Piano - Grade 5

SKU: FA.MFCD017B

By Nicolas Horvath. By Claude Debussy and Robert Orledge. Rediscoverd Debussy. Christmas. Score. Musik Fabrik #MFCD017B. Published by Musik Fabrik (FA.MFCD017B).

8.27 x 11.69 inches.

Contains Le Roi Lear: Prelude,Premiere Fanfare, and La Mort de Cordelia,Toomai des elephants, Rodrigue et Chimene: Prelude a l'acte 1p. Le Martyre de Saint Sebastien: La Passion , and No-ja-li ou Le Palais du Silence

From Robert Orledge's notes:

My interest in the wonderful music of Claude Debussy began in the 1980s when I researched and published a book with Cambridge University Press entitled Debussy and the Theatre. During the course of my studies in Paris, I was amazed to discover that Debussy planned over 50 theatrical works but only finished two of these entirely by himself (the opera Pelleas et Melisande 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 Orphee-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 Sebastien and La Boite a joujoux by his 'angel of corrections' ['l'ange des Corrections'] Andre Caplet in 1911 and 1919 respectively).

For it has to be admitted that what some scholars call Debussy's 'compulsive achievement' could equally well be viewed as laziness, especially as far as the minute detail required for calligraphing his orchestral scores was concerned. It was as if creating the music itself was of greater importance than controlling its final sound, even if Debussy was an imaginative orchestrator when he found the time and energy to do it. It also seems true that Debussy also preferred inventing ideas to turning them into complete pieces. However, despite the lack of detail in many of his sketches (missing clefs, key signatures, dynamics, phrasing, etc.) the notes themselves are surprisingly accurate, whether or not they can be compared with a later draft. Thus, a large number of sketches exist for his Chinese ballet No-ja-li ou Le Palais du Silence and it is not too difficult to see which parts of Georges de Feure's 1913 scenario (see below) inspired which ideas. But Debussy hardly made any attempt to join them together after the first few bars.

It was usually up to his publisher, Jacques Durand, to find solutions when Debussy risked a breach of contract. Debussy was supposed to supervise the orchestrations completed by others, but this supervision was usually very light and restricted to quiet, sensitive moments in which problems were easier to spot. Far from jealously guarding every one of his created notes, as Ravel did, Debussy once even went as far as to ask Koechlin to 'write a ballet for him that he would sign' on 26 March 1914 when he was hard-pressed to fulfil his lucrative contract for No-ja-li with Andre Charlot at the Alhambra Theatre in London. In the end, Debussy (through Durand) sent Charlot the symphonic suite Printemps instead, whose orchestration had been completed by Henri Busser in the Spring of 1912.

So, when I was offered early retirement as Professor of Music at Liverpool University in 2004, I seized the opportunity it would give me to spend time trying to reconstruct some of Debussy's lost potential masterpieces from his existing sketches and drafts--then orchestrating them in Debussy's style when this was appropriate. I had begun this mission in 2001 with the most promising project, the missing parts of Scene 2 of La Chute de la Maison Usher and the sheer joy it gave me at every stage persuaded me to tackle other projects, especially when Debussy experts were unable to identify exactly where I took over from Debussy (and vice versa) in Usher.

(Easy Piano). Arranged by Dan Coates. For Piano. Book; Piano - Easy Piano Collection; Piano Supplemental. Top 50. Wedding. Easy Piano. 184 pages. Published by Alfred Music Publishing

(The Fun and Easy Way® to Start Playing Your Favorite Songs Today!). By Various. For Piano/Keyboard. Easy Piano Songbook. Softcover. 210 pages. Published by Hal Leonard

Arranged by Dan Coates. For Piano. Piano - Easy Piano Collection. Love. Easy Piano. Book. 188 pages. Published by Alfred Music Publishing

By Many. Arranged by Brent Jorgensen. For Piano Book. Published by Jackman Music Corporation.
Level: Varied.

Edited by Helen Marlais, Kristen Avila. For Piano. Succeeding with the Masters. Instructional, Method. Level: Late Elementary through Intermediate. 48 pages. Published by The FJH Music Company Inc.

Arranged by Johnie Dean. For Piano. The FJH Sacred Piano Library. Title include: 'Tis So Sweet to Trust in Jesus; I Surrender All; To God Be the Glory; My Jesus, I Love Thee; Softly and Tenderly; I Am Thine, O Lord; I Stand Amazed in the Presence; Blessed Be the Name; Open My Eyes; and Trusting Jesus. Spiritual. Level: Early Advanced. Book. Published by The FJH Music Company Inc.

Arranged by Jackie Frost Halversen. Christian, Contemporary Christian, Gospel, Inspirational. Jackman Music Corporation #01969. Published by Jackman Music Corporation

Arranged by Dan Coates. For Piano. Piano - Easy Piano Collection. Top 50. Country. Easy Piano. Book. 196 pages. Published by Alfred Music Publishing

40 Contemporary Arrangements of Praise Songs with Hymns. Arranged by Carol Tornquist. Book; Piano Collection; Piano Supplemental. Sacred Performer Collections. Contemporary Christian; Hymn; Sacred. 172 pages. Published by Alfred Music

Piano

SKU: BT.EMBZ14499A

And other works. Composed by Franz Liszt. EMB New Listz Edition. Book Hardcover. Composed 2012. 236 pages. Editio Musica Budapest #EMBZ14499A. Published by Editio Musica Budapest (BT.EMBZ14499A).

English-German-Hungarian.

Of this series of twenty-four études planned by Liszt only twelve were actually written, but the contemporary printed editions of the completed pieces (in the hope of a continuation) appeared with the series title 24 grandes études. By publishing these 12 concert studies it makes the earlier and technically more difficult version of the Transcendental Studies available for the first time since 1911 for study by performers and those engaged in music research. Contrary to the 1911 edition among the volumes of the first complete Liszt edition, NLE will publish also the text variants of some studies, an album leaf in F sharp major in facsimile and in transcription considered asthe 13th study planned by Liszt for the series, and the earlier versions of the so-called Mazeppa and Ab irato studies. In the volume will be published the puzzling album leaf, the so-called ''Prélude omnitonique'' and some similar album leaves, too.

Von den 24 Etüden dieser Serie, die Liszt ursprünglich geplant hatte, wurden tatsächlich nur 12 fertig, die zeitgenössischen gedruckten Ausgaben erschienen in der Hoffnung auf eine Fortsetzung dennoch unter dem Serientitel ‚24 große Etüden'. Mit der Veröffentlichung dieser zwölf Konzertetüden wird die frühere und technisch schwierigere Version der Transzendenten Etüden seit 1911 erstmalig für die Interpreten und Forscher zugänglich. Im Gegensatz zur 1911 als Band der ersten Liszt-Gesamtausgabe erschienenen Ausgabe werden in der NLA auch die Textversionen mancher Etüden publiziert, ebenso wie das Fis-Dur Albumblatt (als Faksimile und moderne Transkription), welches auch alsSkizze der geplanten dreizehnten Etüde angesehen werden kann, außerdem die früheren Versionen der sog. Mazeppa- und Ab irato-Etüden. Auch das geheimnisvolle Albumblatt, das sog. ‚Prélude omnitonique' wurde, ebenso wie weitere ähnliche Albumblätter in diesen Band aufgenommen.

Arranged by Dan Coates. For Piano. Piano - Intermediate / Advanced Collection. Level: Advanced. Book. 148 pages. Published by Alfred Publishing.

By Many. Arranged by Brent Jorgensen. Text: Many. For Easy Songbook. Published by Jackman Music Corporation.
Level: Easy.