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Vous avez sélectionné:
Pelléas et Mélisande
Partitions à imprimer
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Pelleas et Mélisande Suite, Op. 80
Orchestre à Cordes
String Orchestra - Level 5 - Digital Download SKU: A0.1389128 Composed by Gabriel F…
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String Orchestra - Level 5 - Digital Download SKU: A0.1389128 Composed by Gabriel Faure. Arranged by Kenneth Atkins. 19th Century,Classical,Romantic Period. 90 pages. RēsFacta Editions #972651. Published by RēsFacta Editions (A0.1389128). Gabriel Fauré's Pelléas et Mélisande, Op. 80, is a suite of incidental music composed in 1898 for Maurice Maeterlinck's play of the same name. Fauré's composition is renowned for its delicate and evocative portrayal of the mysterious and tragic atmosphere of Maeterlinck's symbolist drama.The suite consists of four movements:  Prélude: The Prelude sets the mood for the entire piece, introducing listeners to the ethereal and melancholic world of Pelléas et Mélisande. Fauré's masterful orchestration creates an otherworldly atmosphere, with shimmering strings, delicate woodwinds, and haunting harmonies.  Fileuse: This movement, often translated as Spinning Song, depicts Mélisande at her spinning wheel. The music captures the hypnotic rhythm of spinning, with gentle, flowing melodies and a sense of introspection.  Sicilienne: The Sicilienne is perhaps the most famous movement of the suite. Its graceful melody, accompanied by a gentle dance-like rhythm, evokes a sense of nostalgia and longing. Fauré's use of the Sicilian rhythm lends the piece a timeless quality, transporting listeners to a world of beauty and sorrow.  Mort de Mélisande: The suite concludes with the Death of Mélisande. This movement is a powerful culmination of the emotional journey depicted throughout the music. Fauré's music reflects the tragic climax of Maeterlinck's play, with poignant melodies and rich harmonies conveying a sense of grief and finality.Overall, Fauré's Pelléas et Mélisande Op. 80 is a masterpiece of impressionistic music, capturing the emotional depth and beauty of Maeterlinck's timeless tale.
$65.00
59.69 €
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Orchestre à Cordes
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Gabriel Faure
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Kenneth Atkins
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Pelleas et Mélisande Suite, Op. 80
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RÄ“sFacta Editions
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SheetMusicPlus
Prélude from Pelleas et Mélisande, Op. 80
Orchestre à Cordes
String Orchestra - Level 4 - Digital Download SKU: A0.1390619 Composed by Gabriel F…
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String Orchestra - Level 4 - Digital Download SKU: A0.1390619 Composed by Gabriel Faure. Arranged by Kenneth Atkins. 19th Century,Classical,Romantic Period. 36 pages. RÄ?sFacta Editions #974179. Published by RÄ?sFacta Editions (A0.1390619). Gabriel Fauréâ??s â??Pelléas et Mélisande,â? Op. 80, is a suite of incidental music composed in 1898 for Maurice Maeterlinckâ??s play of the same name. Fauréâ??s composition is renowned for its delicate and evocative portrayal of the mysterious and tragic atmosphere of Maeterlinckâ??s symbolist drama. The Prélude sets the mood for the entire piece, creating and otherworldly atmosphere and introducing listeners to the ethereal and melancholic world of Pelléas et Mélisande.The full suite arranged for string orchestra is also available from the publisher, catalogue number 006CC012524AA.
$40.00
36.73 €
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Orchestre à Cordes
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Gabriel Faure
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Kenneth Atkins
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Prélude from Pelleas et Mélisande, Op. 80
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RÄ?sFacta Editions
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SheetMusicPlus
Fauré: Sicilienne for Piano Quartet
Piano Quatuor: piano, violon, alto, violoncelle
Piano Quartet - Level 4 - Digital Download SKU: A0.549058 Composed by Gabriel Faure…
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Piano Quartet - Level 4 - Digital Download SKU: A0.549058 Composed by Gabriel Faure. Arranged by James M. Guthrie, ASCAP. 20th Century,Holiday,Instructional,Standards. 21 pages. Jmsgu3 #3449745. Published by jmsgu3 (A0.549058). Gabriel Fauré: Sicilienne Op. 78. Nice recital encore piece. It is very moody with a light touch of impressionism and poignant mode mixture. This piece will add a surprising element to your concert and demonstrate the depth of your musical sensitivity. Significant Aspects of Faure's Sicilienne Gabriel Fauré's Sicilienne, Op. 78 is significant due to its history, influence, and musical characteristics. Historical Significance The piece was initially composed in 1893 as part of incidental music for a theatrical production that was later abandoned. Fauré reused the Sicilienne in 1898 when he wrote incidental music for the English translation of Maeterlinck's play Pelléas et Mélisande. This piece was later extracted and formed into an orchestral suite for concerts, known as the Pelléas et Mélisande Suite, Op. 80. Influence and Popularity Fauré's harmonic richness and melodic innovations in the Sicilienne influenced other composers. The Sicilienne is the most famous piece from the Pelléas et Mélisande Suite and is frequently played by significant orchestras today. Musical Characteristics The piece is known for its conversational style for both cello and piano, and it exhibits chromatic movement to evoke a Renaissance aesthetic with the Sicilienne dance. It is also more complex than the typical song in terms of chords and melody, with above-average scores in chord and melodic complexity. In conclusion, Faure's Sicilienne is significant due to its historical background, influence on other composers, and unique musical characteristics. Dance and Fabric The term Sicilienne is derived from the French word Sicilienne, which means Sicilian. It is associated with a dance called the Siciliana and a kind of rich poplin fabric. Musical Style Sicilienne refers to a musical style or genre often included as a movement within more significant pieces of music, starting in the Baroque period. It is associated with a pastoral mood and is often characterized by dotted rhythms that can distinguish it within the broader musical genre of the pastorale.
$43.95
40.36 €
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Piano Quatuor: piano, violon, alto, violoncelle
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Gabriel Faure
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James M
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Fauré: Sicilienne for Piano Quartet
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jmsgu3
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SheetMusicPlus
Fauré: Sicilienne for String Quartet
Quatuor à cordes: 2 violons, alto, violoncelle
String Quartet String Quartet - Level 4 - Digital Download SKU: A0.549061 Composed …
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String Quartet String Quartet - Level 4 - Digital Download SKU: A0.549061 Composed by Gabriel Faure. Arranged by James M. Guthrie, ASCAP. 20th Century,Holiday,Instructional,Standards. 19 pages. Jmsgu3 #3449751. Published by jmsgu3 (A0.549061). Gabriel Fauré: Sicilienne Op. 78. Nice recital encore piece. It is very moody with a light touch of impressionism and poignant mode mixture. This piece will add a surprising element to your concert and demonstrate the depth of your musical sensitivity.Significant Aspects of Faure's SicilienneGabriel Fauré's Sicilienne, Op. 78 is significant due to its history, influence, and musical characteristics.Historical SignificanceThe piece was initially composed in 1893 as part of incidental music for a theatrical production that was later abandoned. Fauré reused the Sicilienne in 1898 when he wrote incidental music for the English translation of Maeterlinck's play Pelléas et Mélisande. This piece was later extracted and formed into an orchestral suite for concerts, known as the Pelléas et Mélisande Suite, Op. 80.Influence and PopularityFauré's harmonic richness and melodic innovations in the Sicilienne exerted a powerful influence on other composers. The Sicilienne is the most famous piece from the Pelléas et Mélisande Suite and is frequently played by significant orchestras today.Musical CharacteristicsThe piece is known for its conversational style for both cello and piano, and it exhibits chromatic movement to evoke a Renaissance aesthetic with the Sicilienne dance. It is also more complex than the typical song in terms of chords and melody, with above-average scores in chord and melodic complexity. In conclusion, Faure's Sicilienne is significant due to its historical background, influence on other composers, and unique musical characteristics.Dance and FabricThe term Sicilienne is derived from the French word Sicilienne, which means Sicilian. It is associated with a dance called the Siciliana and a kind of rich poplin fabric. Musical Style Sicilienne refers to a musical style or genre often included as a movement within more significant pieces of music, starting in the Baroque period. It is associated with a pastoral mood and is often characterized by dotted rhythms that can distinguish it within the broader musical genre of the pastorale.Â
$48.95
44.95 €
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Quatuor à cordes: 2 violons, alto, violoncelle
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Gabriel Faure
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James M
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Fauré: Sicilienne for String Quartet
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jmsgu3
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SheetMusicPlus
Gabriel Fauré : Fantaisie for Flute and Piano op. 79 , Arranged for Flute and string Orchestra
Flûte traversière et Piano
Chamber Orchestra - Level 4 - Digital Download SKU: A0.772375 Composed by Gabriel F…
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Chamber Orchestra - Level 4 - Digital Download SKU: A0.772375 Composed by Gabriel Faure. Arranged by Amir Awad. Concert,Romantic Period,Standards. Score and parts. 49 pages. Amir Awad #3506351. Published by Amir Awad (A0.772375). This piece is originally composed by Gabriel Fauré for Flute and piano , and it is arranged for Flute and String OrchestraThis elegant solo has some beautiful melodic lines and is Impressionistic in form and harmony. An excellent teaching piece to emphasize phrasing and musicality, or a great programming choice when a lovely lyrical moment is needed!This famous work is dedicated to Paul Taffanel, often called the father of the modern French school of the flute. He was a busy man, active at the Opéra de Paris, in the Conservatoire concerts, as the leader of the Orchestre de la Société des Instruments à Vent, and, from 1893, as a professor at the Conservatoire. Fauré was appointed professor of composition there in 1896, and it was almost inevitable that Taffanel should ask him, in the spring of 1898, to write a sight-reading piece (the Morceau de lecture) and a concours composition for the July examinations. Fauré decided to pass the orchestration of his incidental music for Maeterlinck's play Pelléas et Mélisande, on which he had been feverishly working, to his pupil Charles Koechlin, so he could get to grips with the concours piece. The Fantaisie for flute and piano occupied him from the beginning of June until at least mid-July.The piece opens with an E-minor sicilienne of great charm, but soon gets to a C-major Allegro filled with lightning-fast pyrotechnics. Writing to Koechlin, Fauré complained:I am drowned in the Taffanel and plunged up to my neck in scales, arpeggios, and staccati! I have already perpetrated 104 bars of this irksome torture The first performance of the Fantaisie was given by the concours winner, Gaston Blanquart, on July 28, 1898.
$5.00
4.59 €
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Flûte traversière et Piano
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Gabriel Faure
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Amir Awad
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Gabriel Fauré : Fantaisie for Flute and Piano op. 79 , Arranged for Flute and string Orchestra
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Amir Awad
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SheetMusicPlus
Robert Orledge: A Night in the House of Usher for organ, based on themes from Debussy's "La Chute de
Orgue
Organ - Level 5 - Digital Download SKU: A0.534661 Composed by Claude Debussy/Robert…
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Organ - Level 5 - Digital Download SKU: A0.534661 Composed by Claude Debussy/Robert Orledge. 20th Century,Concert,Halloween. Score. 16 pages. Musik Fabrik Music Publishing #5739561. Published by Musik Fabrik Music Publishing (A0.534661). Over the years 1908–16, Debussy had produced a viable scenario for Usher on his third attempt. But when he came to making a complete draft of the music, he seems to have lost interest during Roderick Usher’s long monologue, even though he was setting his own text. As in No-ja-li he jumped to the next passage that interested him, in this case the exciting final melodrama and the collapse of the Usher house itself.In the process of completing the missing half of the score, I discovered that by reusing Debussy’s material for similar psychological situations across the opera, and by metamorphosing existing ideas (as Debussy does with Mélisande’s theme in his opera Pelléas et Mélisande), the only things I really needed to add were linking material and any passages where fast music was required. So the ‘nightmare scherzo’, and Lady Madeline’s escape from her coffin and her final bloody revenge on her brother are all mine, but most of the rest is existing Debussy in changing contexts (in which the Russian technique of ‘changing backgrounds’, both harmonic and textural, proved extremely useful, as it did to Debussy in his Prélude à l’après-midi d’un faune). Eventually, both my completed ballet No-ja-li and the House of Usher were successfully premiered in 2006 and the latter soon began to find its way into the established repertoire in Europe and the US. To further support this, I transcribed some of the highlights of Debussy’s score as A Night in the House of Usher for organ, and subsequently piano—with a focus on Scene 2 and the final, horrific and maca-bre melodrama. This climaxes in the double deaths of Roderick Usher and his Sister Madeline, together with the disintegration of the ill-fated House of Usher into the stagnant lake-all beneath a blood-red moon.In this form it was first performed by Ian Buckle in the Howard Assembly Rooms, Leeds in 2010.
$12.95
11.89 €
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Orgue
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Claude Debussy/Robert Orledge
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Robert Orledge: A Night in the House of Usher for organ, based on themes from Debussy's "La Chute de
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Musik Fabrik Music Publishing
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SheetMusicPlus
Fantaisie Op. 79 for Flute and Strings
Large Ensemble Cello,Double Bass,Flute,Viola,Violin - Level 4 - Digital Download SKU: A…
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Large Ensemble Cello,Double Bass,Flute,Viola,Violin - Level 4 - Digital Download SKU: A0.1203650 Composed by Gabriel Faure. Arranged by Andrew Middleton. Classical,Romantic Period. Score and parts. 41 pages. Andrew Middleton #802225. Published by Andrew Middleton (A0.1203650). Fantaisie Op. 79 was originally composed for flute and piano by French composer Gabriel Faure. The Fantaisie was commissioned by and dedicated to Paul Taffanel in 1898 for the Concours de flute, a flute competition held by the Conservatoire de Paris. Although performed as one single movement, Fantaisie can clear be divided into individual sections. A slow opening section that uses ideas from Fauré's incidental music to Pelléas et Mélisande, Op. 80, written at the same time, followed by a faster second section. Faure stated a performance of the piece should last for no longer than 4 minutes, 30 second. This arrangement for flute and strings stays true to Faure’s original score for flute and piano. Adapted flutes parts for clarinet and bassoon are also available too. For more updates on new arrangements follow my Facebook page on https://www.facebook.com/a.middletonmusic/ Or subscribe to my Youtube page at https://www.youtube.com/channel/UCClIYqddA2wMpdaxSq3BKEw?view_as=subscriber.
$19.99
18.36 €
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Gabriel Faure
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Andrew Middleton
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Fantaisie Op. 79 for Flute and Strings
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Andrew Middleton
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SheetMusicPlus
Sicilienne, Op. 78
Instrumental Duet Instrumental Duet,Piano - Level 3 - Digital Download SKU: A0.930980
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Instrumental Duet Instrumental Duet,Piano - Level 3 - Digital Download SKU: A0.930980 Composed by Gabriel Faure. Arranged by Gregory Millar. 20th Century,Concert. Score and parts. 9 pages. G-clef Music #5721545. Published by G-clef Music (A0.930980). Gabriel Fauré's much-loved Sicilienne, Op. 78, arranged for piano duet (one piano, four hands) by Gregory Millar.This is a transcription of the complete orchestral version of the piece that Fauré produced around 1909 and included in his suite of incidental music from the play Pelléas et Mélisande.Suitable for intermediate players. No major technical challenges are present but there are a few intricacies to work out between the inside hands (the two pianists must be very comfortable with each other!)Published by G-Clef Music Editions, for SMP Press.Approx duration: 4 minutes.Performing Rights Organizations: SOCAN, ASCAP.
$6.99
6.42 €
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Gabriel Faure
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Gregory Millar
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Sicilienne, Op. 78
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G-clef Music
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SheetMusicPlus
Sicilienne
Quatuor à cordes: 2 violons, alto, violoncelle
String Quartet String Quartet - Level 3 - Digital Download SKU: A0.1333709 Composed…
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String Quartet String Quartet - Level 3 - Digital Download SKU: A0.1333709 Composed by Gabriel Fauré (1845-1924). Arranged by Stephen Levintow. 19th Century,Romantic Period. 10 pages. Cypress Publishing #920006. Published by Cypress Publishing (A0.1333709). This familiar, bittersweet melody, from incidental music to Pelléas et Mélisande, is quintessential Fauré. His restrained orchestration makes it particularly suitable when adapted for quartet.CYPRESS PUBLISHING is pleased to be the imprint for arrangements for string ensemble by Stephen Levintow. He is a free lance professional violist and violinist specializing in chamber music, who began making string quartet and trio arrangements for wedding, party and corporate events, to expand the repertory or to improve on existing versions. Selections include unusual pieces by both familiar and lesser-known composers, plus standard classical and popular favorites. The goal is to produce high-quality, musically satisfying arrangements faithful to the composer’s original material, yet sight-readable in most cases by working professionals or intermediate to advanced students. The full range of normal string technique is employed, while avoiding unnecessary technical complexity. Melodic material is distributed throughout the four voices where appropriate, to maintain listener and performer interest. All parts and scores are set in Sibelius© software format, with careful attention to legibility and page turns.
$4.00
3.67 €
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Quatuor à cordes: 2 violons, alto, violoncelle
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Gabriel Fauré
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Stephen Levintow
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Sicilienne
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Cypress Publishing
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SheetMusicPlus
Pelléas et Mélisande
Orchestre
Orchestra - Digital Download SKU: S9.Q50369 Suite. Composed by Gabriel Faure…
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Orchestra - Digital Download SKU: S9.Q50369 Suite. Composed by Gabriel Faure. This edition: study score. Ernst Eulenburg - Orchestra - Score. Eulenburg Miniature Scores. Downloadable, Study score. Op. 80. Ernst Eulenburg & Co. GmbH - Digital #Q50369. Published by Ernst Eulenburg & Co. GmbH - Digital (S9.Q50369). With more than 1,200 titles from the orchestral and choral repertoire, from chamber music and musical theatre, Edition Eulenburg is the world's largest series of scores, covering large part of music history from the Baroque to the Classical era and looking back on a long tradition.
$12.99
11.93 €
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Orchestre
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Gabriel Faure
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Pelléas et Mélisande
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Ernst Eulenburg & Co. GmbH - Digital
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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.
$38.95
35.77 €
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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.
$38.95
35.77 €
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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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