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--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
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Non classifié
6 703
Piano & claviers
Piano, Voix
5 376
Piano seul
3 885
Piano, Voix et Guitare
1 354
Piano Facile
887
Orgue
610
Accompagnement Piano
242
Instruments en Do
189
1 Piano, 4 mains
149
Piano grosses notes
82
Piano (partie séparée)
77
Piano Trio: piano, violon, violoncelle
51
Accordéon
50
2 Pianos, 4 mains
37
Piano Quatuor: piano, violon, alto, violoncelle
17
Orgue, Piano (duo)
12
Piano Quintette: piano, 2 violons, alto, violoncelle
8
1 Piano, 6 mains
7
Piano Quatuor: piano, 2 violons, violoncelle
7
Clavecin
5
Ligne De Mélodie, Piano
4
2 Pianos, 8 mains
4
Orgue, Trompette (duo)
3
Tous Les Instruments
2
Accordéon, Voix
1
Fake Book
1
2 Accordéons
1
2 Orgues (duo)
1
Ensemble d'Accordéons
1
Clavier
1
Orgue, Voix
1
+ 25 instrumentations
Retracter
Guitares
Guitare notes et tablatures
1 109
Ligne De Mélodie, (Paroles) et Accords
732
Guitare
632
Paroles et Accords
241
Ukulele
225
Basse electrique
187
2 Guitares (duo)
76
Banjo
43
Ensemble de guitares
26
Guitare (partie séparée)
20
3 Guitares (trio)
19
Partitions De Groupes
18
4 Guitares (Quatuor)
16
Dulcimer
14
Mandoline
12
Piano, Guitare (duo)
7
2 Dulcimers (duo)
4
Basse électrique (partie séparée)
4
2 Ukuleles
2
3 Dulcimers (trio)
2
Dobro
2
Guitare, Orchestre
1
Ukulele Baryton
1
+ 18 instrumentations
Retracter
Voix
Chorale SATB
1 882
Chorale 3 parties
492
Chorale TTBB
466
Pack Instrumental pour Chorale
325
Voix seule
309
Chorale 2 parties
242
Chorale SSAA
207
Chorale Unison
103
Chorale
81
Voix duo, Piano
70
Voix Soprano, Piano
52
Voix Alto, Piano
37
Voix Tenor, Piano
30
Voix moyenne, Piano
29
Voix haute
22
Voix duo
22
Voix Baryton, Piano
19
Voix basse, Piano
13
Voix Mezzo-Soprano, Piano
8
Chorale SSAATTBB
6
Chorale SSATTB
5
Voix Tenor
4
Chorale SSAB a cappella
4
Voix, Guitare
3
Chorale SSAB, Piano
3
Chorale SSATB
3
Voix haute, Piano
3
Chorale SSATBB
2
Chorale, Orgue
2
Voix Moyenne
2
Paroles Seulement
1
Chorale SSAATB
1
Voix basse
1
+ 28 instrumentations
Retracter
Vents
Saxophone (partie séparée)
1 607
Clarinette (partie séparée)
1 540
Flute (partie séparée)
548
Hautbois (partie séparée)
386
Flûte traversière et Piano
304
Flûte traversière
283
Clarinette
255
Clarinette et Piano
232
Quatuor de Saxophones: 4 saxophones
222
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
205
Saxophone Alto
157
Saxophone Alto et Piano
156
Hautbois, Piano (duo)
156
Saxophone Tenor
150
2 Flûtes traversières (duo)
145
Quatuor de Clarinettes: 4 clarinettes
135
Flûte, Hautbois, Clarinette, Basson
134
2 Saxophones (duo)
130
Hautbois
124
Saxophone Tenor et Piano
114
2 Clarinettes (duo)
94
Flûte et Guitare
87
Quatuor de Flûtes : 4 flûtes
86
Saxophone Soprano et Piano
64
Saxophone
62
Piccolo
49
Clarinette Basse
48
3 Saxophones (trio)
48
Ensemble de Clarinettes
47
Ensemble de Flûtes
45
Flûte à Bec
42
Flûte, Clarinette (duo)
41
Quintette de Saxophone: 5 saxophones
38
3 Clarinettes (trio)
38
Trio de Flûtes: 3 flûtes
37
Saxophone Baryton, Piano
33
2 Hautbois (duo)
27
Cor anglais, Piano
27
2 Flûte à bec (duo)
24
Hautbois, Basson (duo)
24
Ensemble de saxophones
23
Saxophone, Clarinette (duo)
21
Flûte à bec Soprano
19
Ocarina
19
Quintette de Clarinettes: 5 clarinettes
19
Hautbois, Clarinette, Basson (trio d'anches)
15
Flûte, Hautbois, Clarinette (trio)
15
Clarinette, Basson (duo)
15
Flûte, Clarinette et Basson
13
Clarinette, Trompette (duo)
13
Hautbois, Clarinette (duo)
13
Flûte à bec Alto
12
Clarinette, Violon (duo)
12
Clarinette Basse, Piano
12
Cor Anglais
11
Flûte, Clarinette, Piano (trio)
11
Flûte, Violoncelle, Piano (trio)
10
Flûte, Violon, Piano
9
Hautbois, Flûte
9
Flûte, Violoncelle
9
Flûte, Hautbois (duo)
8
Saxophone et Guitare
8
Flûte, Violon
8
Clarinette et Alto
8
3 Hautbois
7
2 Saxophones, Piano
7
Flûte, Saxophone (duo)
7
Flûte, Basson et Piano
7
Flûte, Trombone (duo)
7
Flûte, Hautbois, Basson
7
Flûte, Alto (duo)
6
Quatuor de Flûtes à bec
6
2 Flûtes traversières, Piano
5
Clarinette, Guitare (duo)
5
Hautbois, Violoncelle
5
Saxophone Soprano
5
Instruments en Mib
5
Quintette de Flûte : 5 flûtes
5
Harmonica
4
Flûte, Trompette (duo)
4
Flûte à bec Tenor
4
Clarinette, Violoncelle (duo)
4
Flûte, Violon et Violoncelle
4
Flûte, Hautbois, Piano (trio)
3
2 Clarinettes, Piano
3
Saxophone et Piano
3
Saxophone Baryton
3
Hautbois, Guitare (duo)
3
Saxophone et violoncelle
3
Flûte à bec Soprano, Piano
3
Quintette de Clarinette: Clarinette, Quatuor à Cordes
3
Ensemble De Flûte à bec
3
Clarinette, Trombone (duo)
2
Hautbois, trombone (duo)
2
Saxophone et Harpe
2
Flûte, Violon, Violoncelle et Piano
2
Flûte à bec Alto, Piano
2
Ensemble à vent
2
4 Hautbois
2
2 Hautbois et Basson
2
Clarinette, Harpe (duo)
2
Clarinette, Tuba
2
Flute, harpe et violon
2
2 Clarinettes, Basson
2
Flûte à bec, Guitare (duo)
2
5 Flûtes à bec
2
3 Flûtes à bec (trio)
2
Hautbois et alto (duo)
1
Flûte, Clarinette, Violon (trio)
1
Clarinette, Violoncelle, Piano (trio)
1
Hautbois, Violoncelle et Piano
1
Cor anglais, Guitare (duo)
1
Flûte, Alto et Piano
1
Piccolo, Piano
1
Quatuor de Clarinettes: Clarinette, Violon, Alto, Violoncelle
1
Flûte à bec Alto, Basse continue
1
Hautbois et Orchestre
1
Flûte, Hautbois, Violon
1
Hautbois, Violin, Alto et Violoncelle (Quatuor)
1
Harmonica, Piano
1
2 Flûtes à bec, Piano
1
Flûte à Bec, Piano
1
Clarinette, trompette et piano
1
Flute, Cor (duo)
1
Flûte, Tuba (duo)
1
Flûte, alto et harpe
1
Saxophone, Tuba (duo)
1
+ 122 instrumentations
Retracter
Cuivres
Trombone (partie séparée)
1 163
Trompette (partie séparée)
941
Cor (partie séparée)
617
Tuba (partie séparée)
468
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
325
Trompette
188
Trombone
186
Cor
179
Trompette, Piano
143
Tuba
128
Trombone et Piano
127
Quatuor de Cuivres : 2 trompettes, trombone, tuba
120
Cor et Piano
95
2 Euphoniums et 2 Tubas
87
2 Trompettes (duo)
57
4 Tubas
49
2 Trombones (duo)
48
Tuba et Piano
47
Trompette, Trombone (duo)
42
2 Cors (duo)
37
Quatuor de Cuivres
37
Tuba ou Euphonium ou Saxhorn
33
Euphonium, Piano (duo)
33
Quatuor de Cuivres: 2 trompettes, Cor, trombone
31
Quatuor de cuivres: 4 cors
29
Quatuor de cuivres: 4 trombones
28
Euphonium
27
Cor anglais, Piano
27
Ensemble de Trombones
17
Trompette, Saxophone (duo)
16
Trio de Cuivres
12
Cor Anglais
11
2 Tubas (duo)
10
Ensemble de Cors
9
Cornet A Pistons
9
Trompette, Cor (duo)
7
3 Trompettes (trio)
7
Quatuor de cuivres: 4 trompettes
7
Tuba et Orgue
6
Euphonium (partie séparée)
6
Instruments en Sib
6
Trombone basse et Piano
6
Trompette, Tuba (duo)
6
Trompette et Guitare
5
3 Trombones (trio)
5
Trombone, Violon (duo)
4
Trombone, Tuba (duo)
4
Trompette, Trombone, Piano
4
Cor et Basson (duo)
3
Trombone, Alto (duo)
3
Euphonium, Tuba (duo)
3
Trompette, Violoncelle (duo)
3
Trombone, Cor (duo)
3
Cor, Violoncelle (duo)
3
Bass Clef Instruments
3
Quatuor de cuivres: Cor, Trombone, Tuba, Trompette Sib
3
Clarinette, Cor (duo)
2
Trompette, Orchestre
2
Quatuor de cuivres: 2 trompettes, 2 trombones
2
Trompette, Violoncelle et Piano
2
Trombone basse
2
Cor et Harpe
2
Cor anglais, Guitare (duo)
1
Trompette, Harpe
1
Trompette, violon (duo)
1
Cor, Tuba (duo)
1
Ensemble de Tubas
1
Trompette, Basson (duo)
1
3 Cors (trio)
1
+ 64 instrumentations
Retracter
Cordes
Violon (partie séparée)
1 066
Quatuor à cordes: 2 violons, alto, violoncelle
855
Violon et Piano
427
Contrebasse (partie séparée)
304
Violon
288
Violoncelle, Piano
279
Alto seul
258
Violoncelle
237
Violoncelle (partie séparée)
221
Alto, Piano
201
Alto (partie séparée)
165
Violon, Violoncelle (duo)
126
Harpe
111
2 Violons (duo)
94
Trio à Cordes: violon, alto, violoncelle
91
Contre Basse
79
2 Violoncelles (duo)
63
Violon, Alto (duo)
40
2 Altos (duo)
35
Contrebasse, Piano (duo)
34
Trio à Cordes: 2 violons, violoncelle
34
Quintette à cordes: 2 violons, alto, violoncelle, basse
27
Alto, Violoncelle (duo)
26
4 Violoncelles
19
Violon, Guitare (duo)
16
Trio à cordes: 3 violins
14
Trio à Cordes: 3 violoncelles
13
Piano Trio: Violon, Alto, Piano
12
2 Contrebasses (duo)
11
Violoncelle , Guitare (duo)
7
Trio à cordes: 3 altos
7
Trio à Cordes: 2 violons, alto
6
2 Harpes (duo)
5
Alto et Basson
5
Violon, Basson (duo)
5
2 Violons, Piano
4
Violon, Clarinette, Piano (trio)
4
Harpe, Flûte (duo)
4
Trio à cordes
3
Quatuor à cordes: 4 violons
3
Quintette à cordes : 2 violons, alto et 2 violoncelles
3
Alto, Guitare (duo)
3
3 Harpes
2
Flûte, Contrebasse (duo)
2
Harpe, Violon (duo)
2
Quatuor à cordes : 4 altos
1
Violoncelle, Contrebasse (duo)
1
Harpe (partie séparée)
1
Violon, Violoncelle, Clarinette
1
Violon, Orgue
1
2 Altos, Piano
1
Violon, Tuba (duo)
1
Alto et Harpe
1
4 Contrebasses
1
Harpe et Piano
1
Violoncelle, Orgue
1
Violoncelle, Orchestre
1
Quintette à cordes: 2 violons, 2 altos, violoncelle
1
2 Violoncelles, Piano
1
+ 54 instrumentations
Retracter
Orchestre & Percussions
Orchestre d'harmonie
5 843
Percussion (partie séparée)
1 113
Orchestre
1 000
Orchestre à Cordes
808
Timbales (partie séparée)
309
Percussion
262
Ensemble de cuivres
190
Ensemble Jazz
181
Cloches
130
Fanfare
130
Batterie
120
Orchestre de chambre
74
Jazz combo
63
Timbales
44
Batterie (partie séparée)
25
Ensemble de Percussions
17
Xylophone
10
Vibraphone
9
Marimba
7
Quintette à Vent
5
Xylophone, Piano
4
Quatuor à Vent : 4 instruments à vents
3
Piano et Orchestre
2
Orchestre, Violon
1
Vibraphone (partie séparée)
1
Big band
1
Marimba, Piano (duo)
1
Quintette à cordes : 2 Violons, Alto, Violoncelle, Contrebasse, Clavier
1
Quintette de Cuivres: autres combinaisons
1
+ 24 instrumentations
Retracter
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ACCORDEON
ALTO
AUTRES INST…
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BANJO
BASSE
BASSON
BATTERIE
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CHANT - CHO…
CHARANGO
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
CONTREBASSE
COR
COR ANGLAIS
CORNEMUSE
CORNET
DOBRO - GUI…
DULCIMER
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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
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OUD
PARTITIONS …
PAS DE PART…
PERCU. ORCH…
PERCUSSION
PIANO
SAXOPHONE
SYNTHE
TROMBONE
TROMPETTE
TUBA
UKULELE
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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
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3876
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…
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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
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Musik Fabrik Music Publishing
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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…
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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 €
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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. 2
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Musik Fabrik Music Publishing
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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…
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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
35.74 €
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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
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
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
REVERIE - TRAUMEREI by ROBERT SCHUMANN for PIANO SOLO
Piano seul
Piano Solo - Level 3 - Digital Download SKU: A0.790119 Composed by Robert Schumann.…
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Piano Solo - Level 3 - Digital Download SKU: A0.790119 Composed by Robert Schumann. Arranged by Diamond S Music. 20th Century,Concert,Romantic Period,Wedding. Score. 5 pages. Diamond S Music #3636291. Published by Diamond S Music (A0.790119). REVERIE - TRAUMEREI by ROBERT SCHUMANN for PIANO SOLO. This Is Schumann’s beloved piece from his piano set called Kinderscenen (Scenes from Childhood). Reverie Träumerei is the 7th piece of the 13 short pieces. It is arguably Schumann’s most well known piano pieces. The piece is fairly simple and not too terribly difficult to master, but contains one of the most beautiful melodies written. Reverie & Träumerei is transited as Dreaming. Other similar arrangements and selections from DIAMOND S MUSIC available at:https://www.sheetmusicplus.com/publishers/diamond-s-music/6940
$3.99
3.66 €
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Piano seul
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Robert Schumann
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Diamond S Music
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REVERIE - TRAUMEREI by ROBERT SCHUMANN for PIANO SOLO
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Diamond S Music
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SheetMusicPlus
Kinderszenen, Op.15,Robert Schumann,Original Edition,For Piano Solo With Fingering
Piano seul
Piano Solo - Level 5 - Digital Download SKU: A0.1185357 Composed by Robert Schumann…
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Piano Solo - Level 5 - Digital Download SKU: A0.1185357 Composed by Robert Schumann. Arranged by poon. Classical. Score. 15 pages. Poon #785046. Published by poon (A0.1185357). Kinderszenen, Op.15,Robert Schumann,Original Edition,For Piano Solo With Fingering.
$2.99
2.74 €
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Piano seul
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Robert Schumann
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poon
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Kinderszenen, Op.15,Robert Schumann,Original Edition,For Piano Solo With Fingering
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poon
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SheetMusicPlus
Claude Debussy: Rodrigue et Chimène: Prélude à l'Acte 1 for solo piano, completed by Robert Orledge
Piano seul
Piano Solo - Level 3 - Digital Download SKU: A0.534658 Composed by Claude Debussy/R…
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Piano Solo - Level 3 - Digital Download SKU: A0.534658 Composed by Claude Debussy/Robert Orledge. 20th Century,Concert,Romantic Period,Standards. Score. 9 pages. Musik Fabrik Music Publishing #5732669. Published by Musik Fabrik Music Publishing (A0.534658). This is the piano solo reduction of Debussy’s Wagnerian opera Rodrigue et Chimène (1890–93) which has had quite a few orchestral performances. Here the work is completed by Robert Orledge with a new concert ending.
$10.35
9.5 €
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Piano seul
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Claude Debussy/Robert Orledge
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Claude Debussy: Rodrigue et Chimène: Prélude à l'Acte 1 for solo piano, completed by Robert Orledge
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Musik Fabrik Music Publishing
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SheetMusicPlus
Robert Schumann For Begginer Pianist
Piano seul
Piano Solo - Level 1 - Digital Download SKU: A0.889604 Composed by Robert Schumann.…
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Piano Solo - Level 1 - Digital Download SKU: A0.889604 Composed by Robert Schumann. Arranged by Nicholo Dela Pena. Children,Classical,Instructional,Romantic Period. Score. 6 pages. Nicholo Dela Pena #20895. Published by Nicholo Dela Pena (A0.889604). A begginer/easy arrangement of some of Robert Schumann compostion. Arranged in easy manner and alphabetized. The happy Farmer, Traumerei, Schlemerlied and Sonata movement to op 118 no 1.
$5.00
4.59 €
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Piano seul
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Robert Schumann
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Nicholo Dela Pena
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Robert Schumann For Begginer Pianist
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Nicholo Dela Pena
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SheetMusicPlus
Hacía ti va mi alma - Vals por Roberto Firpo
Piano seul
Piano Solo - Level 3 - Digital Download SKU: A0.958798 Composed by Roberto Firpo. A…
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Piano Solo - Level 3 - Digital Download SKU: A0.958798 Composed by Roberto Firpo. Arranged by Juan Carlos Cortés A. Concert,Standards,Traditional,World. Score. 4 pages. Juan Carlos Cortés Aguirre #6873153. Published by Juan Carlos Cortés Aguirre (A0.958798). Transcripción para piano solo por:JUAN CARLOS CORTÉS A.Basado en la grabación de la orquesta del propio compositor argentino.Solo piano transcription by:
$7.99
7.33 €
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Piano seul
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Roberto Firpo
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Juan Carlos Cortés A
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Hacía ti va mi alma - Vals por Roberto Firpo
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Juan Carlos Cortés Aguirre
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SheetMusicPlus
Lágrimas de sangre - Tango por Roberto Giménez
Piano seul
Composed by Roberto Giménez. Arranged by Juan Carlos Cortés A. Post-Roma…
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Composed by Roberto Giménez. Arranged by Juan Carlos Cortés A. Post-Romantic, Repertoire, South American, Recital, Old- time. Lead Sheet. 3 pages. Published by Publicado por Juan Carlos Cortés A,
$7.99
7.33 €
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Piano seul
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Roberto Giménez
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Juan Carlos Cortés A
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Lágrimas de sangre - Tango por Roberto Giménez
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Publicado por Juan Carlos Cortés A,
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SheetMusicPlus
Milonga del 38. Por Roberto Firpo
Piano seul
Composed by Roberto Firpo. Arranged by Juan Carlos Cortés A. Post-Romantic, Rep…
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Composed by Roberto Firpo. Arranged by Juan Carlos Cortés A. Post-Romantic, Repertoire, South American, Recital, Old- time. Lead Sheet. 2 pages. Published by Publicado por Juan Carlos Cortés A,
$7.99
7.33 €
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Piano seul
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Roberto Firpo
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Juan Carlos Cortés A
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Milonga del 38. Por Roberto Firpo
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Publicado por Juan Carlos Cortés A,
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SheetMusicPlus
Bela Bartok : Mikrokosmos, Volume III - N° 80 Hommage à Robert Schumann
Piano seul
Téléchargez la partition Piano Mikrokosmos, Volume III - N° 80 Hommage &…
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Téléchargez la partition Piano Mikrokosmos, Volume III - N° 80 Hommage à Robert Schumann de Bartók. Partition pour Piano seul -- Classique
2.99 €
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Piano seul
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Bela Bartok
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Mikrokosmos, Volume III
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Tomplay
Ae fond kiss - Robert Burns song for piano solo
Piano seul
Piano Solo - Level 3 - Digital Download SKU: A0.984309 Arranged by Karen E McAulay.…
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Piano Solo - Level 3 - Digital Download SKU: A0.984309 Arranged by Karen E McAulay. Celtic,Contemporary,Folk,Patriotic. Score. 3 pages. Dr Karen E McAulay #6246695. Published by Dr Karen E McAulay (A0.984309). Medium difficulty piano arrangement of popular song by Robert Burns. No song lyrics in this publication, but I've also published another version with all the words included. Check my listings on Sheet Music Press.
$12.00
11.01 €
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Piano seul
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Karen E McAulay
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Ae fond kiss - Robert Burns song for piano solo
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Dr Karen E McAulay
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SheetMusicPlus
Liszt - Sonata in B Minor - S.178 An Robert Schumann - For Piano Solo Original With Fingered
Piano seul
Piano Solo - Level 5 - Digital Download SKU: A0.1315386 Composed by Franz Liszt. Ar…
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Piano Solo - Level 5 - Digital Download SKU: A0.1315386 Composed by Franz Liszt. Arranged by poon. Classical. Score. 61 pages. Poon #904119. Published by poon (A0.1315386). Liszt - Sonata in B Minor - S.178 An Robert Schumann - For Piano Solo Original With Fingered.
$2.99
2.74 €
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Piano seul
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Franz Liszt
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poon
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Liszt - Sonata in B Minor - S.178 An Robert Schumann - For Piano Solo Original With Fingered
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poon
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SheetMusicPlus
Four Portraits of Robert Burns
Piano seul
Piano Solo - Level 5 - Digital Download SKU: A0.820242 Composed by Alan A Craig. Ce…
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Piano Solo - Level 5 - Digital Download SKU: A0.820242 Composed by Alan A Craig. Celtic,Standards. Score. 24 pages. Earnside Music #5712053. Published by Earnside Music (A0.820242). Four short thrilling character pieces for solo piano. The portraits are based on familiar traditional Scottish melodies associated with the songs of Robert Burns and explore a wide range of moods and techniques. They were originally created for the annual dinners of the Glasgow Haggis Club, one of the oldest Burns clubs in the world. The pieces can be used as a set, individually or in combinations as required. They are ideal as a showcase for a strong pianist at Burns Suppers, Scottish/Celtic events or solo recitals. They are also a very engaging resource for teaching advanced students. Duration c. 13'30
$9.95
9.13 €
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Piano seul
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Alan A Craig
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Four Portraits of Robert Burns
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Earnside Music
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SheetMusicPlus
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