SKU: 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.

SKU: BT.DHP-1053813-401

ISBN 9789043122276. 9x12 inches. English-German-French-Dutch.

The following situation may be familiar to you: You’re at a party, visiting friends or hosting relatives and someone asks you to play something on the piano. It’s best to choose a song that people know, but it is often difficult to choose one that is suitable. You are expected to perform on the spot and impress your audience. This book contains thirteen pieces written especially for such occasions. From Lambada to Beethoven, from The Muppet Show to Sting, you’re sure to find familiar songs for your impromptu performances. And best of all, these pieces can be played by anyone who has taken piano lessons for just a few years.

Een stuk spelen op verzoek - van klassiek tot populair? In dit boek staan dertien bekende stukken waarmee de pianist voor de dag kan komen bij diverse gelegenheden. Van de Lambada tot Beethoven en van The Muppet Showtot Sting: By Request is geschikt voor iedereen die een paar jaar les heeft gehad.

Die folgende Situation ist sicherlich vielen vertraut: Bei einer Party oder einem Familienfest wird man gebeten, etwas Nettes auf dem Klavier vorzuspielen. Da ist es oft schwer, das Passende zu finden. Dieses Buch enthält dreizehn leichte Stücke, mit welchen auch Spieler mit wenig Erfahrung bei solchen Gelegenheiten groß herauskommen können. Ob vorgetragen oder zu Hause zum eigenen Vergnügen gespielt: Es ist für jeden Anlass und jede Stimmung etwas dabei!

Lors d’une soirée entre amis ou en famille, on vous demande de vous mettre au piano et de jouer une petite musique sympathique. By Request contient treize moreaux adaptés spécialement ce genre de situation : de la Lambada Ludwig van Beethoven, du Muppet Show Sting, toutes les pièces présentées dans ce recueil sont célèbres et sont accessibles aux pianistes ayant quelques années de pratique instrumentale.

Quando alla sera fra amici o in famiglia, vi viene domandato di mettervi al pianoforte e di suonare una piccola e simpatica musica, la difficolt risiede nella scelta del brano. By Request contiene 13 brani adatti a questo genere di situazione: dalla Lambada a Ludwig van Beethoven, da Muppet Show a Sting, tutti i brani presenti in questa raccolta sono celebri e accessibili a tutti i pianisti con qualche anno di pratica strumentale.

SKU: PR.140401320

ISBN 9781491134177. UPC: 680160684274. 9 x 12 inches. Key: F major.

LOVE WILL FIND A WAY is one of the great hits of the 1920s – an era of remarkable cultural growth giving rise to “The Roaring '20s,” “The Harlem Renaissance,” and a fun-loving society known for the Charleston dance craze and the surge of jazz into the mainstream of American music. A song from Shuffle Along, the first all-Black Broadway musical, LOVE WILL FIND A WAY has been arranged by pianist Jeremy Siskind especially for Lara Downes’ recording that launches the Rising Sun series.
According to Langston Hughes, Eubie Blake’s 1921 Shuffle Along was the real start of the Harlem Renaissance. In Hughes’ words: “Everybody was in the audience, including me. It gave just the proper push, a pre-Charleston kick, to that Negro vogue of the '20s that spread to books, African sculpture, music, and dancing.”As Broadway’s first all-Black hit musical, with an all-star cast including Paul Robeson and a young Josephine Baker, Shuffle Along ran for an unprecedented 504 performances in New York, then toured nationally for three years as the first Black musical to play in white theaters across the United States. The show’s appeal to a multi-racial audience, and its integration of the jazz and Broadway communities, not only changed the history of the American musical theater, but made important strides forward in American race relations.Love Will Find a Way is one of the show’s most popular tunes. This intimate, pensive arrangement by Jeremy Siskind celebrates the song’s centenary by making it a love song for our own time as much as its own – a reminder that no matter how dark the path or how gray the skies, love will always find a way.