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Piano Sketches Book 1
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Vous avez sélectionné:
Piano Sketches Book 1
Piano seul
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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…
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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
35.91 €
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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
Charles Wood : Sketches for Piano, Livre 2 - n° 1 Cool
Piano seul
Téléchargez la partition Piano Sketches for Piano, Livre 2 - n° 1 Cool d…
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Téléchargez la partition Piano Sketches for Piano, Livre 2 - n° 1 Cool de Wood. Partition pour Piano seul -- Classique
3.99 €
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Piano seul
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Charles Wood
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Sketches for Piano, Livre 2
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Tomplay
Great Literature for Piano Book 1 (Easy)
Piano seul
Composed by Gail Smith. Classical Repertoire. Book. 132 pages. Published by Mel Bay Public…
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Composed by Gail Smith. Classical Repertoire. Book. 132 pages. Published by Mel Bay Publications - Digital Sheet Music (M0.94864EB). - book - Classical Repertoire - Mel Bay Publications - Digital Sheet Music
ISBN 9781619114777. With its eight books of graded piano solos, the Great Literature for the Piano series celebrates the treasures of the piano repertoire by bringing together beautiful works by many of the outstanding composers for the instrument. The first book in the series, designed for late primary and early elementary-level students, encompasses the most easily mastered compositions from the composers of the Baroque, Classical, and Romantic periods. Biographical sketches of each composer help make the selections more meaningful to the student.ISBN 9781619114777. With its eight books of graded piano solos, the Great Literature for the Piano series celebrates the treasures of the piano repertoire by bringing together beautiful works by many of the outstanding composers for the instrument. The first book in the series, designed for late primary and early elementary-level students, encompasses the most easily mastered compositions from the composers of the Baroque, Classical, and Romantic periods. Biographical sketches of each composer help make the selections more meaningful to the student.
$19.99
18.43 €
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Piano seul
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Gail Smith
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Great Literature for Piano Book 1
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Mel Bay Publications - Digital Sheet Music
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SheetMusicPlus
Great Literature for Piano Book 2 (Elementary)
Piano seul
By Gail Smith. For Keyboard (Piano). Classic. 130 pages. Published by Mel Bay Publications…
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By Gail Smith. For Keyboard (Piano). Classic. 130 pages. Published by Mel Bay Publications - Digital Sheet Music
ISBN 9781610650212. This diversified collection of elementary-level piano music is slightly more challenging than Book 1. Biographical sketches of composers are presented throughout this book, as well as more of the "best" from the Baroque. Classical, and Romantic periods.ISBN 9781610650212. This diversified collection of elementary-level piano music is slightly more challenging than Book 1. Biographical sketches of composers are presented throughout this book, as well as more of the "best" from the Baroque. Classical, and Romantic periods.
$14.99
13.82 €
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Piano seul
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Gail Smith
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Great Literature for Piano Book 2
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Mel Bay Publications - Digital Sheet Music
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SheetMusicPlus
Butterflies
Piano seul
Piano Solo - Level 1 - Digital Download SKU: A0.889563 Composed by Susan Alcon. Con…
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Piano Solo - Level 1 - Digital Download SKU: A0.889563 Composed by Susan Alcon. Concert,Standards. Score. 3 pages. Susan Alcon #5220201. Published by Susan Alcon (A0.889563). Butterflies was originally published in the Frederick Harris collection, Wildflowers and later in the collection, Lyric Sketches. The Wildflowers book was the most requested collection of my late elementary piano solos. I am pleased to be able to now offer these pieces as individual solos.
$2.99
2.76 €
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Piano seul
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Susan Alcon
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Butterflies
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Susan Alcon
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SheetMusicPlus
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Piano Sketches Book 1
