Images, Book 1 By Claude Debussy (1862-1918). Edited by Maurice Hinson. For...(+)
Images, Book 1
By Claude Debussy
(1862-1918).
Edited by Maurice Hinson.
For
Piano. Book; CD;
Masterworks;
Piano Collection. Alfred
Masterwork Edition.
Impressionistic;
Masterwork.
Advanced. 36 pages.
Published
by Alfred Music
Publishing
with a Preface by Fr. Lesure. By Claude Debussy. Edited by Ernst-Gunter Heineman...(+)
with a Preface by Fr.
Lesure. By Claude
Debussy. Edited by
Ernst-Gunter Heinemann.
Piano (Harpsichord),
2-hands. Pages: V and 14.
Urtext edition-paper
bound. Published by G.
Henle.
By Claude Debussy (1862-1918). Edited by Maurice Hinson. For Piano. Book; CD; ...(+)
By Claude Debussy
(1862-1918).
Edited by Maurice Hinson.
For
Piano. Book; CD;
Masterworks;
Piano Collection. Alfred
Masterwork Edition.
Impressionistic;
Masterwork.
Advanced. 32 pages.
Published
by Alfred Music
Publishing
(Piano). By Claude Debussy (1862-1918). Edited by Christophe Grabowski. Editions...(+)
(Piano). By Claude
Debussy (1862-1918).
Edited by Christophe
Grabowski. Editions
Durand. Softcover. 12
pages. Editions Durand
#DD1597200. Published by
Editions Durand
Piano SKU: HU.HN387 Composed by Claude Debussy. Edited by Ernst-Gunter Heineman...(+)
Piano
SKU: HU.HN387
Composed by Claude
Debussy. Edited by
Ernst-Gunter Heinemann.
Piano Solo, Piano and
Keyboard, Repertoire,
Solos. Estampes.
Classical, Romantic.
Softcover Book. 36 pages.
G. Henle #HN387.
Published by G. Henle
(HU.HN387).
ISBN 9780101434904. 12.2
x 9.3 x 0.1 inches.
By Claude Debussy (1862-1918). Edited by Ulrich KrÌ_mer and Ulrich Kr. For Stri...(+)
By Claude Debussy
(1862-1918). Edited by
Ulrich KrÌ_mer and
Ulrich Kr. For String
Quartet (Parts). Henle
Music Folios. G. Henle
#HN999. Published by G.
Henle
with a Preface by Fr. Lesure. By Claude Debussy. Edited by Ernst-Gunter Heineman...(+)
with a Preface by Fr.
Lesure. By Claude
Debussy. Edited by
Ernst-Gunter Heinemann.
Piano (Harpsichord),
2-hands. Pages: VII and
12. Urtext edition-paper
bound. Published by G.
Henle.
Piano SKU: HU.HN380 Composed by Claude Debussy. Edited by Ernst-Gunter Heineman...(+)
Piano
SKU: HU.HN380
Composed by Claude
Debussy. Edited by
Ernst-Gunter Heinemann.
Piano Solo, Piano and
Keyboard, Repertoire,
Solos. Two Arabesques.
Classical, Romantic.
Softcover Book. 16 pages.
G. Henle #HN380.
Published by G. Henle
Composed by Claude Debussy (1862-1918), edited by E. G. Heinemann. Single piece ...(+)
Composed by Claude
Debussy (1862-1918),
edited by E. G.
Heinemann. Single piece
and set of parts for
Violin and piano. With
introductory text,
performance notes,
bowings and fingerings.
Urtext edition-paper
bound. 56 pages.
Published by G. Henle.
Piano Solo. Composed by Claude Debussy (1862-1918). Edited by Edmond Lema&At...(+)
Piano Solo. Composed by
Claude Debussy
(1862-1918).
Edited by Edmond
Lemaître.
MGB. Softcover. 40 pages.
Editions Durand #DD16230.
Published by Editions
Durand
(Including NAXOS CD). By Claude Debussy (1862-1918). For solo piano. Book; CD; ...(+)
(Including NAXOS CD). By
Claude Debussy
(1862-1918). For solo
piano. Book; CD;
Masterworks; Piano
Collection. Faber
Edition: Chill With.
Impressionistic;
Masterwork. Advanced;
Early Advanced;
Intermediate; Late
Intermediate. Book and
CD. Published by Faber
Music
Piano seul [Partition] - Intermédiaire/avancé Alfred Publishing
By Claude Debussy. Edited by Willard A. Palmer. For Piano. Piano Solo. Masterwor...(+)
By Claude Debussy. Edited
by Willard A. Palmer. For
Piano. Piano Solo.
Masterwork. Level: Early
Advanced (grade 6 ). 8
pages. Published by
Alfred Publishing.
Composed by Claude Debussy (1862-1918), edited by Ernst-Gunter Heinemann. For fl...(+)
Composed by Claude
Debussy (1862-1918),
edited by Ernst-Gunter
Heinemann. For flute
(unaccompanied). Urtext.
Format: flute solo
single. With introductory
text. Impressionistic. 5
pages. 9x12 inches.
Published by G. Henle.
Sonata Flûte traversière et Piano Theodore Presser Co.
For Flute and Piano (originally for Violin and Piano). Composed by Claude Deb...(+)
For Flute and Piano
(originally for Violin
and
Piano). Composed by
Claude
Debussy (1862-1918).
Arranged by Denis
Bouriakov.
Sws. Score-and-parts.
Duration 13 minutes.
Theodore Presser Company
#114-41856. Published by
Theodore Presser Company
(LN) SKU: HL.49020783 Composed by Strobel. This edition: Hardback/Hard Co...(+)
(LN)
SKU:
HL.49020783
Composed
by Strobel. This edition:
Hardback/Hard Cover.
Book. Edition Schott. 260
pages. Schott Music #ATL
6062. Published by Schott
Music (HL.49020783).
ISBN 9783254000620.
German.
Heinrich
Strobel hat mit dieser
Biographie einen
wichtigen Beitrag zum
tieferen Verstandnis
Debussys und seiner Musik
geleistet. Sein Buch ist
weder ein Schlachtfeld
entwicklungsgeschichtlich
er Dialektik noch ein
Friedhof gesicherter
Erkenntnisse. Aus
genauester Kenntnis der
Fakten wird vielmehr jede
Situation bildhaft
heraufgerufen, das Hier
und Jetzt in dem der
Mensch und Kunstler
Debussy lebte und wirkte.
Menschen und Dinge,
Gedanken und Handlungen
erstehen so vor dem Leser
mit der sprechenden
Unmittelbarkeit
lebendiger Gegenwart. Die
Kunst der Andeutung, der
Nuance, jene Grazie und
phantasievolle Eleganz,
die Debussy liebte und
die aus jedem seiner
Werke spricht, sie findet
sich gespiegelt in diesem
Buch. In Bericht und
Deutung gewinnt es auf
diese Weise eine
uberzeugende
Authentizitat. Die
Leidensjahre am
Conservatoire, die in
Debussy den Hass gegen
alles Hergebrachte
wachsen liessen, das
italienische Exil des
Rompreistragers, die
intensive, fortschreitend
kritische, schliesslich
antipodische Beziehung
zum Werk Richard Wagners,
die Literatur des
Symbolismus und ihre
Dichter, die Musik des
Fernen Ostens, die Werke
der alten Meister, die
kuhle Formkunst und der
rhythmische Elan des
Ballets Russes:
Richtpunkte und
Stationen, in deren
Spannungsfeld sich, allen
Widerstanden zum Trotz,
ein Oeuvre ausformte, dem
die Musik unseres
Jahrhunderts starkste
Impulse verdankte.
Piano SKU: HU.HN402 Composed by Claude Debussy. Edited by Ernst-Gunter Heineman...(+)
Piano
SKU: HU.HN402
Composed by Claude
Debussy. Edited by
Ernst-Gunter Heinemann.
Piano Solo, Piano and
Keyboard, Repertoire,
Solos. Six Epigraphes
antiques. Classical,
Romantic. Softcover Book.
27 pages. G. Henle
#HN402. Published by G.
Henle (HU.HN402).
Piano - Grade 5 SKU: FA.MFCD017B By Nicolas Horvath. By Claude Debussy an...(+)
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.