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Koechlin
SheetMusicPlus
Piano solo
Sheetmusic to print
5 sheet music found
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1
Le Portrait de Daisy Hamilton
Piano solo
Piano - advanced - Digital Download Volume 2:Twelve other Piano Pieces. Composed by C…
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Piano - advanced - Digital Download Volume 2:Twelve other Piano Pieces. Composed by Charles Koechlin (1867-1950). Arranged by Robert Orledge. This edition: Sheet music. Filmmusik, Frankreich, Piano. Downloadable. Op. 140, Op. Heft 2. Schott Music - Digital #Q6570. Published by Schott Music - Digital
Finally, the music of Charles Koechlin is no longer an insider tip, but is being discovered for both the concert hall and the CD! With our issue we are now presenting a largely unknown facet of his work. Because hardly anyone knows that Koechlin turned to film at an advanced age. Although Koechlin was aware that there was no prospect of a cinematic implementation, he even designed a film scenario in 20 scenes in which he himself should appear in a double role! At the age of 66 he saw the actress Lilian Harvey as Princess Marie-Christine in Princesse à in a Parisian movie theater . vos ordres. He was so enchanted that he made the little pieces of Le Portrait de Daisy Hamilton for hercomposed & ndash. adorable miniatures that were not written as film music, but triggered by film experiences.<br> .<br> Of the unfinished compositions Le Portrait de Daisy Hamilton, notated on two to four lines, we publish two volumes of twelve piano pieces each. Further booklets in other instrumentation will follow. With the seven planned issues Le Portrait de Daisy Hamilton , Charles Koechlin's last unpublished works from the field of film will finally be accessible to posterity.
$16.99
15.66 €
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Piano solo
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Charles Koechlin
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Le Portrait de Daisy Hamilton
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Schott Music - Digital
#
SheetMusicPlus
Le Portrait de Daisy Hamilton
Piano solo
Piano - advanced - Digital Download Volume 1: Twelve Piano Pieces. Composed by Charle…
(+)
Piano - advanced - Digital Download Volume 1: Twelve Piano Pieces. Composed by Charles Koechlin (1867-1950). Arranged by Robert Orledge. This edition: Sheet music. Filmmusik, Piano, Leinwand. Downloadable. Op. 140, Op. Heft 1. Schott Music - Digital #Q6568. Published by Schott Music - Digital
Finally, the music of Charles Koechlin is no longer an insider tip, but is being discovered for both the concert hall and the CD! With our edition we are now presenting a largely unknown facet of his work. Because hardly anyone knows that Koechlin turned to film at an advanced age. Although Koechlin was aware that there was no prospect of a cinematic implementation, he even designed a film scenario in 20 scenes in which he himself should appear in a double role! At the age of 66 he saw the actress Lilian Harvey as Princess Marie-Christine in Princesse a vos ordres in a Parisian movie theater . He was so enchanted that he made the little pieces Le Portrait de Daisy Hamilton for her composed - captivating miniatures that were not written as film music, but drawn from film experiences.<br> .<br> Of the unfinished compositions Le Portrait de Daisy Hamilton, notated on two to four lines, we first publish two volumes with twelve piano pieces each. Further booklets in other instrumentation will follow. With the seven planned issues Le Portrait de Daisy Hamilton , Charles Koechlin's last, as yet unpublished works from the field of film will finally be made available to posterity.
$17.99
16.59 €
#
Piano solo
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Charles Koechlin
#
Le Portrait de Daisy Hamilton
#
Schott Music - Digital
#
SheetMusicPlus
Nocturne
Piano solo
Piano - difficult - Digital Download SKU: S9.Q47441 For piano. Composed by C…
(+)
Piano - difficult - Digital Download SKU: S9.Q47441 For piano. Composed by Charles Koechlin. This edition: Sheet music. Downloadable. Op. 33. Duration 12 minutes. Schott Music - Digital #Q47441. Published by Schott Music - Digital (S9.Q47441). This first print is a rarity: the highly virtuoso, evocative 'Nocturne' owes its creation to an instrument that has only survived as a museum piece. Gustave Lyon, the director of the French instrument maker Pleyel, commissioned Charles Koechlin as well as several other French composers (such as Claude Debussy and Maurice Ravel) to write works for the 'harpe chromatique' developed by him around 1900. In contrast to the common pedal harp, the chromatic harp allows for an unlimited modulatory range. Nevertheless, the instrument did not gain much acceptance and remained exotic. Koechlin was aware of the difficulty of introducing and establishing new instruments. He therefore, from the very beginning, had the piano as an alternative of equal value in mind when writing his Nocturne.
$15.99
14.74 €
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Piano solo
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Charles Koechlin
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Nocturne
#
Schott Music - Digital
#
SheetMusicPlus
Debussy Inconnu: Album of works for the piano by Claude Debussy completed by Robert Orledge, Vol. 2
Piano solo
Piano Solo - Advanced Intermediate - Digital Download Composed by Claude Debussy/Ro…
(+)
Piano Solo - Advanced Intermediate - Digital Download Composed by Claude Debussy/Robert Orledge. 20th Century, Impressionistic, Repertoire. Score. 76 pages. Published by Musik Fabrik Music Publishing
Contains Le Roi Lear: Prélude,Première Fanfare, and La Mort de Cordélia,Toomai des éléphants, Rodrigue et Chimène: Prélude à l’acte 1p. Le Martyre de Saint Sébastien: La Passion , and No-ja-li ou Le Palais du Silence<br> <br> From Robert Orledge's notes:<br> <br> 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 Pelléas et Mélisande 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 Orphée-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 Sébastien and La Boîte à joujoux by his ‘angel of corrections’ [‘l’ange des Corrections’] André Caplet in 1911 and 1919 respectively).<br> <br> 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.<br> <br> 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 André 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.<br> <br> 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.
$38.95
35.91 €
#
Piano solo
#
Claude Debussy/Robert Orledge
#
Debussy Inconnu: Album of works for the piano by Claude Debussy completed by Robert Orledge, Vol. 2
#
Musik Fabrik Music Publishing
#
SheetMusicPlus
Debussy Inconnu: Album of works for the piano by Claude Debussy completed by Robert Orledge, Vol. 1
Piano solo
Piano Solo - Advanced Intermediate - Digital Download Composed by Claude Debussy/Ro…
(+)
Piano Solo - Advanced Intermediate - Digital Download Composed by Claude Debussy/Robert Orledge. 20th Century, Impressionistic, Repertoire, Recital. Score. 71 pages. Published by Musik Fabrik Music Publishing
Contains A Night in the House of Usher Un Jour affreux avec Le Diable dans le beffroi, Les accords de septième regrettent!!!, Petite Valse,Fêtes galantes, and Prélude à ‘L’Histoire de Tristan’<br> <br> From Robert Orledge's notes:<br> <br> 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 Pelléas et Mélisande 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 Orphée-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 Sébastien and La Boîte à joujoux by his ‘angel of corrections’ [‘l’ange des Corrections’] André Caplet in 1911 and 1919 respectively).<br> <br> 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.<br> <br> 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 André 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.<br> <br> 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.
$38.95
35.91 €
#
Piano solo
#
Claude Debussy/Robert Orledge
#
Debussy Inconnu: Album of works for the piano by Claude Debussy completed by Robert Orledge, Vol. 1
#
Musik Fabrik Music Publishing
#
SheetMusicPlus
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