Solo - Level 3 - Digital Download SKU: A0.972876 Composed by Robert Long. 20th Century. Score. 4 pages. Robert Long #3508733. Published by Robert Long (A0.972876). Ballet Class Music: Plies, from the Etudes II album, is an original piano piece for ballet class at the barre, or for other 3/4 adage ballet exercises
$2.99
2.74 €
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Piano seul
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Robert Long
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Ballet Class: Plies, from Etudes II album by Robert Long
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Robert Long
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SheetMusicPlus
Er ist gekommen, by Robert Franz, in B Major
Piano, Voix
Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.1489868 Composed by Robert F…
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Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.1489868 Composed by Robert Franz. Arranged by Editions Dao. Classical. Score. 6 pages. Editions Dao #1066743. Published by Editions Dao (A0.1489868). Er ist gekommen by Robert Franz, for Voice and Piano.6 Pages.
$6.99
6.41 €
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Piano, Voix
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Robert Franz
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Editions Dao
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Er ist gekommen, by Robert Franz, in B Major
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Editions Dao
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SheetMusicPlus
Er ist gekommen, by Robert Franz, in G flat Major
Piano, Voix
Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.1489872 Composed by Robert F…
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Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.1489872 Composed by Robert Franz. Arranged by Editions Dao. Classical. Score. 6 pages. Editions Dao #1066747. Published by Editions Dao (A0.1489872). Er ist gekommen by Robert Franz, for Voice and Piano.6 Pages.
$6.99
6.41 €
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Piano, Voix
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Robert Franz
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Editions Dao
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Er ist gekommen, by Robert Franz, in G flat Major
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Editions Dao
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SheetMusicPlus
Im Herbst, by Robert Franz, in c minor
Piano, Voix
Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.1489853 Composed by Robert F…
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Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.1489853 Composed by Robert Franz. Arranged by Editions Dao. Classical. Score. 6 pages. Editions Dao #1066728. Published by Editions Dao (A0.1489853). Im Herbst by Robert Franz, for Voice and Piano.6 Pages.
$6.99
6.41 €
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Piano, Voix
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Robert Franz
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Editions Dao
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Im Herbst, by Robert Franz, in c minor
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Editions Dao
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SheetMusicPlus
Im Herbst, by Robert Franz, in d minor
Piano, Voix
Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.1489856 Composed by Robert F…
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Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.1489856 Composed by Robert Franz. Arranged by Editions Dao. Classical. Score. 6 pages. Editions Dao #1066731. Published by Editions Dao (A0.1489856). Im Herbst by Robert Franz, for Voice and Piano.6 Pages.
$6.99
6.41 €
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Piano, Voix
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Robert Franz
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Editions Dao
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Im Herbst, by Robert Franz, in d minor
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Editions Dao
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SheetMusicPlus
Im Herbst, by Robert Franz, in a minor
Piano, Voix
Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.1489863 Composed by Robert F…
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Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.1489863 Composed by Robert Franz. Arranged by Editions Dao. Classical. Score. 6 pages. Editions Dao #1066738. Published by Editions Dao (A0.1489863). Im Herbst, by Robert Franz, for Voice and Piano.6 Pages.
$6.99
6.41 €
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Piano, Voix
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Robert Franz
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Editions Dao
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Im Herbst, by Robert Franz, in a minor
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Editions Dao
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SheetMusicPlus
Er ist gekommen, by Robert Franz, in C Major
Piano, Voix
Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.1489869 Composed by Robert F…
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Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.1489869 Composed by Robert Franz. Arranged by Editions Dao. Classical. Score. 6 pages. Editions Dao #1066744. Published by Editions Dao (A0.1489869). Er ist gekommen by Robert Franz, for Voice and Piano.6 Pages.
$6.99
6.41 €
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Piano, Voix
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Robert Franz
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Editions Dao
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Er ist gekommen, by Robert Franz, in C Major
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Editions Dao
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SheetMusicPlus
Er ist gekommen, by Robert Franz, in B flat Major
Piano, Voix
Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.1489867 Composed by Robert F…
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Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.1489867 Composed by Robert Franz. Arranged by Editions Dao. Classical. Score. 6 pages. Editions Dao #1066742. Published by Editions Dao (A0.1489867). Er ist gekommen by Robert Franz, for Voice and Piano.6 Pages.
$6.99
6.41 €
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Piano, Voix
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Robert Franz
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Editions Dao
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Er ist gekommen, by Robert Franz, in B flat Major
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Editions Dao
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SheetMusicPlus
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