Piano - Grade 2

SKU: FA.MFGT055

Composed by Germaine Tailleferre. Piano Music by Tailleferre. Classical : Modern. Score. Musik Fabrik #MFGT055. Published by Musik Fabrik (FA.MFGT055).

8.27 x 11.69 inches.

Germaine Tailleferre first met Charlie Chaplin when she was living in New York City with her first husband Ralph Barton. Tailleferre and Chaplin spent a great deal of time improvising at the piano and Tailleferre convinced him to write his own themes for the music he used in his films. After her divorce from Ralph Barton, she did not see Chaplin until the early 1950s during a visit he made to Paris. At that time, she wrote this attractive waltz in Chaplin’s own style to give to him as a gift.

Piano - Grade 4

SKU: FA.MFHM004

By Nicolas Horvath. By Helene de Montgeroult. Edited by Paul Wehage. Historical Music by Women Composers. Classical, Classical. Score. Musik Fabrik #MFHM004. Published by Musik Fabrik (FA.MFHM004).

210 x 297 inches.

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.

Piano - Grade 3

SKU: FA.MFHM008

Composed by Helene de Montgeroult. Edited by Paul Wehage. Historical Music by Women Composers. Classical, Classical. Score. Musik Fabrik #MFHM008. Published by Musik Fabrik (FA.MFHM008).

210 x 297 inches.

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.

Piano - Grade 3

SKU: FA.MFGT057

Composed by Germaine Tailleferre. Piano Music by Tailleferre. Classical : Modern. Score. Musik Fabrik #MFGT057. Published by Musik Fabrik (FA.MFGT057).

8.27 x 11.69 inches.

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.

Piano - Grade 3

SKU: FA.MFGT053

Composed by Germaine Tailleferre. Historical Music by Women Composers. Classical : Modern. Score. Musik Fabrik #MFGT053. Published by Musik Fabrik (FA.MFGT053).

210 x 297 inches.

Written around 1920 after a short vacation to Biarritz, it was dedicated to Marianne Singer, Jean Cocteau's cousin. It was probably the fruit of piano improvisations during this holiday trip.

Solo Piano/Wind Ensemble

SKU: FA.MFCC141SS

Composed by Carson Cooman. Score and solo part. Musik Fabrik #MFCC141SS. Published by Musik Fabrik (FA.MFCC141SS).

Piano - Grade 4

SKU: FA.MFCD011PN

Composed by Claude Debussy and Robert Orledge. Rediscoverd Debussy. Classical, Impressionistic. Score. Musik Fabrik #MFCD011PN. Published by Musik Fabrik (FA.MFCD011PN).

8.27 x 11.69 inches.

In January 1913, Debussy struggled to complete Toomai des elephants as the 11th prelude in Book2, finally replacing it by a rather Stravinskian study Les Tierces alternees. However, his daughter Chouchou was fascinated by elephants and in the summer of 1913, Debussy wrote her a 'Toybox Ballet' (La Boite a joujoux) which contains a 'Pas de l'elephant' and an 'old Hindu chant which is still used to train elephants [in India]. It is constructed on the scale of 5 o'clock in the morning,which means it must be in 5/4 time.' My reconstruction of this lost prelude is based around this material and it evokes a day in the life of Toomai, the young mahout, and his faithful elephant Kala Nag from one dawn to the next, incorporating the legendary 'Elephants' Dance' from Rudyard Kip ling's First Jungle Book (1894) which only Toomai was ever privileged to witness. The version presented here is the revised second version of this prelude which contains an effect of piano harmonics as the dawn returns towards the end.

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.

Piano - Grade 3

SKU: FA.MFHM012

Composed by Helene de Montgeroult. Edited by Paul Wehage. Historical Music by Women Composers. Classical, Classical. Score. Musik Fabrik #MFHM012. Published by Musik Fabrik (FA.MFHM012).

210 x 297 inches.

An important bridge between the Classical and Romantic periods, Helene de Montgeroult was the first female professor at the Paris Conservatory.

Piano

SKU: FA.MFCC136

Composed by Carson Cooman. Musik Fabrik #MFCC136. Published by Musik Fabrik (FA.MFCC136).

Piano

SKU: FA.MFWS001

Composed by Walter C. Sanchez. Musik Fabrik #MFWS001. Published by Musik Fabrik (FA.MFWS001).

Piano - Grade 4

SKU: FA.MFRO001P

Composed by Claude Debussy and Robert Orledge. Rediscoverd Debussy. Classical : Impressionistic. Score. Musik Fabrik #MFRO001P. Published by Musik Fabrik (FA.MFRO001P).

8.27 x 11.69 inches.

Over the years 1908-16, Debussy had produced a viable scenario for Usher on his third attempt. Butwhen he came to making a complete draft of the music, he seems to have lost interest during Roderick Usher's long monologue, even though he was setting his own text. As in No-ja-li he jumped to the next passage that interested him, in this case the exciting final melodrama and the collapse of the Usher house itself. In the process of completing the missing half of the score, I discovered that by reusing Debussy's material for similar psychological situations across the opera, and by metamorphosing existing ideas (as Debussy does with Melisande's theme in his opera Pelleas et Melisande), the only things I really needed to add were linking material and any passages where fast music was required. So the 'nightmare scherzo', and Lady Madeline's escape from her coffin and her final bloody revenge on her brother are all mine, but most of the rest is existing Debussy in changing contexts (in which the Russian technique of 'changing backgrounds', both harmonic and textural, proved extremely useful, as it did to Debussy in his Prelude a l'apres-midi d'un faune). Eventually, both my completed ballet No-ja-li and the House of Usher were successfully premiered in 2006 and the latter soon began to find its way into the established repertoire in Europe and the US. To further support this, I transcribed some of the highlights of Debussy's score as A Night in the House of Usher for organ, and subsequently piano--with a focus on Scene 2 and the final, horrific and maca-bre melodrama. This climaxes in the double deaths of Roderick Usher and his Sister Madeline, together with the disintegration of the ill-fated House of Usher into the stagnant lake-all beneath a blood-red moon.In this form it was first performed by Ian Buckle in the Howard Assembly Rooms, Leeds in 2010.

Solo Piano/Wind Ensemble

SKU: FA.MFCC141SP

Composed by Carson Cooman. Score and parts. Musik Fabrik #MFCC141SP. Published by Musik Fabrik (FA.MFCC141SP).

Piano - Grade 3

SKU: FA.MFGT059

Composed by Germaine Tailleferre. Piano Music by Tailleferre. Classical : Modern. Score. Musik Fabrik #MFGT059. Published by Musik Fabrik (FA.MFGT059).

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.

Piano - Grade 3

SKU: FA.MFHM005

Composed by Helene de Montgeroult. Edited by Paul Wehage. Historical Music by Women Composers. Classical, Classical. Score. Musik Fabrik #MFHM005. Published by Musik Fabrik (FA.MFHM005).

210 x 297 inches.

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.

Piano - Grade 4

SKU: FA.MFCD0013PN

Composed by Claude Debussy and Robert Orledge. Rediscoverd Debussy. Classical, Impressionistic. Score. Musik Fabrik #MFCD0013PN. Published by Musik Fabrik (FA.MFCD0013PN).

8.27 x 11.69 inches.

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.

Piano

SKU: FA.MFJTB016

Composed by Jean-Thierry Boisseau. Musik Fabrik #MFJTB016. Published by Musik Fabrik (FA.MFJTB016).

Piano - Grade 3

SKU: FA.MFGT056

Composed by Germaine Tailleferre. Piano Music by Tailleferre. Classical : Modern. Score. Musik Fabrik #MFGT056. Published by Musik Fabrik (FA.MFGT056).

8.27 x 11.69 inches.

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.

Piano - Grade 3

SKU: FA.MFCD016

Composed by Claude Debussy and Robert Orledge. Rediscoverd Debussy. Classical, Impressionistic. Score. Musik Fabrik #MFCD016. Published by Musik Fabrik (FA.MFCD016).

8.27 x 11.69 inches.

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.

Piano - Grade 4

SKU: FA.MFHM003

By Nicolas Horvath. By Helene de Montgeroult. Edited by Paul Wehage. Historical Music by Women Composers. Classical, Classical. Score. Musik Fabrik #MFHM003. Published by Musik Fabrik (FA.MFHM003).

210 x 297 inches.

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.

Piano - Grade 3

SKU: FA.MFHM006

Composed by Helene de Montgeroult. Edited by Paul Wehage. Historical Music by Women Composers. Classical, Classical. Score. Musik Fabrik #MFHM006. Published by Musik Fabrik (FA.MFHM006).

210 x 297 inches.

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.

Piano

SKU: FA.MFCC025

Composed by Carson Cooman. Musik Fabrik #MFCC025. Published by Musik Fabrik (FA.MFCC025).

Piano - Grade 5

SKU: FA.MFJFK030

Composed by Joseph-Francois Kremer. New Music from Corsica. Classical : Modern. Score. Musik Fabrik #MFJFK030. Published by Musik Fabrik (FA.MFJFK030).

210 x 297 inches.

One of a series of nine piano pieces by the noted Corsidan composer.

Piano - Grade 5

SKU: FA.MFJFK031

Composed by Joseph-Francois Kremer. New Music from Corsica. Classical : Modern. Score. Musik Fabrik #MFJFK031. Published by Musik Fabrik (FA.MFJFK031).

210 x 297 inches.

One of a series of nine piano pieces by the noted Corsidan composer.

Piano - Grade 2

SKU: FA.MFCG009

Composed by Clémence de Grandval. Historical music by women composers. Classical : Romantic. Score. Musik Fabrik #MFCG009. Published by Musik Fabrik (FA.MFCG009).

8.27 x 11.69 inches.

An excerpt from her conic opera “Piccolino for solo piano.

Piano - Grade 4

SKU: FA.MFCD012PN

Composed by Claude Debussy and Robert Orledge. Rediscoverd Debussy. Classical, Impressionistic. Score. Musik Fabrik #MFCD012PN. Published by Musik Fabrik (FA.MFCD012PN).

8.27 x 11.69 inches.

This is the piano solo reduction of Debussy's Wagnerian opera Rodrigue et Chimene (1890-93) which has had quite a few orchestral performances. Here the work is completed by Robert Orledge with a new concert ending.

Piano - Grade 4

SKU: FA.MFHM002

By Nicolas Horvath. By Helene de Montgeroult. Edited by Paul Wehage. Historical Music by Women Composers. Classical, Classical. Score. Musik Fabrik #MFHM002. Published by Musik Fabrik (FA.MFHM002).

210 x 297 inches.

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.

Piano - Grade 4

SKU: FA.MFHM001

By Nicolas Horvath. By Helene de Montgeroult. Edited by Paul Wehage. Historical Music by Women Composers. Classical, Classical. Score. Musik Fabrik #MFHM001. Published by Musik Fabrik (FA.MFHM001).

210 x 297 inches.

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.

Piano

SKU: FA.MFCC090

Composed by Carson Cooman. Musik Fabrik #MFCC090. Published by Musik Fabrik (FA.MFCC090).

Piano - advanced

SKU: BT.MFHM012

Composed by Helene de Montgeroult. Classical. Book Only. Musik Fabrik #MFHM012. Published by Musik Fabrik (BT.MFHM012).