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Saint Anne's

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Come, Come, Ye Saints

Piano seul

Piano Solo - Level 2 - Digital Download SKU: A0.741147 Composed by English Folk Son…(+)

$3.99 3.68 € #Piano seul #English Folk Song #Anne Britt #Come, Come, Ye Saints #Anne Britt #SheetMusicPlus

Mary's Lullaby

Piano seul

Composed by German folk tune. Arranged by Anne Britt. For Piano Solo. 21st Century,Christi…(+)

$3.99 3.68 € #Piano seul #German folk tune #Anne Britt #Mary's Lullaby #Anne Britt #SheetMusicPlus

Classical Interpretations Collection

Piano seul

Arranged by Brenda Dillon. Classical, Standards. Score. 20 pages. Dillon's Music …(+)

$7.50 6.91 € #Piano seul #Brenda Dillon #Classical Interpretations Collection # Dillon's Music Group #SheetMusicPlus

Liebestraum (Latin ballad remix)

Piano seul

Piano Solo - Level 2 - Digital Download SKU: A0.741191 Composed by Franz Liszt. Arr…(+)

$3.99 3.68 € #Piano seul #Franz Liszt #Anne Britt #Liebestraum #Anne Britt #SheetMusicPlus

Ballarini, Nathalie : Tous Saints + MP3

Piano seul

Depuis son plus jeune âge, Nathalie Ballarini s'initie au piano. Gr&ac…(+)

4.80 € #Piano seul #Ballarini, Nathalie #Tous Saints + MP3 #Note4Piano

Crossing the Waters

Piano seul

Piano Solo - Level 2 - Digital Download SKU: A0.741207 Composed by Anne Britt. Chil…(+)

$3.99 3.68 € #Piano seul #baptism's water I enter the road
That takes me through life, past dangers untold #Anne Britt #Crossing the Waters #Anne Britt #SheetMusicPlus

Jacques Leguerney: Fantaisie in g minor for piano
Piano seul

Piano Solo - Level 5 - Digital Download SKU: A0.533316 Composed by Jacques Leguerne…(+)

Piano Solo - Level 5 - Digital Download SKU: A0.533316 Composed by Jacques Leguerney. 20th Century,Concert,Standards. Score. 37 pages. Musik Fabrik Music Publishing #2343073. Published by Musik Fabrik Music Publishing (A0.533316). Fantaisie en sol mineur pour pianoI. GraveII. ScherzandoIII. Bien allantDate de composition : 17 septembre 1945In 1945 Leguerney finished composition of the Fantaisie en sol mineur pour piano, written in three movements. He felt an â??extraordinary enthusiasmâ? for this piece, which he felt represented a departure from the current writing style for piano. He said in an interview with Patrick Choukroun in 1994 that â??I wanted to show that one could write lyrically for the piano. The piano music of Francis Poulenc lacked strength.â? The work was immediately performed in a private concert at the home of the Countess Jean de Polignac by the French pianist Monique Haas (1909-1987) in December 1945. The fact that she waschosen to perform Leguerneyâ??s Fantaisie is a key to the style of this work which Leguerney felt emulated the expressive force of Cesar Franckâ??s works. Haas was a distinguished concert artist, especially known for her performances of 20th century music, with which she toured worldwide. French pianists of her generation tried to avoid the excess of the â??romanticâ? school and strove for cleanness and precision with a warm tone color reflecting the influence of Alfred Cortot.Leguerney remembers that both Poulenc and Henri Sauguet were present at this private concert, but he noted that they did not comment about his piece. He felt it was obvious that his Fantaisie was â??far from the habitual level of piano musicâ? being composed at that time. These post-war years were Leguerneyâ??s most productive period. In addition to the Fantaisie, hecomposed the Sonatine pour violin et piano, the Quatuor Ã cordes, and many fine songs including the cycle Sept PoÃ¨mes de FranÃ§ois Maynard. The 1940s finished with the composition of his first ballet, Endymion. The first public performance of the Fantaisie was given by StÃ©phane Petit-Jean in the CloÃ®tre Saint-Sauveur at the Festival of Aix-en-Provence on July 28, 1988 during a recital for Radio France that included songs of Leguerney interpreted by Nathalie Stutzmann. The concert was laterbroadcast as Une heure avec . . . Jacques Leguerney and also included the song cycles Sept PoÃ¨mes de FranÃ§ois Maynard, La Nuit and Le Carnaval.The work is dedicated to Jean Fonda, the stage name of Jean-Pierre Fournier. He was the son of the famed French cellist Pierre Fournier. Before the performance at Aix-en-Provence, Leguerney showed the score of the Fantaisie to Fonda, who encouraged him to have it performed. It is possible that the dedication was made at this time.
$23.95 22.08 € #Piano seul #Jacques Leguerney #Jacques Leguerney: Fantaisie in g minor for piano #Musik Fabrik Music Publishing #SheetMusicPlus

Ring Out, Wild Bells
Piano seul

Composed by Crawford Gates. Arranged by Anne Britt. For Piano Solo. 21st Century,Latter-Da…(+)

Composed by Crawford Gates. Arranged by Anne Britt. For Piano Solo. 21st Century,Latter-Day Saints,Christmas,New Year's. Intermediate. Sheet Music Single. 4 pages. Published by Anne Britt
$3.99 3.68 € #Piano seul #Crawford Gates #Anne Britt #Ring Out, Wild Bells #Anne Britt #SheetMusicPlus

Really Easy Piano Solos in the Key of C
Piano seul

Easy Piano - Level 1 - Digital Download SKU: A0.999939 Composed by Various. Arrange…(+)

Easy Piano - Level 1 - Digital Download SKU: A0.999939 Composed by Various. Arranged by S.R. Geer, ASCAP. Classical,Folk. Score. 19 pages. Suzanne Geer #6657113. Published by Suzanne Geer (A0.999939). Collection of 17 easy piano solos in the key of C for the beginning pianist, with large print music and simplified left hand notes. Companion book to: Really Easy Key of G Piano Solos; Really Easy Key of D Piano Solos and Really Easy Key of F Piano Solos. Contents of this book: Au Claire de la Lune, Merrily We Roll Along, Bile â€™Em Cabbage Down, Go Tell Aunt Rhodie, Ode to Joy, Lightly Row, This Old Man, London Bridge, Happy Birthday to You, Bingo, French Folk Song, Mary Had a Little Lamb, Twinkle Twinkle Little Star, Hot Cross Buns, Hallelujah Chorus Theme, When the Saints Go Marching In and the Can Can.
$6.99 6.44 € #Piano seul #Various #S #Really Easy Piano Solos in the Key of C #Suzanne Geer #SheetMusicPlus

Twelve Easy Songs for Children Easy Piano
Piano seul

Piano Solo - Level 1 - Digital Download SKU: A0.848591 Composed by Various. Arrange…(+)

Piano Solo - Level 1 - Digital Download SKU: A0.848591 Composed by Various. Arranged by arr. by Gene Roberson. Christmas,Concert,Spiritual,Standards. Score. 8 pages. Gene Roberson #3580595. Published by Gene Roberson (A0.848591). Here is a set of 12 Easy Piano songs for children. Can be played as a medley, Separately, mix and match, etc.Song titles include: Joyful Joyful We Adore Thee (Beethoven's 9th Symphony theme). Taps. When the Saints Go Marchin' In, Happy Birthday song, This Old Man, Twinkle Twinkle Little Star, Westminster Chimes, My Country Tis of Thee, Jesus Loves Me, I've Been Workin' on the Railroad, The First Noel, We Wish You a Merry Christmas and a BONUS arrangement of The Stars Spangled Banner. All songs have a simple left hand accompaniment (one note) to the right hand melody. Great for recitals and extra songs with lessons. This medley will also be available shortly for other instruments and can be played in tandem with the young piano student. The measures will match so groups can also play this together!
$4.95 4.56 € #Piano seul #Various #arr #Twelve Easy Songs for Children Easy Piano #Gene Roberson #SheetMusicPlus

20 Easy Christian Classics, BOOK 1 (Two Octave, Early-Intermediate Piano Solos)
Piano seul

Piano,Vocal,Voice - Level 2 - Digital Download SKU: A0.1386606 By Sharon Wilson. By…(+)

Piano,Vocal,Voice - Level 2 - Digital Download SKU: A0.1386606 By Sharon Wilson. By African-American Spiritual, Charles H. Gabriel, Daniel B. Towner, Fanny J. Crosby, Folk Song, Frederick M. Lehman, Henri F. Hemy, James M. Black, John Bacchus Dykes, Robert Lowry, Traditional Spiritual, William B. Bradbury, and William J. Kirkpatrick. Arranged by Sharon Wilson. Christian,Easter,Folk,Holiday,Spiritual. Score. 45 pages. Sharon Wilson #970488. Published by Sharon Wilson (A0.1386606). This is a collection of 20 hymns and spirituals arranged for early-intermediate piano players. Â These artistically crafted arrangements provide unique harmonies and accompaniment that creatively enhance the melody line. From elegant and peaceful to bright and spirited, these arrangements will provide plenty of satisfaction whether used during practice sessions or for personal entertainment and leisure. Lyrics are included for sing-along enjoyment.All notes in all 20 songs are within the two-octaves adjoining Middle C. The LEFT HAND plays from low C to Middle C. The RIGHT HAND plays from Middle C to high C.Â Keys Signatures: C, F, and G (and a few scattered accidentals)Time Signatures: 3/4, 4/4, and 6/8Ledger Line Notes: only Middle CNote and Rest durations: whole, half, quarter, and eighth, plus dotted notes of the same durationsThese arrangements are ideal for introducing classic Christian songs to piano students. They can be used as supplementary repertoire for students after they have mastered the basics of music notation and note reading. These arrangements are also great for sight-reading practice, especially if some of the songs are unfamiliar.Â These arrangements are perfect for small keyboards. Â They provide the opportunity for additional practice and enjoyment even when a full-sized keyboard is not available.Â Most of these songs are also available separately with accompanying preview pages and audio samples.Â Song titles included in this collection: Â Â All Creatures of Our God and KingDown by the RiversideEvery Time I Feel the SpiritFaith of Our FathersHaven of RestHere Is LoveHigher GroundHoly, Holy, HolyJesus, What a Friend for Sinners (HOLY MANNA)Lead Me to CalvaryMarvelous GraceOld Time ReligionPower in the BloodÂ Redeemed, How I Love to Proclaim ItSatisfiedSweet Hour of PrayerThe Love of GodThere Is a Balm in GileadWhen the Roll Is Called Up YonderWhen the Saints Go Marching InÂ Visit Sharon Wilson's website: https://www.SharonWilsonMusic.com/Subscribe to her YouTube Channel: https://youtube.com/@SharonWilsonMusic
$15.00 13.83 € #Piano seul #Sharon Wilson #Sharon Wilson #20 Easy Christian Classics, BOOK 1 #Sharon Wilson #SheetMusicPlus

20 Easy Christian Classics, BOOK 1 (Two Octave, Early-Intermediate Piano Solos)
Piano seul

Piano Solo - Level 2 - Digital Download SKU: A0.1377502 By Sharon Wilson. By Africa…(+)

Piano Solo - Level 2 - Digital Download SKU: A0.1377502 By Sharon Wilson. By African-American Spiritual, Charles H. Gabriel, Daniel B. Towner, Fanny J. Crosby, Folk Song, Frederick M. Lehman, Henri F. Hemy, James M.Black, John Bacchus Dykes, Robert Lowry, Traditional Spiritual, William B. Bradbury, and William J. Kirkpatrick. Arranged by Sharon Wilson. Christian,Easter,Folk,Holiday,Spiritual. Score. 45 pages. Sharon Wilson #962094. Published by Sharon Wilson (A0.1377502). This is a collection of 20 hymns and spirituals arranged for early-intermediate piano players. Â These artistically crafted arrangements provide unique harmonies and accompaniment that creatively enhance the melody line. From elegant and peaceful to bright and spirited, these arrangements will provide plenty of satisfaction whether used during practice sessions or for personal entertainment and leisure. Lyrics are included for sing-along enjoyment.All notes in all 20 songs are within the two-octaves adjoining Middle C. The LEFT HAND plays from low C to Middle C. The RIGHT HAND plays from Middle C to high C.Â Keys Signatures: C, F, and G (and a few scattered accidentals)Time Signatures: 3/4, 4/4, and 6/8Ledger Line Notes: only Middle CNote and Rest durations: whole, half, quarter, and eighth, plus dotted notes of the same durationsThese arrangements are ideal for introducing classic Christian songs to piano students. They can be used as supplementary repertoire for students after they have mastered the basics of music notation and note reading. These arrangements are also great for sight-reading practice, especially if some of the songs are unfamiliar.Â These arrangements are perfect for small keyboards. Â They provide the opportunity for additional practice and enjoyment even when a full-sized keyboard is not available.Â Most of these songs are also available separately with accompanying preview pages and audio samples.Â Song titles included in this collection: Â Â All Creatures of Our God and KingDown by the RiversideEvery Time I Feel the SpiritFaith of Our FathersHaven of RestHere Is LoveHigher GroundHoly, Holy, HolyJesus, What a Friend for Sinners (HOLY MANNA)Lead Me to CalvaryMarvelous GraceOld Time ReligionPower in the BloodÂ Redeemed, How I Love to Proclaim ItSatisfiedSweet Hour of PrayerThe Love of GodThere Is a Balm in GileadWhen the Roll Is Called Up YonderWhen the Saints Go Marching InVisit Sharon Wilson's website: https://www.SharonWilsonMusic.com/Subscribe to her YouTube Channel: https://youtube.com/@SharonWilsonMusic
$15.00 13.83 € #Piano seul #Sharon Wilson #Sharon Wilson #20 Easy Christian Classics, BOOK 1 #Sharon Wilson #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 From Robert Orledge's notes: 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). 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. 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. 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 From Robert Orledge's notes: 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). 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. 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. 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 € #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’ From Robert Orledge's notes: 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). 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. 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. 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’ From Robert Orledge's notes: 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). 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. 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. 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 € #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

Three Chromicons for piano solo
Piano seul

Piano Solo - Advanced Intermediate - Digital Download Composed by Joseph Dillon For…(+)

Piano Solo - Advanced Intermediate - Digital Download Composed by Joseph Dillon Ford. 21st Century, Contemporary Classical, Impressionistic. Score. 22 pages. Published by David Warin Solomons
The pdf file contains the original score (in letter format) followed by the somewhat larger copy with dedication by the composer and fingerings by Valentin Bogolubov who premiered the 3 Chromicons. The sound sample is the live performance. The Three Chromicons were premiered by pianist Valentin Bogolubov at the Société de concerts de St-Bruno, Saint-Bruno, Quebec, Canada, on 27 January 2007. Bogolubov's adventurous, technically demanding program, which also featured the works of Alexander Scriabin and Jean Chatillon, was accompanied by video animation of numerous works of art, four of which were created by the composer (among them, the Chromicon No. 3). Ford explains the significance of these unique scores: "In both my earliest chromicons, which I had begun to create by the 1980s, and in those I continue to make today, color is the element that links what is seen to what is heard. Unlike composer Alexander Scriabin, who may have been a true synaesthete as the result of a rare neurological condition enabling him actually to hear colors, my approach to color music has been by way of analogy. Although the tones in a musical scale and the colors of a prism both result from specific vibratory frequencies, scales can be replicated in various octaves while there is no comparable transposition observable in the case of the spectrum. However, the analogy between pitch and hue is implicit in the term "chromatic scale" (the Greek chrôma signifies "color"), and on that basis it is possible to equate the twelve tones of Western music with the hues on a twelvefold color wheel: red, red-orange, orange, yellow-orange, yellow, yellow-green, green, blue-green, blue, blue-violet, violet, and red-violet." "By placing the pitch names of the chromatic scale in a separate band around the periphery of a such color wheel, much like the numbers on the face of a clock, and by rotating the central color wheel, it is possible for any given pitch to be aligned and associated with any hue. Such an easily constructed device, which I have dubbed the "chromonomicon," is the key necessary to decipher the musical meaning of my chromicons. The chromicon can be thought of as a calligraphic text in which each discrete area of color is a separate letter." "Although there are literally millions of possible colors, all of them can be categorized as one of the twelve hues shown on the chromonomicon. Instead of being written from left to right or from right to left, the color-letters in a chromicon are arranged concentrically. The shapes of the individual letters, usually painted in watercolor and "illuminated" with metallic paints, colored pencils, and other media, are the result of each artist's creative meditation. The personal meaning of the chromiconic text as a whole emerges during and after this meditation, and may be expressed by a conventional title or accompanying commentary." "Now, anyone wishing to realize a chromicon is at liberty to follow any path—straight or curvilinear—from the centermost letter to the periphery, constructing a cantus (melody) by notating the musical pitches associated with each contiguous color-letter encountered along the way. The cantus thereafter serves as the structural basis of a new, freely composed work. The individual pitches in the cantus may be moved to any octave, and may be repeated any number of times before proceeding to the next pitch in the sequence. Customarily, once the final tone of the cantus is reached, the entire melody is heard in reverse (retrograde), resulting in a palindrome. That palindrome is itself subject to varied repetition, so that in formal terms, each realization of a chromicon amounts to a 'mirror' theme with variations." "Chromicon No. 3 travels even further back in collective human memory to the eighteenth century. For all its contemporary melodic and harmonic inflections, the style is pervasively contrapuntal, summoning to mind the polyphonic keyboard textures of Bach and Handel. It eschews the worldly strife and diversions mirrored in the first two chromicons, maintaining a dignified, highly stylized manner throughout, but with its unexpected final cadence on D, there seems to be a fleeting intimation of transcendence." Video of Chromicon III https://www.youtube.com/watch?v=VHMw-vzZlGEThe pdf file contains the original score (in letter format) followed by the somewhat larger copy with dedication by the composer and fingerings by Valentin Bogolubov who premiered the 3 Chromicons. The sound sample is the live performance. The Three Chromicons were premiered by pianist Valentin Bogolubov at the Société de concerts de St-Bruno, Saint-Bruno, Quebec, Canada, on 27 January 2007. Bogolubov's adventurous, technically demanding program, which also featured the works of Alexander Scriabin and Jean Chatillon, was accompanied by video animation of numerous works of art, four of which were created by the composer (among them, the Chromicon No. 3). Ford explains the significance of these unique scores: "In both my earliest chromicons, which I had begun to create by the 1980s, and in those I continue to make today, color is the element that links what is seen to what is heard. Unlike composer Alexander Scriabin, who may have been a true synaesthete as the result of a rare neurological condition enabling him actually to hear colors, my approach to color music has been by way of analogy. Although the tones in a musical scale and the colors of a prism both result from specific vibratory frequencies, scales can be replicated in various octaves while there is no comparable transposition observable in the case of the spectrum. However, the analogy between pitch and hue is implicit in the term "chromatic scale" (the Greek chrôma signifies "color"), and on that basis it is possible to equate the twelve tones of Western music with the hues on a twelvefold color wheel: red, red-orange, orange, yellow-orange, yellow, yellow-green, green, blue-green, blue, blue-violet, violet, and red-violet." "By placing the pitch names of the chromatic scale in a separate band around the periphery of a such color wheel, much like the numbers on the face of a clock, and by rotating the central color wheel, it is possible for any given pitch to be aligned and associated with any hue. Such an easily constructed device, which I have dubbed the "chromonomicon," is the key necessary to decipher the musical meaning of my chromicons. The chromicon can be thought of as a calligraphic text in which each discrete area of color is a separate letter." "Although there are literally millions of possible colors, all of them can be categorized as one of the twelve hues shown on the chromonomicon. Instead of being written from left to right or from right to left, the color-letters in a chromicon are arranged concentrically. The shapes of the individual letters, usually painted in watercolor and "illuminated" with metallic paints, colored pencils, and other media, are the result of each artist's creative meditation. The personal meaning of the chromiconic text as a whole emerges during and after this meditation, and may be expressed by a conventional title or accompanying commentary." "Now, anyone wishing to realize a chromicon is at liberty to follow any path—straight or curvilinear—from the centermost letter to the periphery, constructing a cantus (melody) by notating the musical pitches associated with each contiguous color-letter encountered along the way. The cantus thereafter serves as the structural basis of a new, freely composed work. The individual pitches in the cantus may be moved to any octave, and may be repeated any number of times before proceeding to the next pitch in the sequence. Customarily, once the final tone of the cantus is reached, the entire melody is heard in reverse (retrograde), resulting in a palindrome. That palindrome is itself subject to varied repetition, so that in formal terms, each realization of a chromicon amounts to a 'mirror' theme with variations." "Chromicon No. 3 travels even further back in collective human memory to the eighteenth century. For all its contemporary melodic and harmonic inflections, the style is pervasively contrapuntal, summoning to mind the polyphonic keyboard textures of Bach and Handel. It eschews the worldly strife and diversions mirrored in the first two chromicons, maintaining a dignified, highly stylized manner throughout, but with its unexpected final cadence on D, there seems to be a fleeting intimation of transcendence." Video of Chromicon III https://www.youtube.com/watch?v=VHMw-vzZlGE
$12.00 11.06 € #Piano seul #Joseph Dillon Ford #Three Chromicons for piano solo #David Warin Solomons #SheetMusicPlus

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