By Nicolas Horvath. By Robert Orledge and Claude Debussy (1862-1918). Rediscoverd Debussy. Christmas. Score. Musik Fabrik #MFCD017A. Published by Musik Fabrik

By Carol Barratt. For Piano. Folk, Blues, Classical. 64 pages. Published by Music Sales

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.

Composed by Various. For Piano/Keyboard. Hal Leonard Fake Books. Classical. Difficulty: medium to medium-difficult. Fakebook. Melody line, chord names and lyrics (on some songs). 413 pages. Published by Hal Leonard

Arranged by Margaret Goldston and Bernadine Johnson. For Piano. Piano Collection. Learning Link. Ballet. Level: Late Elementary / Early Intermediate. Book. 56 pages. Published by Alfred Publishing.

Piano

SKU: HL.49002680

Composed by Knight. This edition: Hardback/Hard Cover. Book. Edition Schott. Classical. 112 pages. Schott Music #ED 11151. Published by Schott Music (HL.49002680).

ISBN 9780901938039. English.

Ballet an its Music traces the influence of the outstanding personalities in the world of ballet from the seventeenth century to the present day. The development of dance-technique and ballet music is followed from the courtly and peasant dances of the High Renaissance through to contemporary productions. The author deals in detail not only with the great choreographers, past and present, but also with the composers whose names are especially linked with ballet and who have made a significant contribution to music for the dance. She combines a historical narrative with a perceptive treatment of world-famous Schools and Companies. Ballet and its Music is copiously illustrated with photographs and engravings. A special feature of the book is the collection of music extracts from many famous ballets, arranged for piano solo, which will make it particularly attractive to the student an amateur musician. Althrough primarily intended for young people embarking on a study of ballet, the wealth of information contained in this book will make it a stimulating and invaluable guide for readers of all ages.

Composed by Modest Petrovich Mussorgsky (1839-1881). Masterworks; Piano Solo; Solo; Solo Small Ensembles. Kalmus Edition. Classical Period. Collection. With standard notation, fingerings and introductory text (does not include words to the songs). 35 pages. Kalmus Classic Edition #00-K03688. Published by Kalmus Classic Edition

Collection for solo piano(all C instruments), . 159 pages. Published by Santorella Publications.

55 Selections from Symphonies, Ballets, Operas & Piano Literature for Piano Solo. Arranged by Blake Neely, Richard Walters. World's Greatest Classical Music. Size 9x12 inches. 240 pages. Published by Hal Leonard.

Piano SKU: HU.HN477 Composed by Modest Petrovich Mussorgsky. Edited by Petra Weber-Bockholdt. Piano Solo, Piano and Keyboard, Repertoire, Solos. Pictures at an Exhibition. Classical, Romantic. Softcover Book. 51 pages. G. Henle #HN477. Published by G. Henle (HU.HN477).

Composed by Various. Arranged by Carol Klose, Christopher Norton, and Hywel Davies. BH Piano. Ballet, Classical. Softcover. 96 pages. Boosey and Hawkes #M060123917. Published by Boosey and Hawkes

Famous and Fun: Classics Themes, Book 2 offers a wonderful introduction to the timeless masterpieces of the great composers. Featuring arrangements of themes from symphonic, operatic and keyboard literature, these works have been carefully selected to appeal to beginners at the early elementary/elementary level. Optional duet parts for teacher or parent.

By Aram Ilyich Khachaturian (1903-1978). Arranged by Matthew Cameron. Piano Solo. Softcover. 12 pages. Published by G. Schirmer

Edited by Dan Fox. Collection for solo piano. 52 Best-Loved Compositions by the Finest Composers. 128 pages. Published by Alfred Publishing.

(Music from operas, ballets, and musicals). By Janet Bullard; Alan Bullard. For Piano solo. Pianoworks. 40 pages. Published by Oxford University Press

Ballet in 3 Acts Piano Reduction. By Dmitri Shostakovich. Piano. Size 9x12 inches. 227 pages. Published by DSCH.

By Denes Agay. Book. Published by Music Sales. (YK21053) Designed for use as a method book, this book allows the teacher to vary the approach according to the needs of the student. The book can also be used as a source of carefully graded pieces, for use with any first-year method.

Made Easy for Piano Solo. By Alexander Borodin; Amilcare Ponchielli; Camille Saint-Saens; Carl Maria Von Weber; Charles F. Gounod; Claude Debussy; Franz Schubert; Frederic Chopin; Igor Fyodorovich Stravinsky; Jacques Offenbach; Jules Massenet; Leo Delibes; Peter Ilyich Tchaikovsky. Arranged by John Brimhall. Solo piano. For Piano Solo. Great Music Made Easy: Masterwork Series. Solo part. 48 pages. Published by Carl Fischer.

Edited by Denes Agay. For piano. Format: piano solo book. With fingerings, glossary of musical terms, performance notes, introductory text and biographical sketches of composers. Baroque. 232 pages. 9x12 inches. Published by Yorktown Music Press.

A Comedy Ballet in 3 Acts and 4 Scenes Ballet Piano Score. By Dmitri Shostakovich. (Piano). DSCH. Book only. Size 8.5x11.75 inches. 236 pages. Published by DSCH.

By Carol Barratt. For Piano. Classical, Folk, Country. 40 pages. Published by Music Sales

Selected and edited by Denes Agay. Book. Published by Music Sales. (YK20568) By popular demand, a second volume of piano pieces for the beginner and early grade pianist has been compiled by Dr. Agay. Contains rare, original keyboard miniatures of three centuries, some of which have not been in print before.

(83 Early / Late Intermediate Selections Requiring a Hand Span of an Octave or Less). Edited by Maurice Hinson. For Piano. Piano Collection. Essential Keyboard Repertoire. Masterwork. Early Intermediate / Late Intermediate. Book. 164 pages. Published by Alfred Music Publishing

Polka from the Ballet The Golden Age, Op. 22. (for Piano). By Dmitri Shostakovich (1906-1975). DSCH. Book only. 8 pages. Published by DSCH

By Andrey Komanetsky. For piano. FJH Composers In Focus. Intermediate/Late Intermediate. Book