SKU: FA.MFCC141SP
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8.27 x 11.69 inches.
This short piece, which was probably part of a film score from the late 1930s, evokes an elegant « petite femme de Paris » walking her dog on the Grandes Boulevards to the sound of the player pianos coming out of the cafés.
SKU: FA.MFAF016
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210 x 297 inches.
Subtitled << Gravement-Gaiement >>, this short suite was written around 1957, probably for the composer's daughter.
SKU: FA.MFHM005
An important bridge between the Classical and Romantic periods, Helene de Montgeroult was the first female professor at the Paris Conservatory. As recorded by Nicolas Horvath for Grand Piano.
SKU: FA.MFCC116
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This piece is an unused movement, probably a first draft of La Passion, the third of the 'Fragments symphoniques' in Le Martyre de Saint Sebastien (1911). Nicolas Horvath's 2020 Grand Piano recorindg of this anguished but beautiful piece, and knowing how pushed for time Debussy was when he composed Le Martyre it is surprising that he progressed so far with a piece that he subsequently replaced.
SKU: FA.MFCC117
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In 1959, Germaine Tailleferre wrote incidental music for a radio drama based on Philippe Jullian’s « Mémoire d’une bergère » or « Autobiography of an armchair » which traced the owners of this armchair from the court of Louis XV to England after the French Revolution, back to Paris and through the hands of various foreign owners (Arabian, American, German etc.). In illustrating this story Tailleferre used her great knowledge of musical styles to evoke these different settings, from the classical styles of French music of the XVIIIth century to classical, romantic, popular French styles as well as two evocations of American Blues/Ragtime music. These short pieces are interesting in and of themselves, in addition to illustrating Jullian’s story. The first piece may be repeated at the end, as it was in the original radio drama.
SKU: FA.MFHM008
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Together with other manuscript sketches from Debussy's last productive summer of 1915, the Hotel Drouot sale in Paris, on 7 December 2004 included the start of an unknown piano piece. The 18-bar outline suggested a Petite Valse ('Little Waltz') in the accessible style of Debussy's La Plus que lente of 1910, to which astute pianists will recognise passing allusions both during and at the end of my completion. The waltz is simply meant to be enjoyed by pianists seeking what might be termed a novelty by a great composer, as well as by its audience.
SKU: FA.MFGPC024
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During the middle of the 1950s, Tailleferre explored more popular musical styles in a series of works, including her Opéra-minute Un Rouille à l’arsenic », a number of songs written with Claude Marcy and her musical comedy « Parfums ». This slow is from that period and is very influenced by a Jazz piano style, perhaps by her friend Jean Wiener.
SKU: FA.MFKT007B
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