English version
Parcourir Free-scores.com
Partitions Gratuites
Instruments
ACCORDEON
ALTO
AUTRES INST…
BALALAIKA
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
BUGLE
CHANT - CHO…
CHARANGO
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
CONTREBASSE
COR
COR ANGLAIS
CORNEMUSE
CORNET
DOBRO - GUI…
DULCIMER
EUPHONIUM
FANFARE - B…
FLUTE
FLUTE A BEC
FLUTE A DIX…
FLUTE DE PA…
FORMATION M…
GUITARE
GUITARE PED…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH, THEOR…
MANDOLINE
MARIMBA
ORCHESTRE
ORGUE
OUD
PARTITIONS …
PAS DE PART…
PERCU. ORCH…
PERCUSSION
PIANO
SAXOPHONE
SYNTHE
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIELLE A RO…
VIOLE DE GA…
VIOLON
VIOLONCELLE
XYLOPHONE
Page d'accueil
Instrumentations
Top Téléchargements
Compositeurs
Nouveautés
Partitions de Noël
Genres Musicaux
Genres Musicaux
Autres Services
Autres Services
Top 100
Portées musicales
Metronome
Achats pour Musiciens
Partitions Numériques
Librairie Musicale
Matériel de musique
Idées cadeaux
A propos de free-scores.com
Partitions
Gratuites
44
Partitions
Numériques
13
Librairie
Musicale
477
Matériel
de Musique
0
Partitions numériques
Accès après achat
Expédition postale
Téléchargement
TRI ET FILTRES
TRI ET FILTRES
Tri et filtres :
--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
COR
COR ANGLAIS
CORNEMUSE
CORNET
DEEJAY
DIDGERIDOO
DULCIMER
EUPHONIUM
FANFARE - BAND…
FLUTE A BEC
FLUTE DE PAN
FLUTE TRAVERSI…
FORMATION MUSI…
GUITARE
GUITARE LAP ST…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH
MANDOLINE
MARIMBA
OCARINA
ORCHESTRE
ORGUE
PERCUSSION
PIANO
SAXOPHONE
SYNTHETISEUR
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIOLON
VIOLONCELLE
XYLOPHONE
style (tous)
AFRICAIN
AMERICANA
ASIE
BLUEGRASS
BLUES
CELTIQUE - IRISH - S…
CHANSON FRANÇAISE
CHRISTIAN (contempor…
CLASSIQUE - BAROQUE …
COMEDIES MUSICALES -…
CONTEMPORAIN - 20-21…
CONTEMPORAIN - NEW A…
COUNTRY
EGLISE - SACRE
ENFANTS : EVEIL - IN…
FILM - TV
FILM WALT DISNEY
FINGERSTYLE - FINGER…
FLAMENCO
FOLK ROCK
FOLKLORE - TRADITION…
FUNK
GOSPEL - SPIRITUEL -…
HALLOWEEN
JAZZ
JAZZ MANOUCHE - SWIN…
JEUX VIDEOS
KLEZMER - JUIVE
LATIN - BOSSA - WORL…
LATIN POP ROCK
MARIAGE - AMOUR - BA…
MEDIEVAL - RENAISSAN…
METAL - HARD
METHODE : ACCORDS ET…
METHODE : ETUDES
METHODE : TECHNIQUES
NOËL
OLD TIME - EARLY ROC…
OPERA
PATRIOTIQUE
POLKA
POP ROCK - POP MUSIC
POP ROCK - ROCK CLAS…
POP ROCK - ROCK MODE…
PUNK
RAGTIME
REGGAE
SOUL - R&B - HIP HOP…
TANGO
THANKSGIVING
Vendeurs (tous)
Musicnotes
Note4Piano
Noviscore
Profs-edition
Quickpartitions
SheetMusicPlus
Tomplay
Virtualsheetmusic
Pertinence
Ventes
Prix - au +
Prix + au -
Nouveautes
A-Z
difficulté (tous)
débutant
facile
intermédiaire
avancé
expert
avec audio
avec vidéo
avec play-along
Non classifié
2
PIANO & CLAVIERS
Piano, Voix
6
Piano seul
6
2 Pianos, 4 mains
1
GUITARES
VOIX
VENTS
Flûte traversière et Piano
2
CUIVRES
CORDES
PERCUSSIONS & ORCHESTRES
AUTRES
Vous avez sélectionné:
Koechlin
PIANO
Partitions à imprimer
13 partitions trouvées
<
1
KOECHLIN: Si tu le veux, Op. 5 no. 5 (transposed to A-flat major)
Piano, Voix
Piano,Vocal,Voice - Digital Download SKU: A0.1309841 Composed by Charles Koechlin. …
(+)
Piano,Vocal,Voice - Digital Download SKU: A0.1309841 Composed by Charles Koechlin. Arranged by ArtSongTranspositions.com. Romantic Period. Score. 5 pages. AST Publications, LLC #898989. Published by AST Publications, LLC (A0.1309841). ⇨ PAY $0.00 with INSTITUTIONAL MEMBERSHIP✓ 10,000+ art songs and Baroque aria PDFs✓ Transpose sheet music to any key✓ Free for faculty, students, staff, and employees✓ Campus-wide access via IP authentication✓ Off-campus access via EZproxy or SAML
$9.99
9.16 €
#
Piano, Voix
#
Charles Koechlin
#
ArtSongTranspositions
#
KOECHLIN: Si tu le veux, Op. 5 no. 5
#
AST Publications, LLC
#
SheetMusicPlus
KOECHLIN: Si tu le veux, Op. 5 no. 5 (transposed to D major, bass clef)
Piano, Voix
Piano,Vocal,Voice - Digital Download SKU: A0.538655 Composed by Charles Koechlin. A…
(+)
Piano,Vocal,Voice - Digital Download SKU: A0.538655 Composed by Charles Koechlin. Arranged by ArtSongTranspositions.com. Romantic Period. Score. 6 pages. AST Publications, LLC #4608169. Published by AST Publications, LLC (A0.538655). ⇨ PAY $0.00 with INSTITUTIONAL MEMBERSHIP✓ 10,000+ art songs and Baroque aria PDFs✓ Transpose sheet music to any key✓ Free for faculty, students, staff, and employees✓ Campus-wide access via IP authentication✓ Off-campus access via EZproxy or SAML
$9.99
9.16 €
#
Piano, Voix
#
Charles Koechlin
#
ArtSongTranspositions
#
KOECHLIN: Si tu le veux, Op. 5 no. 5
#
AST Publications, LLC
#
SheetMusicPlus
KOECHLIN: Si tu le veux, Op. 5 no. 5 (transposed to A major)
Piano, Voix
Piano,Vocal,Voice - Digital Download SKU: A0.1309840 Composed by Charles Koechlin. …
(+)
Piano,Vocal,Voice - Digital Download SKU: A0.1309840 Composed by Charles Koechlin. Arranged by ArtSongTranspositions.com. Romantic Period. Score. 5 pages. AST Publications, LLC #898988. Published by AST Publications, LLC (A0.1309840). ⇨ PAY $0.00 with INSTITUTIONAL MEMBERSHIP✓ 10,000+ art songs and Baroque aria PDFs✓ Transpose sheet music to any key✓ Free for faculty, students, staff, and employees✓ Campus-wide access via IP authentication✓ Off-campus access via EZproxy or SAML
$9.99
9.16 €
#
Piano, Voix
#
Charles Koechlin
#
ArtSongTranspositions
#
KOECHLIN: Si tu le veux, Op. 5 no. 5
#
AST Publications, LLC
#
SheetMusicPlus
KOECHLIN: Si tu le veux, Op. 5 no. 5 (transposed to F-sharp major)
Piano, Voix
Piano,Vocal,Voice - Digital Download SKU: A0.1309845 Composed by Charles Koechlin. …
(+)
Piano,Vocal,Voice - Digital Download SKU: A0.1309845 Composed by Charles Koechlin. Arranged by ArtSongTranspositions.com. Romantic Period. Score. 5 pages. AST Publications, LLC #898993. Published by AST Publications, LLC (A0.1309845). ⇨ PAY $0.00 with INSTITUTIONAL MEMBERSHIP✓ 10,000+ art songs and Baroque aria PDFs✓ Transpose sheet music to any key✓ Free for faculty, students, staff, and employees✓ Campus-wide access via IP authentication✓ Off-campus access via EZproxy or SAML
$9.99
9.16 €
#
Piano, Voix
#
Charles Koechlin
#
ArtSongTranspositions
#
KOECHLIN: Si tu le veux, Op. 5 no. 5
#
AST Publications, LLC
#
SheetMusicPlus
Le Portrait de Daisy Hamilton
Piano seul
Piano - advanced - Digital Download Volume 2:Twelve other Piano Pieces. Composed by C…
(+)
Piano - advanced - Digital Download Volume 2:Twelve other Piano Pieces. Composed by Charles Koechlin (1867-1950). Arranged by Robert Orledge. This edition: Sheet music. Filmmusik, Frankreich, Piano. Downloadable. Op. 140, Op. Heft 2. Schott Music - Digital #Q6570. Published by Schott Music - Digital
Finally, the music of Charles Koechlin is no longer an insider tip, but is being discovered for both the concert hall and the CD! With our issue we are now presenting a largely unknown facet of his work. Because hardly anyone knows that Koechlin turned to film at an advanced age. Although Koechlin was aware that there was no prospect of a cinematic implementation, he even designed a film scenario in 20 scenes in which he himself should appear in a double role! At the age of 66 he saw the actress Lilian Harvey as Princess Marie-Christine in Princesse à in a Parisian movie theater . vos ordres. He was so enchanted that he made the little pieces of Le Portrait de Daisy Hamilton for hercomposed & ndash. adorable miniatures that were not written as film music, but triggered by film experiences.<br> .<br> Of the unfinished compositions Le Portrait de Daisy Hamilton, notated on two to four lines, we publish two volumes of twelve piano pieces each. Further booklets in other instrumentation will follow. With the seven planned issues Le Portrait de Daisy Hamilton , Charles Koechlin's last unpublished works from the field of film will finally be accessible to posterity.Finally, the music of Charles Koechlin is no longer an insider tip, but is being discovered for both the concert hall and the CD! With our issue we are now presenting a largely unknown facet of his work. Because hardly anyone knows that Koechlin turned to film at an advanced age. Although Koechlin was aware that there was no prospect of a cinematic implementation, he even designed a film scenario in 20 scenes in which he himself should appear in a double role! At the age of 66 he saw the actress Lilian Harvey as Princess Marie-Christine in Princesse à in a Parisian movie theater . vos ordres. He was so enchanted that he made the little pieces of Le Portrait de Daisy Hamilton for hercomposed & ndash. adorable miniatures that were not written as film music, but triggered by film experiences.<br> .<br> Of the unfinished compositions Le Portrait de Daisy Hamilton, notated on two to four lines, we publish two volumes of twelve piano pieces each. Further booklets in other instrumentation will follow. With the seven planned issues Le Portrait de Daisy Hamilton , Charles Koechlin's last unpublished works from the field of film will finally be accessible to posterity.
$16.99
15.58 €
#
Piano seul
#
Charles Koechlin
#
Robert Orledge
#
Le Portrait de Daisy Hamilton
#
Schott Music - Digital
#
SheetMusicPlus
Le Portrait de Daisy Hamilton
Flûte traversière et Piano
Flute and piano - advanced - Digital Download Eight Pieces for Flute and Piano. Compo…
(+)
Flute and piano - advanced - Digital Download Eight Pieces for Flute and Piano. Composed by Charles Koechlin (1867-1950). Arranged by Robert Orledge. This edition: score and parts. Filmmusik, Geheimtipp, Flute. Il Flauto traverso. Downloadable. Op. 140, Op. Heft 4. Schott Music - Digital #Q6598. Published by Schott Music - Digital
Finally, the music of Charles Koechlin is no longer an insider tip, but is being discovered for both the concert hall and the CD! With our edition we are now presenting a largely unknown facet of his work. Because hardly anyone knows that Koechlin turned to film at an advanced age. Although Koechlin was aware that there was no prospect of a cinematic implementation, he even designed a film scenario in 20 scenes in which he himself should appear in a double role! At the age of 66 he saw the actress Lilian Harvey as Princess Marie-Christine in Princesse a vos ordres in a Parisian movie theater . He was so enchanted that he made the little pieces Le Portrait de Daisy Hamilton for her composed - captivating miniatures that were not written as film music, but drawn from film experiences.<br> .<br> Three volumes of the unfinished compositions Le Portrait de Daisy Hamilton , notated on two to four lines, have already been published by Schott, now we are publishing two volumes of eight pieces each for flute and piano and for clarinet and piano. Two more books (11 pieces for piano and string quartet and 10 pieces for string sextet) will follow. With the total of seven planned issues, Charles Koechlin's last as yet unpublished works from the field of film will finally be accessible to posterity.Finally, the music of Charles Koechlin is no longer an insider tip, but is being discovered for both the concert hall and the CD! With our edition we are now presenting a largely unknown facet of his work. Because hardly anyone knows that Koechlin turned to film at an advanced age. Although Koechlin was aware that there was no prospect of a cinematic implementation, he even designed a film scenario in 20 scenes in which he himself should appear in a double role! At the age of 66 he saw the actress Lilian Harvey as Princess Marie-Christine in Princesse a vos ordres in a Parisian movie theater . He was so enchanted that he made the little pieces Le Portrait de Daisy Hamilton for her composed - captivating miniatures that were not written as film music, but drawn from film experiences.<br> .<br> Three volumes of the unfinished compositions Le Portrait de Daisy Hamilton , notated on two to four lines, have already been published by Schott, now we are publishing two volumes of eight pieces each for flute and piano and for clarinet and piano. Two more books (11 pieces for piano and string quartet and 10 pieces for string sextet) will follow. With the total of seven planned issues, Charles Koechlin's last as yet unpublished works from the field of film will finally be accessible to posterity.
$22.99
21.09 €
#
Flûte traversière et Piano
#
Charles Koechlin
#
Robert Orledge
#
Le Portrait de Daisy Hamilton
#
Schott Music - Digital
#
SheetMusicPlus
Le Portrait de Daisy Hamilton
Piano seul
Piano - advanced - Digital Download Volume 1: Twelve Piano Pieces. Composed by Charle…
(+)
Piano - advanced - Digital Download Volume 1: Twelve Piano Pieces. Composed by Charles Koechlin (1867-1950). Arranged by Robert Orledge. This edition: Sheet music. Filmmusik, Piano, Leinwand. Downloadable. Op. 140, Op. Heft 1. Schott Music - Digital #Q6568. Published by Schott Music - Digital
Finally, the music of Charles Koechlin is no longer an insider tip, but is being discovered for both the concert hall and the CD! With our edition we are now presenting a largely unknown facet of his work. Because hardly anyone knows that Koechlin turned to film at an advanced age. Although Koechlin was aware that there was no prospect of a cinematic implementation, he even designed a film scenario in 20 scenes in which he himself should appear in a double role! At the age of 66 he saw the actress Lilian Harvey as Princess Marie-Christine in Princesse a vos ordres in a Parisian movie theater . He was so enchanted that he made the little pieces Le Portrait de Daisy Hamilton for her composed - captivating miniatures that were not written as film music, but drawn from film experiences.<br> .<br> Of the unfinished compositions Le Portrait de Daisy Hamilton, notated on two to four lines, we first publish two volumes with twelve piano pieces each. Further booklets in other instrumentation will follow. With the seven planned issues Le Portrait de Daisy Hamilton , Charles Koechlin's last, as yet unpublished works from the field of film will finally be made available to posterity.Finally, the music of Charles Koechlin is no longer an insider tip, but is being discovered for both the concert hall and the CD! With our edition we are now presenting a largely unknown facet of his work. Because hardly anyone knows that Koechlin turned to film at an advanced age. Although Koechlin was aware that there was no prospect of a cinematic implementation, he even designed a film scenario in 20 scenes in which he himself should appear in a double role! At the age of 66 he saw the actress Lilian Harvey as Princess Marie-Christine in Princesse a vos ordres in a Parisian movie theater . He was so enchanted that he made the little pieces Le Portrait de Daisy Hamilton for her composed - captivating miniatures that were not written as film music, but drawn from film experiences.<br> .<br> Of the unfinished compositions Le Portrait de Daisy Hamilton, notated on two to four lines, we first publish two volumes with twelve piano pieces each. Further booklets in other instrumentation will follow. With the seven planned issues Le Portrait de Daisy Hamilton , Charles Koechlin's last, as yet unpublished works from the field of film will finally be made available to posterity.
$17.99
16.5 €
#
Piano seul
#
Charles Koechlin
#
Robert Orledge
#
Le Portrait de Daisy Hamilton
#
Schott Music - Digital
#
SheetMusicPlus
Le Portrait de Daisy Hamilton
2 Pianos, 4 mains
2 pianos - advanced - Digital Download Volume 3: Seven Pieces for two Pianos. Compose…
(+)
2 pianos - advanced - Digital Download Volume 3: Seven Pieces for two Pianos. Composed by Charles Koechlin (1867-1950). Arranged by Robert Orledge. This edition: Sheet music. Filmmusik, Geheimtipp, Piano. Downloadable. Op. 140, Op. Heft 3. Schott Music - Digital #Q6597. Published by Schott Music - Digital
Endlich ist die Musik von Charles Koechlin kein Geheimtipp mehr, sondern wird sowohl fur den Konzertsaal als auch die CD entdeckt! Mit unserer Ausgabe prasentieren wir nun eine weithin noch unbekannte Facette seines Schaffens. Denn kaum jemand weiss, dass sich Koechlin in bereits fortgeschrittenem Alter dem Film zuwandte. Obwohl Koechlin bewusst war, dass keine Aussicht auf filmische Umsetzung bestand, entwarf er sogar ein Filmszenario in 20 Szenen, in dem er selbst in einer Doppelrolle erscheinen sollte! Im Alter von 66 Jahren sah er in einem Pariser Filmtheater die Schauspielerin Lilian Harvey als Prinzessin Marie-Christine in Princesse a vos ordres. Er war so verzaubert, dass er fur sie die kleinen Stucke Le Portrait de Daisy Hamilton komponierte - hinreissende Miniaturen, die nicht als Filmmusik geschrieben, sondern durch Filmerlebnisse ausgelost wurden.<br> .<br> Von den unvollendet gebliebenen, auf zwei bis vier Linien notierten Kompositionen Le Portrait de Daisy Hamilton sind bei Schott bereits zwei Hefte erschienen, nun publizieren wir erstmals einen Band mit Stucken fur zwei Klaviere. Weitere Hefte in anderen Instrumentierungen werden folgen. Mit den insgesamt sieben geplanten Heften Le Portrait de Daisy Hamilton werden Charles Koechlins letzte noch unveroffentlichte Werke aus dem Umfeld des Films endlich fur die Nachwelt zuganglich.Endlich ist die Musik von Charles Koechlin kein Geheimtipp mehr, sondern wird sowohl fur den Konzertsaal als auch die CD entdeckt! Mit unserer Ausgabe prasentieren wir nun eine weithin noch unbekannte Facette seines Schaffens. Denn kaum jemand weiss, dass sich Koechlin in bereits fortgeschrittenem Alter dem Film zuwandte. Obwohl Koechlin bewusst war, dass keine Aussicht auf filmische Umsetzung bestand, entwarf er sogar ein Filmszenario in 20 Szenen, in dem er selbst in einer Doppelrolle erscheinen sollte! Im Alter von 66 Jahren sah er in einem Pariser Filmtheater die Schauspielerin Lilian Harvey als Prinzessin Marie-Christine in Princesse a vos ordres. Er war so verzaubert, dass er fur sie die kleinen Stucke Le Portrait de Daisy Hamilton komponierte - hinreissende Miniaturen, die nicht als Filmmusik geschrieben, sondern durch Filmerlebnisse ausgelost wurden.<br> .<br> Von den unvollendet gebliebenen, auf zwei bis vier Linien notierten Kompositionen Le Portrait de Daisy Hamilton sind bei Schott bereits zwei Hefte erschienen, nun publizieren wir erstmals einen Band mit Stucken fur zwei Klaviere. Weitere Hefte in anderen Instrumentierungen werden folgen. Mit den insgesamt sieben geplanten Heften Le Portrait de Daisy Hamilton werden Charles Koechlins letzte noch unveroffentlichte Werke aus dem Umfeld des Films endlich fur die Nachwelt zuganglich.
$22.99
21.09 €
#
2 Pianos, 4 mains
#
Charles Koechlin
#
Robert Orledge
#
Le Portrait de Daisy Hamilton
#
Schott Music - Digital
#
SheetMusicPlus
Charles Koechlin: Esquisse (Sketch) - piano solo
Piano seul
Instantly printable sheet music by Charles Koechlin for piano solo of MEDIUM skill level. …
(+)
Instantly printable sheet music by Charles Koechlin for piano solo of MEDIUM skill level. / classical,french
$6.97
6.39 €
#
Piano seul
#
Charles Koechlin
#
Virtualsheetmusic
Nocturne
Piano seul
Piano - difficult - Digital Download SKU: S9.Q47441 For piano. Composed by C…
(+)
Piano - difficult - Digital Download SKU: S9.Q47441 For piano. Composed by Charles Koechlin. This edition: Sheet music. Downloadable. Op. 33. Duration 12 minutes. Schott Music - Digital #Q47441. Published by Schott Music - Digital (S9.Q47441). This first print is a rarity: the highly virtuoso, evocative 'Nocturne' owes its creation to an instrument that has only survived as a museum piece. Gustave Lyon, the director of the French instrument maker Pleyel, commissioned Charles Koechlin as well as several other French composers (such as Claude Debussy and Maurice Ravel) to write works for the 'harpe chromatique' developed by him around 1900. In contrast to the common pedal harp, the chromatic harp allows for an unlimited modulatory range. Nevertheless, the instrument did not gain much acceptance and remained exotic. Koechlin was aware of the difficulty of introducing and establishing new instruments. He therefore, from the very beginning, had the piano as an alternative of equal value in mind when writing his Nocturne.
$15.99
14.67 €
#
Piano seul
#
Charles Koechlin
#
Nocturne
#
Schott Music - Digital
#
SheetMusicPlus
Le Portrait de Daisy Hamilton
2 Vl. · 2 Va. · Vc. · Kb. (oder Vc. 2) piano quintet - Digital Download SKU: S…
(+)
2 Vl. · 2 Va. · Vc. · Kb. (oder Vc. 2) piano quintet - Digital Download SKU: S9.Q44806 Eleven pieces for piano and string quartet. Composed by Charles Koechlin. Arranged by Otfrid Nies. This edition: score and parts. Downloadable, Score and parts. Op. 140. Schott Music - Digital #Q44806. Published by Schott Music - Digital (S9.Q44806). German • English • French.This first edition presents our latest selection of pieces from the composition 'Le Portrait de Daisy Hamilton', Koechlin's homage to the famous film actress Lilian Harvey. From a total of 89 short uninstrumented works, some of them even unfinished, the editor carefully and cleverly selected and assigned pieces to instruments which correspond best to the pieces' character. Eleven delightful miniatures were suitable for the instrumentation of string quartet and piano.
$42.99
39.43 €
#
Charles Koechlin
#
Otfrid Nies
#
Le Portrait de Daisy Hamilton
#
Schott Music - Digital
#
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
35.72 €
#
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
35.72 €
#
Piano seul
#
Claude Debussy/Robert Orledge
#
Debussy Inconnu: Album of works for the piano by Claude Debussy completed by Robert Orledge, Vol. 1
#
Musik Fabrik Music Publishing
#
SheetMusicPlus
<
1
© 2000 - 2024
Accueil
-
Nouveautés
-
Compositeurs
Mentions légales
-
Version intégrale
