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

By Nikolay Andreyevich Rimsky-Korsakov (1844-1908). For piano solo. This edition: French Edition. Classique. Anacrouse Collection. Piano arrangement (with biography and performance notes). Medium. Score. 4 pages. Published by Editions Bourges

By Moritz Moszkowski (1854-1925). For piano. Keyboard music. Published by Noten Roehr

Piano

SKU: NR.73185

Arrange pour le piano. Composed by Anton Kontski. Score. Noten Roehr #73185. Published by Noten Roehr (NR.73185).

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

SKU: NR.86202

Pour le piano, opus 41. Composed by Stephen Heller. Score. Noten Roehr #86202. Published by Noten Roehr (NR.86202).

Piano

SKU: CU.EC2435

Composed by Various Artists. Published by Edizioni Curci (CU.EC2435).

Collection for solo piano. Easy to intermediate. Series: The World's Great Classical Music. 232 pages. Published by Hal Leonard.

Piano

SKU: HL.50495852

Composed by Salvatore Sciarrino. MGB. Score Only. Composed 2007. Ricordi #NR139228. Published by Ricordi (HL.50495852).

10.0x13.0x0.461 inches.

Extrait De L'opera "Faust". By Charles Francois Gounod. Arranged by Hans Gunter Heumann. For piano. Published by Lemoine.

Extrait De L'opera "El Cid". By Jules Massenet. Arranged by Hans Gunter Heumann. For piano. Published by Lemoine.

By Hans Gunter Heumann. For piano. Classical. Grade 3. Score. 21 pages. Published by Editions Henry Lemoine

Extrait De L'opera "Le Prince Igor". By Alexander Borodin. Arranged by Hans Gunter Heumann. For piano. Published by Lemoine.

Extrait De L'opera "Sadko". By Nikolay Andreyevich Rimsky-Korsakov. Arranged by Hans Gunter Heumann. For piano. Solo Part. Published by Lemoine.

Extrait De L'opera "Eugene Oneguine". By Peter Ilyich Tchaikovsky. Arranged by Hans Gunter Heumann. For piano. Published by Lemoine.

Easy to Int. Solos 65 Works from Symphonies, Operas, Concertos, Piano Literature and Chamber Music. World's Greatest Classical Music. Size 9x12 inches. Published by Hal Leonard.

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.

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

Piano (Piano)

SKU: HL.48188981

Composed by Reynaldo Hahn. Leduc. CD. 56 pages. Heugel & Cie #HE33887. Published by Heugel & Cie (HL.48188981).

UPC: 888680874209. 9.0x12.0x0.424 inches.

“The Loose Ribbon is one of the most important pieces by Reynaldo Hahn. This set of twelve waltzes for 2 pianos was conceived as entertainment for Hahn?s friends and has a strong melodic aspect. It is one of the greatest pieces of work composed by Hahn in terms of harmony and, written at the end of his Piano writing period; it is a good transition toward his second period that is more focused on comedies and operas. These twelve waltzes are: 1. Décrets indolents du hazard 2. Les soirs d?Albi 3. Souvenir? Avenir? 4. Dans de l?amour et du chagrin 5. Le demi-sommeil embaumé 6. L?anneau perdu 7. Danse du doute et de l?espérance 8. La cage ouverte 9. Soir d?orage 10. Les baisers 11. Il Sorriso 12. Le Seul Amour A poem by Victor Hugo, 'Puisque j?ai mis ma lèvre', built on the theme of the 12th waltz, Le Seul Amour.”.

Piano - Advanced

SKU: YM.GTP01100052

Arranged by Eiichi Fujii. Piano Pop and Vocal. Score. Yamaha Music Media #GTP01100052. Published by Yamaha Music Media (YM.GTP01100052).

ISBN 9784636100310.

16 Classical pieces are arranged in Jazz.
This series is produced by Eiichi Fujii, known as a highly sophisticated jazz piano arranger as well as a pioneer of jazz piano in Japan.
All music sheets in the series have samples of trio ensemble performances for reference; they can be found just by reading the QR code in each book with smartphones.

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.

Piano

SKU: BT.MUSMI0376

Composed by Federico Dattino. Tuition. Book and DVD. Composed 2017. Play Music Italy #MUSMI0376. Published by Play Music Italy (BT.MUSMI0376).

Italian.

Questâ €™opera ha lo scopo di farvi scoprire e suonare diversi tipi di accompagnamenti per il pianoforte a base di accordi e di arpeggi. Comincerete con le ritmiche costituite da accordi placcati e semi-arpeggiati in cui le due mani si completano in modo efficace, sia al livello ritmico che armonico. Proseguirete con gli accompagnamenti in arpeggio, suonati il più delle volte dalla mano destra e completati dalla sinistra che si occupa dei bassi. Infine una terza categoria di ritmiche vi dar l’occasione di utilizzare i rivolti (di 3 poi di 4 suoni) in modo da imparare ad ottimizzare gli spostamenti delle mani sulla tastiera. Ossia 56 accompagnamenti in tutto che costituisconoaltrettanti standard, da utilizzare a piacimento in numerosissimi contesti musicali, dalla canzone alla ballata pop passando per la musica di film. Accessibili all’inizio alla maggior parte dei pianisti, questi accompagnamenti diventano progressivamente più evoluti man mano che si va avanti nel testo in modo da soddisfare ognuno. Sul disco dati allegato al metodo, troverete tantissimi file audio e video. I video (mp4) presentano tramite l’immagine i numerosi accompagnamenti così come devono essere suonati, mentre le registrazioni audio (mp3) propongono tutte le basi musicali corrispondenti, con poi senza il pianoforte. Potrete in questo modo suonare le ritmiche proposte oppure sviluppare i vostri propri accompagnamenti ispirandovi agli esempi del metodo.