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Vous avez sélectionné:
Robert de Visée
Partitions à imprimer
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Robert de Visée Baroque Lute Suites Volume One for Low G Ukulele
Ukulele
Ukulele - Level 3 - Digital Download SKU: A0.1126579 By Michael P Walker. By Robert…
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Ukulele - Level 3 - Digital Download SKU: A0.1126579 By Michael P Walker. By Robert de Visee. Arranged by Michael P Walker. Baroque,Classical. Score. 63 pages. Michael P Walker #727229. Published by Michael P Walker (A0.1126579). Who would have thought you could play classical music on a ukulele? But you can! Here are Baroque Lute pieces by Robert de Visée arranged in tablature and modern notation for Low G ukulele. Robert de Visée, (1655 – 1732/33) In 1686 Robert de Visée was one of King Louis XIV's favorite musicians performing regularly in the private royal chambers, while also being recognized for his musicianship. De Visée composed mostly for the guitar, theorbo, and lute, and is arguably one of the most important French composers of Baroque guitar music. Recommended for Intermediate to Advanced Performers.
$19.95
18.24 €
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Ukulele
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Michael P Walker
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Michael P Walker
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Robert de Visée Baroque Lute Suites Volume One for Low G Ukulele
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Michael P Walker
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SheetMusicPlus
Robert de Visée Baroque Lute Suites Volume Three for Low G Ukulele
Ukulele
Ukulele - Level 3 - Digital Download SKU: A0.1126589 By Michael P Walker. By Robert…
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Ukulele - Level 3 - Digital Download SKU: A0.1126589 By Michael P Walker. By Robert de Visee. Arranged by Michael P Walker. Baroque,Classical. Score. 44 pages. Michael P Walker #727240. Published by Michael P Walker (A0.1126589). Who would have thought you could play classical music on a ukulele? But you can! Here are Baroque Lute pieces by Robert de Visée arranged in tablature and modern notation for Low G ukulele. Robert de Visée, (1655 – 1732/33) In 1686 Robert de Visée was one of King Louis XIV's favorite musicians performing regularly in the private royal chambers, while also being recognized for his musicianship. De Visée composed mostly for the guitar, theorbo, and lute, and is arguably one of the most important French composers of Baroque guitar music. Recommended for Intermediate to Advanced Performers.
$19.95
18.24 €
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Ukulele
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Michael P Walker
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Michael P Walker
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Robert de Visée Baroque Lute Suites Volume Three for Low G Ukulele
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Michael P Walker
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SheetMusicPlus
Robert de Visée Baroque Lute Suites Volume Two for Low G Ukulele
Ukulele
Ukulele - Level 3 - Digital Download SKU: A0.1126583 By Michael P Walker. By Robert…
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Ukulele - Level 3 - Digital Download SKU: A0.1126583 By Michael P Walker. By Robert de Visee. Arranged by Michael P Walker. Baroque,Classical. Score. 50 pages. Michael P Walker #727234. Published by Michael P Walker (A0.1126583). Who would have thought you could play classical music on a ukulele? But you can! Here are Baroque Lute pieces by Robert de Visée arranged in tablature and modern notation for Low G ukulele. Robert de Visée, (1655 – 1732/33) In 1686 Robert de Visée was one of King Louis XIV's favorite musicians performing regularly in the private royal chambers, while also being recognized for his musicianship. De Visée composed mostly for the guitar, theorbo, and lute, and is arguably one of the most important French composers of Baroque guitar music. Recommended for Intermediate to Advanced Performers.
$19.95
18.24 €
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Ukulele
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Michael P Walker
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Michael P Walker
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Robert de Visée Baroque Lute Suites Volume Two for Low G Ukulele
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Michael P Walker
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SheetMusicPlus
Robert de Visée - Menuet (Easy Classical Guitar with Tabs)
Guitare notes et tablatures
Guitar - Level 2 - Digital Download SKU: A0.570248 Composed by Robert de Visee. Arr…
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Guitar - Level 2 - Digital Download SKU: A0.570248 Composed by Robert de Visee. Arranged by Cadenza Editions. Baroque,Children,World. Guitar Tab. 3 pages. Cadenza Editions #4735675. Published by Cadenza Editions (A0.570248). Robert de Visée - Menuet (Easy Classical Guitar with Tabs).
$4.99
4.56 €
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Guitare notes et tablatures
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Robert de Visee
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Cadenza Editions
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Robert de Visée - Menuet
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Cadenza Editions
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SheetMusicPlus
Robert de Visee 5 Lute Suites and Six Petites Pieces, in Tablature and Modern Notation for Baritone Ukulele
Ukulele Baryton
Composed by Robert de Visee (1650-1725). Arranged by Michael P. Walker. Renaissance.…
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Composed by Robert de Visee (1650-1725). Arranged by Michael P. Walker. Renaissance. Tablature. 130 pages. Published by Published by Morgan Cobb Associates
Recommended for Intermediate to AdvancedPerformers, Here are 45 compositions by Robert de Visée fromthe 17th Century transcribed for the baritone ukulele, Renaissanceguitar, low G ukelele, and many otherfour-course instruments. Of course, theymay all be played on the guitar.Recommended for Intermediate to AdvancedPerformers, Here are 45 compositions by Robert de Visée fromthe 17th Century transcribed for the baritone ukulele, Renaissanceguitar, low G ukelele, and many otherfour-course instruments. Of course, theymay all be played on the guitar.
$19.95
18.24 €
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Ukulele Baryton
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Robert de Visee (1650-1725)
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Michael P
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Robert de Visee 5 Lute Suites and Six Petites Pieces, in Tablature and Modern Notation for Baritone Ukulele
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Published by Morgan Cobb Associates
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SheetMusicPlus
ALLEMANDE - SUITE IN G MINOR - ROBERT DE VISÉE - FOR GUITAR SOLO
Guitare
Solo Guitar - Level 4 - Digital Download SKU: A0.569705 By FALLAHIN SCORE EDITIONS.…
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Solo Guitar - Level 4 - Digital Download SKU: A0.569705 By FALLAHIN SCORE EDITIONS. By Robert de Visee. Arranged by Marcelo Fallahin. Baroque,Classical. Individual part. 2 pages. Fallahin Score Editions #179101. Published by Fallahin Score Editions (A0.569705). TRANSCRIPTION FOR GUITAR SOLO.
$5.00
4.57 €
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Guitare
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FALLAHIN SCORE EDITIONS
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Marcelo Fallahin
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ALLEMANDE - SUITE IN G MINOR - ROBERT DE VISÉE - FOR GUITAR SOLO
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Fallahin Score Editions
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SheetMusicPlus
Baroque Uke #12 Passacaille in Em, Robert de Visée
Ukulele
Composed by Robert de Visee (1650-1725). Arranged by Chris Webster. Baroque, Classical…
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Composed by Robert de Visee (1650-1725). Arranged by Chris Webster. Baroque, Classical. Individual part. 2 pages. Chris Webster #788096. Published by Chris Webster
$1.99
1.82 €
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Ukulele
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Robert de Visee (1650-1725)
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Chris Webster
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Baroque Uke #12 Passacaille in Em, Robert de Visée
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Chris Webster
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SheetMusicPlus
ALLEMANDE - ROBERT DE VISÉE - FOR GUITAR SOLO
Guitare
By FALLAHIN SCORE EDITIONS. By Robert de Visee (1650-1725). Arranged by Marcelo Fallah…
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By FALLAHIN SCORE EDITIONS. By Robert de Visee (1650-1725). Arranged by Marcelo Fallahin. Baroque, Classical. Individual part. 2 pages. Fallahin Score Editions #128527. Published by Fallahin Score Editions
$8.00
7.31 €
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Guitare
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FALLAHIN SCORE EDITIONS
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Marcelo Fallahin
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ALLEMANDE - ROBERT DE VISÉE - FOR GUITAR SOLO
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Fallahin Score Editions
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SheetMusicPlus
Suite (E Minor) for easy guitar duo
2 Guitares (duo)
Instrumental Duet Guitar,Instrumental Duet - Level 3 - Digital Download SKU: A0.531499
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Instrumental Duet Guitar,Instrumental Duet - Level 3 - Digital Download SKU: A0.531499 Composed by R. de Visee. Arranged by Klas Krantz. Baroque,Classical. Score and parts. 9 pages. Amadeus Music #2035617. Published by Amadeus Music (A0.531499). Robert de Visée (c. 1655 – 1733) was a lutenist, guitarist, theorbist and viol player at the court of the French kings Louis XIV and Louis XV, as well as a singer and composer for lute, theorbo and guitar.
$5.95
5.44 €
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2 Guitares (duo)
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R
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Klas Krantz
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Suite
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Amadeus Music
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SheetMusicPlus
Chaconne by Robert de Visée
Small Ensemble - Digital Download SKU: A0.919864 Arranged by Daniel Duarte, DM. Con…
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Small Ensemble - Digital Download SKU: A0.919864 Arranged by Daniel Duarte, DM. Contemporary. Score and parts. 5 pages. Daniel Duarte, DM #4605079. Published by Daniel Duarte, DM (A0.919864).
$5.99
5.48 €
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Daniel Duarte, DM
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Chaconne by Robert de Visée
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Daniel Duarte, DM
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SheetMusicPlus
Bourrée in D Minor
Guitare notes et tablatures
Guitar - Level 3 - Digital Download SKU: A0.691133 Composed by Robert de Visee. Arr…
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Guitar - Level 3 - Digital Download SKU: A0.691133 Composed by Robert de Visee. Arranged by Mark Phillips. Baroque. Guitar Tab. 2 pages. A. J. Cornell Publications #2941841. Published by A. J. Cornell Publications (A0.691133). Bourrée in D Minor by Robert de Visée (from Guitar Suite in D Minor) for solo classical guitar (in standard notation and tab).
$3.99
3.65 €
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Guitare notes et tablatures
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Robert de Visee
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Mark Phillips
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Bourrée in D Minor
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A. J. Cornell Publications
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SheetMusicPlus
BourreÌe in D Minor (from Suite in D Minor)
2 Clarinettes (duo)
Clarinet Duet Clarinet - Level 2 - Digital Download SKU: A0.692861 Composed by Robe…
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Clarinet Duet Clarinet - Level 2 - Digital Download SKU: A0.692861 Composed by Robert de Visee. Arranged by Mark Phillips. Baroque. 2 scores. 1 pages. A. J. Cornell Publications #6718153. Published by A. J. Cornell Publications (A0.692861). de Visée’s BourreÌe in D Minor (from Suite in D Minor) for clarinet duet
$1.99
1.82 €
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2 Clarinettes (duo)
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Robert de Visee
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Mark Phillips
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BourreÌe in D Minor
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A. J. Cornell Publications
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SheetMusicPlus
BourreÌe in D Minor (from Suite in D Minor)
2 Trompettes (duo)
Trumpet Duet Trumpet - Level 2 - Digital Download SKU: A0.692889 Composed by Robert…
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Trumpet Duet Trumpet - Level 2 - Digital Download SKU: A0.692889 Composed by Robert de Visee. Arranged by Mark Phillips. Baroque. Score. 1 pages. A. J. Cornell Publications #6732773. Published by A. J. Cornell Publications (A0.692889). de Visée’s BourreÌe in D Minor (from Suite in D Minor) for trumpet duet
$1.99
1.82 €
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2 Trompettes (duo)
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Robert de Visee
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Mark Phillips
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BourreÌe in D Minor
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A. J. Cornell Publications
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SheetMusicPlus
BourreÌe in D Minor (from Suite in D Minor)
2 Violons (duo)
Violin Duet Violin - Level 2 - Digital Download SKU: A0.692947 Composed by Robert d…
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Violin Duet Violin - Level 2 - Digital Download SKU: A0.692947 Composed by Robert de Visee. Arranged by Mark Phillips. Baroque. 1 pages. A. J. Cornell Publications #6745409. Published by A. J. Cornell Publications (A0.692947). de Visée’s BourreÌe in D Minor (from Suite in D Minor) for violin duet
$1.99
1.82 €
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2 Violons (duo)
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Robert de Visee
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Mark Phillips
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BourreÌe in D Minor
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A. J. Cornell Publications
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SheetMusicPlus
BourreÌe in D Minor (from Suite in D Minor)
2 Saxophones (duo)
Alto Saxophone Duet Alto Saxophone - Level 2 - Digital Download SKU: A0.692919 Comp…
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Alto Saxophone Duet Alto Saxophone - Level 2 - Digital Download SKU: A0.692919 Composed by Robert de Visee. Arranged by Mark Phillips. Baroque. 2 scores. 1 pages. A. J. Cornell Publications #6744327. Published by A. J. Cornell Publications (A0.692919). de Visée’s BourreÌe in D Minor (from Suite in D Minor) for alto sax duet
$1.99
1.82 €
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2 Saxophones (duo)
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Robert de Visee
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Mark Phillips
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BourreÌe in D Minor
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A. J. Cornell Publications
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SheetMusicPlus
Gigue by Robert de Vis e - Guitar Tab
Guitare notes et tablatures
Robert de Vis e - Gigue - from the French Baroque Suite Digital Sheetmusic - instantly dow…
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Robert de Vis e - Gigue - from the French Baroque Suite Digital Sheetmusic - instantly downloadable sheet music plus an interactive, downloadable digital sheet music file, scoring: Solo;Guitar Tab, instruments: Guitar; 2 pages -- Baroque~~Classical~~French~~Fingerpicking
$5.50
5.03 €
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Guitare notes et tablatures
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Guitar Tab
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Musicnotes
Gavotte by Robert de Vis e - Guitar Tab
Guitare notes et tablatures
Robert de Vis e - Gavotte - From the French Baroque Suite Digital Sheetmusic - instantly d…
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Robert de Vis e - Gavotte - From the French Baroque Suite Digital Sheetmusic - instantly downloadable sheet music plus an interactive, downloadable digital sheet music file, scoring: Solo;Guitar Tab, instruments: Guitar; 2 pages -- Baroque~~Classical~~French~~Fingerpicking
$5.50
5.03 €
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Guitare notes et tablatures
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Guitar Tab
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Musicnotes
Sarabande by Robert de Vis e - Guitar Tab
Guitare notes et tablatures
Robert de Vis e - Sarabande - from the French Baroque Suite Digital Sheetmusic - instantly…
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Robert de Vis e - Sarabande - from the French Baroque Suite Digital Sheetmusic - instantly downloadable sheet music plus an interactive, downloadable digital sheet music file, scoring: Guitar Tab;Solo, instruments: Guitar; 1 pages -- Baroque~~Classical~~French~~Fingerpicking
$5.50
5.03 €
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Guitare notes et tablatures
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Guitar Tab
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Musicnotes
Bouree, from the French Baroque Suite by Robert de Vis e - Guitar Tab
Guitare notes et tablatures
Robert de Vis e - Bouree, from the French Baroque Suite Digital Sheetmusic - instantly dow…
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Robert de Vis e - Bouree, from the French Baroque Suite Digital Sheetmusic - instantly downloadable sheet music plus an interactive, downloadable digital sheet music file, scoring: Guitar Tab;Solo, instruments: Guitar; 1 pages -- Baroque~~Classical~~French~~Fingerpicking
$5.50
5.03 €
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Guitare notes et tablatures
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Guitar Tab
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Musicnotes
Prelude by Robert de Vis e - Guitar Tab
Guitare notes et tablatures
Robert de Vis e - Prelude - from the French Baroque Suite Digital Sheetmusic - instantly d…
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Robert de Vis e - Prelude - from the French Baroque Suite Digital Sheetmusic - instantly downloadable sheet music plus an interactive, downloadable digital sheet music file, scoring: Guitar Tab, instruments: Guitar; 1 pages -- Baroque~~Classical~~French~~Fingerpicking
$5.50
5.03 €
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Guitare notes et tablatures
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Guitar Tab
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Musicnotes
Allemande by Robert de Vis e - Guitar Tab
Guitare notes et tablatures
Robert de Vis e - Allemande - from the French Baroque Suite Digital Sheetmusic - instantly…
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Robert de Vis e - Allemande - from the French Baroque Suite Digital Sheetmusic - instantly downloadable sheet music plus an interactive, downloadable digital sheet music file, scoring: Guitar Tab, instruments: Guitar; 1 pages -- Baroque~~Classical~~French~~Fingerpicking
$5.50
5.03 €
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Guitare notes et tablatures
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Guitar Tab
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Musicnotes
Immortal Invisible - An Anthem for Brass Choir
Ensemble de cuivres
Brass Ensemble - Level 3 - Digital Download SKU: A0.809854 Composed by Text: Walter…
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Brass Ensemble - Level 3 - Digital Download SKU: A0.809854 Composed by Text: Walter C. Smith - 1867 and a traditional Welsh Hymn Melody. Arranged by Robert E. Proctor. Christian,Contemporary,Sacred. Score and parts. 21 pages. R. E. Proctor #3674087. Published by R. E. Proctor (A0.809854). An anthem for brass choir based on the hymn Immortal Invisible God only Wise. Given an intermediate level as the Horn parts are somewhat high. Duration 1:39. It would make a fine processional for any occasion.
$9.95
9.1 €
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Ensemble de cuivres
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Text: Walter C
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Robert E
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Immortal Invisible - An Anthem for Brass Choir
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R. E. Proctor
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SheetMusicPlus
Debussy Inconnu: Album of works for the piano by Claude Debussy completed by Robert Orledge, Vol. 2
Piano seul
Piano Solo - Advanced Intermediate - Digital Download Composed by Claude Debussy/Ro…
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Piano Solo - Advanced Intermediate - Digital Download Composed by Claude Debussy/Robert Orledge. 20th Century, Impressionistic, Repertoire. Score. 76 pages. Published by Musik Fabrik Music Publishing
Contains Le Roi Lear: Prélude,Première Fanfare, and La Mort de Cordélia,Toomai des éléphants, Rodrigue et Chimène: Prélude à l’acte 1p. Le Martyre de Saint Sébastien: La Passion , and No-ja-li ou Le Palais du Silence<br> <br> From Robert Orledge's notes:<br> <br> My interest in the wonderful music of Claude Debussy began in the 1980s when I researched and published a book with Cambridge University Press entitled Debussy and the Theatre. During the course of my studies in Paris, I was amazed to discover that Debussy planned over 50 theatrical works but only finished two of these entirely by himself (the opera Pelléas et Mélisande in 1893–1902 and the ballet Jeux for Diaghilev’s Ballets Russes in 1912–13). Of the rest, many were never started musically (like Siddartha and Orphée-roi with the Oriental scholar Victor Segalen, 1907); some had a few tantalising sketches (like the Edgar Allan Poe opera Le Diable dans le beffroi, 1902–03); some were half-finished (like his other Poe opera La Chute de la Maison Usher, 1908–17); while others were musically complete but had their orchestrations completed by other composers (like Khamma, by Charles Koechlin, 1912–13; or Le Martyre de Saint Sébastien and La Boîte à joujoux by his ‘angel of corrections’ [‘l’ange des Corrections’] André Caplet in 1911 and 1919 respectively).<br> <br> For it has to be admitted that what some scholars call Debussy’s ‘compulsive achievement’ could equally well be viewed as laziness, especially as far as the minute detail required for calligraphing his orchestral scores was concerned. It was as if creating the music itself was of greater importance than controlling its final sound, even if Debussy was an imaginative orchestrator when he found the time and energy to do it. It also seems true that Debussy also preferred inventing ideas to turning them into complete pieces. However, despite the lack of detail in many of his sketches (missing clefs, key signatures, dynamics, phrasing, etc.) the notes themselves are surprisingly accurate, whether or not they can be compared with a later draft. Thus, a large number of sketches exist for his Chinese ballet No-ja-li ou Le Palais du Silence and it is not too difficult to see which parts of Georges de Feure’s 1913 scenario (see below) inspired which ideas. But Debussy hardly made any attempt to join them together after the first few bars.<br> <br> It was usually up to his publisher, Jacques Durand, to find solutions when Debussy risked a breach of contract. Debussy was supposed to supervise the orchestrations completed by others, but this supervision was usually very light and restricted to quiet, sensitive moments in which problems were easier to spot. Far from jealously guarding every one of his created notes, as Ravel did, Debussy once even went as far as to ask Koechlin to ‘write a ballet for him that he would sign’ on 26 March 1914 when he was hard-pressed to fulfil his lucrative contract for No-ja-li with André Charlot at the Alhambra Theatre in London. In the end, Debussy (through Durand) sent Charlot the symphonic suite Printemps instead, whose orchestration had been completed by Henri Busser in the Spring of 1912.<br> <br> So, when I was offered early retirement as Professor of Music at Liverpool University in 2004, I seized the opportunity it would give me to spend time trying to reconstruct some of Debussy’s lost potential masterpieces from his existing sketches and drafts—then orchestrating them in Debussy’s style when this was appropriate. I had begun this mission in 2001 with the most promising project, the missing parts of Scene 2 of La Chute de la Maison Usher and the sheer joy it gave me at every stage persuaded me to tackle other projects, especially when Debussy experts were unable to identify exactly where I took over from Debussy (and vice versa) in Usher.Contains Le Roi Lear: Prélude,Première Fanfare, and La Mort de Cordélia,Toomai des éléphants, Rodrigue et Chimène: Prélude à l’acte 1p. Le Martyre de Saint Sébastien: La Passion , and No-ja-li ou Le Palais du Silence<br> <br> From Robert Orledge's notes:<br> <br> My interest in the wonderful music of Claude Debussy began in the 1980s when I researched and published a book with Cambridge University Press entitled Debussy and the Theatre. During the course of my studies in Paris, I was amazed to discover that Debussy planned over 50 theatrical works but only finished two of these entirely by himself (the opera Pelléas et Mélisande in 1893–1902 and the ballet Jeux for Diaghilev’s Ballets Russes in 1912–13). Of the rest, many were never started musically (like Siddartha and Orphée-roi with the Oriental scholar Victor Segalen, 1907); some had a few tantalising sketches (like the Edgar Allan Poe opera Le Diable dans le beffroi, 1902–03); some were half-finished (like his other Poe opera La Chute de la Maison Usher, 1908–17); while others were musically complete but had their orchestrations completed by other composers (like Khamma, by Charles Koechlin, 1912–13; or Le Martyre de Saint Sébastien and La Boîte à joujoux by his ‘angel of corrections’ [‘l’ange des Corrections’] André Caplet in 1911 and 1919 respectively).<br> <br> For it has to be admitted that what some scholars call Debussy’s ‘compulsive achievement’ could equally well be viewed as laziness, especially as far as the minute detail required for calligraphing his orchestral scores was concerned. It was as if creating the music itself was of greater importance than controlling its final sound, even if Debussy was an imaginative orchestrator when he found the time and energy to do it. It also seems true that Debussy also preferred inventing ideas to turning them into complete pieces. However, despite the lack of detail in many of his sketches (missing clefs, key signatures, dynamics, phrasing, etc.) the notes themselves are surprisingly accurate, whether or not they can be compared with a later draft. Thus, a large number of sketches exist for his Chinese ballet No-ja-li ou Le Palais du Silence and it is not too difficult to see which parts of Georges de Feure’s 1913 scenario (see below) inspired which ideas. But Debussy hardly made any attempt to join them together after the first few bars.<br> <br> It was usually up to his publisher, Jacques Durand, to find solutions when Debussy risked a breach of contract. Debussy was supposed to supervise the orchestrations completed by others, but this supervision was usually very light and restricted to quiet, sensitive moments in which problems were easier to spot. Far from jealously guarding every one of his created notes, as Ravel did, Debussy once even went as far as to ask Koechlin to ‘write a ballet for him that he would sign’ on 26 March 1914 when he was hard-pressed to fulfil his lucrative contract for No-ja-li with André Charlot at the Alhambra Theatre in London. In the end, Debussy (through Durand) sent Charlot the symphonic suite Printemps instead, whose orchestration had been completed by Henri Busser in the Spring of 1912.<br> <br> So, when I was offered early retirement as Professor of Music at Liverpool University in 2004, I seized the opportunity it would give me to spend time trying to reconstruct some of Debussy’s lost potential masterpieces from his existing sketches and drafts—then orchestrating them in Debussy’s style when this was appropriate. I had begun this mission in 2001 with the most promising project, the missing parts of Scene 2 of La Chute de la Maison Usher and the sheer joy it gave me at every stage persuaded me to tackle other projects, especially when Debussy experts were unable to identify exactly where I took over from Debussy (and vice versa) in Usher.
$38.95
35.61 €
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Piano seul
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Claude Debussy/Robert Orledge
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Debussy Inconnu: Album of works for the piano by Claude Debussy completed by Robert Orledge, Vol. 2
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Musik Fabrik Music Publishing
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SheetMusicPlus
Debussy Inconnu: Album of works for the piano by Claude Debussy completed by Robert Orledge, Vol. 1
Piano seul
Piano Solo - Advanced Intermediate - Digital Download Composed by Claude Debussy/Ro…
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Piano Solo - Advanced Intermediate - Digital Download Composed by Claude Debussy/Robert Orledge. 20th Century, Impressionistic, Repertoire, Recital. Score. 71 pages. Published by Musik Fabrik Music Publishing
Contains A Night in the House of Usher Un Jour affreux avec Le Diable dans le beffroi, Les accords de septième regrettent!!!, Petite Valse,Fêtes galantes, and Prélude à ‘L’Histoire de Tristan’<br> <br> From Robert Orledge's notes:<br> <br> My interest in the wonderful music of Claude Debussy began in the 1980s when I researched and published a book with Cambridge University Press entitled Debussy and the Theatre. During the course of my studies in Paris, I was amazed to discover that Debussy planned over 50 theatrical works but only finished two of these entirely by himself (the opera Pelléas et Mélisande in 1893–1902 and the ballet Jeux for Diaghilev’s Ballets Russes in 1912–13). Of the rest, many were never started musically (like Siddartha and Orphée-roi with the Oriental scholar Victor Segalen, 1907); some had a few tantalising sketches (like the Edgar Allan Poe opera Le Diable dans le beffroi, 1902–03); some were half-finished (like his other Poe opera La Chute de la Maison Usher, 1908–17); while others were musically complete but had their orchestrations completed by other composers (like Khamma, by Charles Koechlin, 1912–13; or Le Martyre de Saint Sébastien and La Boîte à joujoux by his ‘angel of corrections’ [‘l’ange des Corrections’] André Caplet in 1911 and 1919 respectively).<br> <br> For it has to be admitted that what some scholars call Debussy’s ‘compulsive achievement’ could equally well be viewed as laziness, especially as far as the minute detail required for calligraphing his orchestral scores was concerned. It was as if creating the music itself was of greater importance than controlling its final sound, even if Debussy was an imaginative orchestrator when he found the time and energy to do it. It also seems true that Debussy also preferred inventing ideas to turning them into complete pieces. However, despite the lack of detail in many of his sketches (missing clefs, key signatures, dynamics, phrasing, etc.) the notes themselves are surprisingly accurate, whether or not they can be compared with a later draft. Thus, a large number of sketches exist for his Chinese ballet No-ja-li ou Le Palais du Silence and it is not too difficult to see which parts of Georges de Feure’s 1913 scenario (see below) inspired which ideas. But Debussy hardly made any attempt to join them together after the first few bars.<br> <br> It was usually up to his publisher, Jacques Durand, to find solutions when Debussy risked a breach of contract. Debussy was supposed to supervise the orchestrations completed by others, but this supervision was usually very light and restricted to quiet, sensitive moments in which problems were easier to spot. Far from jealously guarding every one of his created notes, as Ravel did, Debussy once even went as far as to ask Koechlin to ‘write a ballet for him that he would sign’ on 26 March 1914 when he was hard-pressed to fulfil his lucrative contract for No-ja-li with André Charlot at the Alhambra Theatre in London. In the end, Debussy (through Durand) sent Charlot the symphonic suite Printemps instead, whose orchestration had been completed by Henri Busser in the Spring of 1912.<br> <br> So, when I was offered early retirement as Professor of Music at Liverpool University in 2004, I seized the opportunity it would give me to spend time trying to reconstruct some of Debussy’s lost potential masterpieces from his existing sketches and drafts—then orchestrating them in Debussy’s style when this was appropriate. I had begun this mission in 2001 with the most promising project, the missing parts of Scene 2 of La Chute de la Maison Usher and the sheer joy it gave me at every stage persuaded me to tackle other projects, especially when Debussy experts were unable to identify exactly where I took over from Debussy (and vice versa) in Usher.Contains A Night in the House of Usher Un Jour affreux avec Le Diable dans le beffroi, Les accords de septième regrettent!!!, Petite Valse,Fêtes galantes, and Prélude à ‘L’Histoire de Tristan’<br> <br> From Robert Orledge's notes:<br> <br> My interest in the wonderful music of Claude Debussy began in the 1980s when I researched and published a book with Cambridge University Press entitled Debussy and the Theatre. During the course of my studies in Paris, I was amazed to discover that Debussy planned over 50 theatrical works but only finished two of these entirely by himself (the opera Pelléas et Mélisande in 1893–1902 and the ballet Jeux for Diaghilev’s Ballets Russes in 1912–13). Of the rest, many were never started musically (like Siddartha and Orphée-roi with the Oriental scholar Victor Segalen, 1907); some had a few tantalising sketches (like the Edgar Allan Poe opera Le Diable dans le beffroi, 1902–03); some were half-finished (like his other Poe opera La Chute de la Maison Usher, 1908–17); while others were musically complete but had their orchestrations completed by other composers (like Khamma, by Charles Koechlin, 1912–13; or Le Martyre de Saint Sébastien and La Boîte à joujoux by his ‘angel of corrections’ [‘l’ange des Corrections’] André Caplet in 1911 and 1919 respectively).<br> <br> For it has to be admitted that what some scholars call Debussy’s ‘compulsive achievement’ could equally well be viewed as laziness, especially as far as the minute detail required for calligraphing his orchestral scores was concerned. It was as if creating the music itself was of greater importance than controlling its final sound, even if Debussy was an imaginative orchestrator when he found the time and energy to do it. It also seems true that Debussy also preferred inventing ideas to turning them into complete pieces. However, despite the lack of detail in many of his sketches (missing clefs, key signatures, dynamics, phrasing, etc.) the notes themselves are surprisingly accurate, whether or not they can be compared with a later draft. Thus, a large number of sketches exist for his Chinese ballet No-ja-li ou Le Palais du Silence and it is not too difficult to see which parts of Georges de Feure’s 1913 scenario (see below) inspired which ideas. But Debussy hardly made any attempt to join them together after the first few bars.<br> <br> It was usually up to his publisher, Jacques Durand, to find solutions when Debussy risked a breach of contract. Debussy was supposed to supervise the orchestrations completed by others, but this supervision was usually very light and restricted to quiet, sensitive moments in which problems were easier to spot. Far from jealously guarding every one of his created notes, as Ravel did, Debussy once even went as far as to ask Koechlin to ‘write a ballet for him that he would sign’ on 26 March 1914 when he was hard-pressed to fulfil his lucrative contract for No-ja-li with André Charlot at the Alhambra Theatre in London. In the end, Debussy (through Durand) sent Charlot the symphonic suite Printemps instead, whose orchestration had been completed by Henri Busser in the Spring of 1912.<br> <br> So, when I was offered early retirement as Professor of Music at Liverpool University in 2004, I seized the opportunity it would give me to spend time trying to reconstruct some of Debussy’s lost potential masterpieces from his existing sketches and drafts—then orchestrating them in Debussy’s style when this was appropriate. I had begun this mission in 2001 with the most promising project, the missing parts of Scene 2 of La Chute de la Maison Usher and the sheer joy it gave me at every stage persuaded me to tackle other projects, especially when Debussy experts were unable to identify exactly where I took over from Debussy (and vice versa) in Usher.
$38.95
35.61 €
#
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
Suite in D minor for guitar solo
Guitare
Solo Guitar - Level 3 - Digital Download SKU: A0.532291 Composed by R. de Visée.…
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Solo Guitar - Level 3 - Digital Download SKU: A0.532291 Composed by R. de Visée. Arranged by Klas Krantz. Baroque,Classical. Individual part. 6 pages. Amadeus Music #4611487. Published by Amadeus Music (A0.532291). Robert de Visée (1655-1733), A guitarist, lutenist and composer, Robert de Visée enjoyed some distinction as a musician at the court of Louis XIV, and as the guitar teacher of his successor.
$5.95
5.44 €
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Guitare
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R
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Klas Krantz
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Suite in D minor for guitar solo
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Amadeus Music
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SheetMusicPlus
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