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Vous avez sélectionné:
LA SUITE DU PRINTEMPS
Partitions à imprimer
21 partitions trouvées
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1
L'ÉQUINOXE DE PRINTEMPS - La suite du printemps
Harpe
Harp - Level 4 - Digital Download SKU: A0.971019 Composed by Francois Couture. 20th…
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Harp - Level 4 - Digital Download SKU: A0.971019 Composed by Francois Couture. 20th Century,Contemporary. Score. 3 pages. Francois Couture #5741051. Published by Francois Couture (A0.971019). Harpe solo / Solo Harp.
$2.99
2.74 €
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Harpe
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Francois Couture
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L'ÉQUINOXE DE PRINTEMPS - La suite du printemps
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Francois Couture
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SheetMusicPlus
UNE CHENILLE SUR LA BRANCHE - La suite du printemps
Harpe
Harp - Level 4 - Digital Download SKU: A0.971021 Composed by Francois Couture. 20th…
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Harp - Level 4 - Digital Download SKU: A0.971021 Composed by Francois Couture. 20th Century,Contemporary. Score. 3 pages. Francois Couture #5743421. Published by Francois Couture (A0.971021). Harpe solo / Solo Harp.
$2.99
2.74 €
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Harpe
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Francois Couture
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UNE CHENILLE SUR LA BRANCHE - La suite du printemps
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Francois Couture
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SheetMusicPlus
LA VALSE DE MAI - La suite du printemps
Harpe
Harp - Level 4 - Digital Download SKU: A0.971025 Composed by Francois Couture. 20th…
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Harp - Level 4 - Digital Download SKU: A0.971025 Composed by Francois Couture. 20th Century,Contemporary. Score. 4 pages. Francois Couture #5775809. Published by Francois Couture (A0.971025). Harpe solo / Solo Harp.
$2.99
2.74 €
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Harpe
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Francois Couture
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LA VALSE DE MAI - La suite du printemps
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Francois Couture
#
SheetMusicPlus
L'HIRONDELLE - La suite du printemps
Harpe
Harp - Level 4 - Digital Download SKU: A0.971017 Composed by Francois Couture. 20th…
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Harp - Level 4 - Digital Download SKU: A0.971017 Composed by Francois Couture. 20th Century,Contemporary. Score. 4 pages. Francois Couture #5733949. Published by Francois Couture (A0.971017). Harpe solo / Solo Harpe.
$2.99
2.74 €
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Harpe
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Francois Couture
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L'HIRONDELLE - La suite du printemps
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Francois Couture
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SheetMusicPlus
UN MATIN DE MAI - La suite du printemps
Harpe
Harp - Level 4 - Digital Download SKU: A0.971018 Composed by Francois Couture. 20th…
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Harp - Level 4 - Digital Download SKU: A0.971018 Composed by Francois Couture. 20th Century,Contemporary. Score. 3 pages. Francois Couture #5735909. Published by Francois Couture (A0.971018). Harpe solo / Solo Harp.
$2.99
2.74 €
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Harpe
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Francois Couture
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UN MATIN DE MAI - La suite du printemps
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Francois Couture
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SheetMusicPlus
L'ALOUETTE RADIEUSE - La suite du printemps
Harpe
Harp - Level 4 - Digital Download SKU: A0.971020 Composed by Francois Couture. 20th…
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Harp - Level 4 - Digital Download SKU: A0.971020 Composed by Francois Couture. 20th Century,Contemporary. Score. 5 pages. Francois Couture #5741053. Published by Francois Couture (A0.971020). Harpe solo / Solo Harp.
$2.99
2.74 €
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Harpe
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Francois Couture
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L'ALOUETTE RADIEUSE - La suite du printemps
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Francois Couture
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SheetMusicPlus
BROUILLASSE - La suite du printemps
Harpe
Harp - Digital Download SKU: A0.971015 Composed by Francois Couture. 20th Century,C…
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Harp - Digital Download SKU: A0.971015 Composed by Francois Couture. 20th Century,Contemporary. Score. 3 pages. Francois Couture #5727871. Published by Francois Couture (A0.971015). Harpe solo / Solo Harp.
$2.99
2.74 €
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Harpe
#
Francois Couture
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BROUILLASSE - La suite du printemps
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Francois Couture
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SheetMusicPlus
LA SUITE DU PRINTEMPS
Harpe
Harp - Level 4 - Digital Download SKU: A0.971043 Composed by Francois Couture. 20th…
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Harp - Level 4 - Digital Download SKU: A0.971043 Composed by Francois Couture. 20th Century,Contemporary. Score. 57 pages. Francois Couture #6015993. Published by Francois Couture (A0.971043). 16 compositions for Harp solo.
$18.79
17.23 €
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Harpe
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Francois Couture
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LA SUITE DU PRINTEMPS
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Francois Couture
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SheetMusicPlus
UNE TULIPE JAUNE - La suite du printemps
Harpe
Harp - Level 4 - Digital Download SKU: A0.971022 Composed by Francois Couture. 20th…
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Harp - Level 4 - Digital Download SKU: A0.971022 Composed by Francois Couture. 20th Century,Contemporary. Score. 3 pages. Francois Couture #5743425. Published by Francois Couture (A0.971022). Harpe solo / Solo Harp.
$2.99
2.74 €
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Harpe
#
Francois Couture
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UNE TULIPE JAUNE - La suite du printemps
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Francois Couture
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SheetMusicPlus
UN MERLE COQUIN - La suite du printemps
Harpe
Harp - Level 4 - Digital Download SKU: A0.971014 Composed by Francois Couture. 20th…
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Harp - Level 4 - Digital Download SKU: A0.971014 Composed by Francois Couture. 20th Century,Contemporary. Score. 4 pages. Francois Couture #5726141. Published by Francois Couture (A0.971014). Harpe solo / Solo Harp.
$2.99
2.74 €
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Harpe
#
Francois Couture
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UN MERLE COQUIN - La suite du printemps
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Francois Couture
#
SheetMusicPlus
GIGUE DE BULBES - La suite du printemps
Harpe
Harp - Level 4 - Digital Download SKU: A0.971012 Composed by Francois Couture. 20th…
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Harp - Level 4 - Digital Download SKU: A0.971012 Composed by Francois Couture. 20th Century,Contemporary. Score. 4 pages. Francois Couture #5721149. Published by Francois Couture (A0.971012). Harpe solo / Solo Harp.
$2.99
2.74 €
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Harpe
#
Francois Couture
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GIGUE DE BULBES - La suite du printemps
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Francois Couture
#
SheetMusicPlus
UNE FLEUR PRINTANIÈRE - La suite du printemps
Instrumental Duet Harp,Instrumental Duet,Piano - Level 4 - Digital Download SKU: A0.971…
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Instrumental Duet Harp,Instrumental Duet,Piano - Level 4 - Digital Download SKU: A0.971008 Composed by Francois Couture. 20th Century,Contemporary,New Age. Score and parts. 4 pages. Francois Couture #5337043. Published by Francois Couture (A0.971008). Harpe Solo.
$2.99
2.74 €
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Francois Couture
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UNE FLEUR PRINTANIÈRE - La suite du printemps
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Francois Couture
#
SheetMusicPlus
VALSE DES BOURGEONS - La suite du printemps
Harpe
Harp - Level 4 - Digital Download SKU: A0.971011 Composed by Francois Couture. 20th…
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Harp - Level 4 - Digital Download SKU: A0.971011 Composed by Francois Couture. 20th Century,Contemporary. Score. 4 pages. Francois Couture #5718963. Published by Francois Couture (A0.971011). Harpe solo/ Solo Harp.
$2.99
2.74 €
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Harpe
#
Francois Couture
#
VALSE DES BOURGEONS - La suite du printemps
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Francois Couture
#
SheetMusicPlus
APRÈS L'HIVER - La suite du printemps
Harpe
Harp - Level 4 - Digital Download SKU: A0.971016 Composed by Francois Couture. 20th…
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Harp - Level 4 - Digital Download SKU: A0.971016 Composed by Francois Couture. 20th Century,Contemporary. Score. 3 pages. Francois Couture #5730967. Published by Francois Couture (A0.971016). Harpe solo / Solo Harp.
$2.99
2.74 €
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Harpe
#
Francois Couture
#
APRÈS L'HIVER - La suite du printemps
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Francois Couture
#
SheetMusicPlus
UNE JOURNÉE D'AVRIL - La suite du printemps
Instrumental Duet Harp,Instrumental Duet,Piano - Level 4 - Digital Download SKU: A0.971…
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Instrumental Duet Harp,Instrumental Duet,Piano - Level 4 - Digital Download SKU: A0.971009 Composed by Francois Couture. 20th Century,Contemporary. Score and parts. 4 pages. Francois Couture #5376123. Published by Francois Couture (A0.971009). Harpe solo.
$2.99
2.74 €
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Francois Couture
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UNE JOURNÉE D'AVRIL - La suite du printemps
#
Francois Couture
#
SheetMusicPlus
EAU D'ÉRABLE - La suite du printemps
Harpe
Harp - Digital Download SKU: A0.971013 Composed by Francois Couture. 20th Century,C…
(+)
Harp - Digital Download SKU: A0.971013 Composed by Francois Couture. 20th Century,Contemporary. Score. 4 pages. Francois Couture #5721151. Published by Francois Couture (A0.971013). Harpe solo / Solo Harp.
$2.99
2.74 €
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Harpe
#
Francois Couture
#
EAU D'ÉRABLE - La suite du printemps
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Francois Couture
#
SheetMusicPlus
BAGATELLE DU PRINTEMPS - La suite du printemps
Harpe
Harp - Level 3 - Digital Download SKU: A0.971010 Composed by Francois Couture. 20th…
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Harp - Level 3 - Digital Download SKU: A0.971010 Composed by Francois Couture. 20th Century,Contemporary. Score. 2 pages. Francois Couture #5718867. Published by Francois Couture (A0.971010). Harpe solo / Solo Harp.
$2.99
2.74 €
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Harpe
#
Francois Couture
#
BAGATELLE DU PRINTEMPS - La suite du printemps
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Francois Couture
#
SheetMusicPlus
Schumann, Robert : 3 Piècettes Opus 68 : n°2 `Marche militaire` - n°5 `Le petit morceau` - n°10 `Le gai laboureur`
Piano seul
La collection ANACROUSE offre aux pianistes novices et confirmés un large choix d 
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La collection ANACROUSE offre aux pianistes novices et confirmés un large choix d’œuvres classiques, allant de la Renaissance à l’époque moderne.<br><br>Proposer tout à la fois des « incontournables » du répertoire classique et des pièces de compositeurs parfois oubliés, toutes d’une valeur pédagogique indéniable, tels sont les objectifs que nous nous sommes fixés. Chaque pièce, vendue à l’unité, a fait l’objet d’un travail éditorial attentif, tant sur le plan de l’établissement du texte musical que de sa gravure, afin de garantir aux musiciens les conditions indispensables aux plaisirs tirés du commerce fréquent de ces Å“uvres.<br><br>Les partitions sont proposées sous la forme d’ouvrages traditionnels (feuillets papier), et disponibles également par téléchargement.<br><br><br><br>En 1848, Schumann écrit quelques piècettes pour l’anniversaire des sept ans de sa fille Marie. Puis au fur et à mesure, en quelques semaines, il se met à composer d’autres petits morceaux. Finalement il rassemble dans un groupe éclectique les petites pièces faciles puis les complète par la suite avec d’autres, de niveau tout à fait élémentaire, s’adressant aux petits doigts novices des pianistes novices. Schumann a réuni toutes ces Å“uvres dans un recueil appelé L’album pour la jeunesse, le Weihnachtsalbum en allemand. Il se compose en tout de quarante-trois piècettes qui ont été publiées sous l’opus 68 en 1848. La première parution est éditée avec une couverture faite par l’illustrateur connu de contes de fées, Ludwig Richter. Ce recueil devient populaire très rapidement près du jeune public, car il contient un macrocosme enfantin universel à tous les peuples. Son succès a permis d’éveiller des milliers d’enfants à la musique à travers le monde. Chaque morceau porte un titre attirant mais dissimule un petit problème technique. Schumann aborde cet exercice avec un regard pur et avec une certaine fraîcheur très adaptée à ces jeunes destinataires. L’album est réparti en deux divisions. La première moitié s’adressant aux petits se compose des dix- neuf premières pièces. La deuxième moitié « pour les plus grand », comportent des pièces un peu plus longues et façonnées. Schumann cherche la simplicité dans ses Å“uvres par l’utilisation des tonalités les plus fréquentes, jusqu’à proposer quatre dièses au maximum, avec le mi majeur et par la brièveté des pièces, les plus courtes sont en quatre lignes et les plus longues sont en trois pages. Nous avons sélectionné trois piècettes adressées aux petits. Elles sont de style différents et présentent des difficultés techniques variées et accessibles. Le n°2 Marche militaire est d’une nature joyeuse, sur un tempo dynamique agrémenté de staccato. Elle emprunte, sur un autre rythme, la courbe mélodique du Scherzo de la sonate pour violon et piano opus 24 surnommé la sonate du printemps de Beethoven. Le n°5 intitulé Le petit morceau s’apparente à la pièce N°1, Mélodie, dans le traitement mélodique et harmonique. Cette piècette présente une mélodie accompagnée sur une tonalité de do majeur. Le n°10 intitulé le gai laboureur est le morceau le plus connu du recueil. Il acquit une très grande popularité après sa publication. Sa mélodie en fa majeur chantée à la main gauche, dans les graves du piano, est d’une fraîcheur inouïe qui se passe de tout commentaire. Cet album pour la jeunesse de Schumann n’est pas réservé uniquement aux petits, mais peut susciter dans l’esprit des plus grands des sentiments de jeunesse et des plaisirs enfantins. Partition + Biographie + Notes sur l'oeuvre
3.30 €
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Piano seul
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Schumann, Robert
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3 Piècettes Opus 68
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Note4Piano
Debussy Inconnu: Album of works for the piano by Claude Debussy completed by Robert Orledge, Vol. 2
Piano seul
Piano Solo - Advanced Intermediate - Digital Download Composed by Claude Debussy/Ro…
(+)
Piano Solo - Advanced Intermediate - Digital Download Composed by Claude Debussy/Robert Orledge. 20th Century, Impressionistic, Repertoire. Score. 76 pages. Published by Musik Fabrik Music Publishing
Contains Le Roi Lear: Prélude,Première Fanfare, and La Mort de Cordélia,Toomai des éléphants, Rodrigue et Chimène: Prélude à l’acte 1p. Le Martyre de Saint Sébastien: La Passion , and No-ja-li ou Le Palais du Silence<br> <br> From Robert Orledge's notes:<br> <br> My interest in the wonderful music of Claude Debussy began in the 1980s when I researched and published a book with Cambridge University Press entitled Debussy and the Theatre. During the course of my studies in Paris, I was amazed to discover that Debussy planned over 50 theatrical works but only finished two of these entirely by himself (the opera Pelléas et Mélisande in 1893–1902 and the ballet Jeux for Diaghilev’s Ballets Russes in 1912–13). Of the rest, many were never started musically (like Siddartha and Orphée-roi with the Oriental scholar Victor Segalen, 1907); some had a few tantalising sketches (like the Edgar Allan Poe opera Le Diable dans le beffroi, 1902–03); some were half-finished (like his other Poe opera La Chute de la Maison Usher, 1908–17); while others were musically complete but had their orchestrations completed by other composers (like Khamma, by Charles Koechlin, 1912–13; or Le Martyre de Saint Sébastien and La Boîte à joujoux by his ‘angel of corrections’ [‘l’ange des Corrections’] André Caplet in 1911 and 1919 respectively).<br> <br> For it has to be admitted that what some scholars call Debussy’s ‘compulsive achievement’ could equally well be viewed as laziness, especially as far as the minute detail required for calligraphing his orchestral scores was concerned. It was as if creating the music itself was of greater importance than controlling its final sound, even if Debussy was an imaginative orchestrator when he found the time and energy to do it. It also seems true that Debussy also preferred inventing ideas to turning them into complete pieces. However, despite the lack of detail in many of his sketches (missing clefs, key signatures, dynamics, phrasing, etc.) the notes themselves are surprisingly accurate, whether or not they can be compared with a later draft. Thus, a large number of sketches exist for his Chinese ballet No-ja-li ou Le Palais du Silence and it is not too difficult to see which parts of Georges de Feure’s 1913 scenario (see below) inspired which ideas. But Debussy hardly made any attempt to join them together after the first few bars.<br> <br> It was usually up to his publisher, Jacques Durand, to find solutions when Debussy risked a breach of contract. Debussy was supposed to supervise the orchestrations completed by others, but this supervision was usually very light and restricted to quiet, sensitive moments in which problems were easier to spot. Far from jealously guarding every one of his created notes, as Ravel did, Debussy once even went as far as to ask Koechlin to ‘write a ballet for him that he would sign’ on 26 March 1914 when he was hard-pressed to fulfil his lucrative contract for No-ja-li with André Charlot at the Alhambra Theatre in London. In the end, Debussy (through Durand) sent Charlot the symphonic suite Printemps instead, whose orchestration had been completed by Henri Busser in the Spring of 1912.<br> <br> So, when I was offered early retirement as Professor of Music at Liverpool University in 2004, I seized the opportunity it would give me to spend time trying to reconstruct some of Debussy’s lost potential masterpieces from his existing sketches and drafts—then orchestrating them in Debussy’s style when this was appropriate. I had begun this mission in 2001 with the most promising project, the missing parts of Scene 2 of La Chute de la Maison Usher and the sheer joy it gave me at every stage persuaded me to tackle other projects, especially when Debussy experts were unable to identify exactly where I took over from Debussy (and vice versa) in Usher.Contains Le Roi Lear: Prélude,Première Fanfare, and La Mort de Cordélia,Toomai des éléphants, Rodrigue et Chimène: Prélude à l’acte 1p. Le Martyre de Saint Sébastien: La Passion , and No-ja-li ou Le Palais du Silence<br> <br> From Robert Orledge's notes:<br> <br> My interest in the wonderful music of Claude Debussy began in the 1980s when I researched and published a book with Cambridge University Press entitled Debussy and the Theatre. During the course of my studies in Paris, I was amazed to discover that Debussy planned over 50 theatrical works but only finished two of these entirely by himself (the opera Pelléas et Mélisande in 1893–1902 and the ballet Jeux for Diaghilev’s Ballets Russes in 1912–13). Of the rest, many were never started musically (like Siddartha and Orphée-roi with the Oriental scholar Victor Segalen, 1907); some had a few tantalising sketches (like the Edgar Allan Poe opera Le Diable dans le beffroi, 1902–03); some were half-finished (like his other Poe opera La Chute de la Maison Usher, 1908–17); while others were musically complete but had their orchestrations completed by other composers (like Khamma, by Charles Koechlin, 1912–13; or Le Martyre de Saint Sébastien and La Boîte à joujoux by his ‘angel of corrections’ [‘l’ange des Corrections’] André Caplet in 1911 and 1919 respectively).<br> <br> For it has to be admitted that what some scholars call Debussy’s ‘compulsive achievement’ could equally well be viewed as laziness, especially as far as the minute detail required for calligraphing his orchestral scores was concerned. It was as if creating the music itself was of greater importance than controlling its final sound, even if Debussy was an imaginative orchestrator when he found the time and energy to do it. It also seems true that Debussy also preferred inventing ideas to turning them into complete pieces. However, despite the lack of detail in many of his sketches (missing clefs, key signatures, dynamics, phrasing, etc.) the notes themselves are surprisingly accurate, whether or not they can be compared with a later draft. Thus, a large number of sketches exist for his Chinese ballet No-ja-li ou Le Palais du Silence and it is not too difficult to see which parts of Georges de Feure’s 1913 scenario (see below) inspired which ideas. But Debussy hardly made any attempt to join them together after the first few bars.<br> <br> It was usually up to his publisher, Jacques Durand, to find solutions when Debussy risked a breach of contract. Debussy was supposed to supervise the orchestrations completed by others, but this supervision was usually very light and restricted to quiet, sensitive moments in which problems were easier to spot. Far from jealously guarding every one of his created notes, as Ravel did, Debussy once even went as far as to ask Koechlin to ‘write a ballet for him that he would sign’ on 26 March 1914 when he was hard-pressed to fulfil his lucrative contract for No-ja-li with André Charlot at the Alhambra Theatre in London. In the end, Debussy (through Durand) sent Charlot the symphonic suite Printemps instead, whose orchestration had been completed by Henri Busser in the Spring of 1912.<br> <br> So, when I was offered early retirement as Professor of Music at Liverpool University in 2004, I seized the opportunity it would give me to spend time trying to reconstruct some of Debussy’s lost potential masterpieces from his existing sketches and drafts—then orchestrating them in Debussy’s style when this was appropriate. I had begun this mission in 2001 with the most promising project, the missing parts of Scene 2 of La Chute de la Maison Usher and the sheer joy it gave me at every stage persuaded me to tackle other projects, especially when Debussy experts were unable to identify exactly where I took over from Debussy (and vice versa) in Usher.
$38.95
35.72 €
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Piano seul
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Claude Debussy/Robert Orledge
#
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.
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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
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