| Debussy Inconnu: Album of works for the piano by Claude Debussy completed by Robert Orledge, Vol. 1 Piano seul [Conducteur] Musik Fabrik
By Nicolas Horvath. By Robert Orledge and Claude Debussy (1862-1918). Redi...(+)
By Nicolas Horvath. By
Robert Orledge and Claude
Debussy (1862-1918).
Rediscoverd Debussy.
Christmas. Score. Musik
Fabrik #MFCD017A.
Published
by Musik Fabrik
$48.69 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Debussy Inconnu: Album of works for the piano by Claude Debussy completed by Robert Orledge, Vol. 2 Piano seul [Conducteur] - Intermédiaire Musik Fabrik
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. $48.69 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Mémoire d’une bergère Piano seul [Conducteur] - Facile Musik Fabrik
Piano - Grade 3 SKU: FA.MFGT056 Composed by Germaine Tailleferre. Piano M...(+)
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. $23.69 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Tuxedo Piano seul [Conducteur] - Facile Musik Fabrik
Piano - Grade 3 SKU: FA.MFGT057 Composed by Germaine Tailleferre. Piano M...(+)
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 Ã
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. $9.94 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Prelude a L'Histoire de Tristan Piano seul [Conducteur] - Intermédiaire Musik Fabrik
Piano - Grade 4 SKU: FA.MFCD007PN By Nicolas Horvath. By Claude Debussy a...(+)
Piano - Grade 4 SKU:
FA.MFCD007PN By
Nicolas Horvath. By
Claude Debussy and Robert
Orledge. Rediscoverd
Debussy. Classical,
Impressionistic. Score.
Musik Fabrik #MFCD007PN.
Published by Musik Fabrik
(FA.MFCD007PN). 8.27 x
11.69
inches. Debussy's
friendship with the
versatile poet and
playwright Gabriel Mourey
began in 1899, and in
July 1907 Mourey offered
Debussy a libretto based
on Le roman de Tristan -
Joseph Bedier's
adaptation of a
twelfth-century Breton
romance by the
Anglo-Norman poet known
as Thomas - which had
recently been published
in Paris. Debussy
enthusiastically outlined
the four-act plot to
Victor Segalen that
October, and the main
differences from Wagner's
Tristan und Isolde are
that none of the action
takes place in Cornwall
and that Isolde of the
White Hands is found
guilty of cuckolding King
Marc with Tristan, who
has to rescue her from
the leper colony in which
she is abandoned in Act
1. She also betrays him
when he goes mad at the
end.
The idea of a
Tristan that restored its
'legendary character' and
had no connections with
Wagner, appealed to
Debussy, who was
extremely moved by the
circumstances of
Tristan's death. Even if
he thought that Mourey's
poetry was 'not very
lyrical and many passages
do not exactly invite
music', he did work on
the libretto and the
music that summer and
sent his publisher,
Jacques Durand, 'one of
the 363 themes for the
Roman de Tristan' in a
letter sent from
Pourville on 23 August,
1907. The present prelude
grows from this theme,
together with the
poignant Breton folksong
Le Faucon. After a short
atmospheric introduction,
Debussy's dance-like
theme (which is
definitely not a
leitmotif) gradually
gains momentum and after
it reaches its ecstatic
climax, representing the
transient happiness of
the lovers, it dissolves
into an expressive coda
and an elegiac close (all
growing from Debussy's
opening, off-stage
trumpet calls), leaving
us with the ultimate
tragedy of their
ill-fated
affair.
Unfortunat
ely, Mourey's actual
libretto has been lost
and the project
eventually foundered
because Bedier's cousin,
Louis Artus, wanted
Debussy to use the
scenario he had prepared
and copyrighted for the
stage, and would not
allow him to proceed with
Mourey's version.
Debussy, it need hardly
be said, would never have
dreamed of collaborating
with the author of the
vaudeville hit La culotte
(The pants)! $12.94 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Charlie False Piano seul [Conducteur] - Facile Musik Fabrik
Piano - Grade 2 SKU: FA.MFGT055 Composed by Germaine Tailleferre. Piano M...(+)
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. $9.94 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| A Night In the House of Usher Piano seul [Conducteur] - Intermédiaire Musik Fabrik
Piano - Grade 4 SKU: FA.MFRO001P Composed by Claude Debussy and Robert Or...(+)
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. $16.19 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Les Accords du Septieme Regrettent !!! Piano seul [Conducteur] - Facile Musik Fabrik
Piano - Grade 3 SKU: FA.MFCD010 Composed by Claude Debussy and Robert Orl...(+)
Piano - Grade 3 SKU:
FA.MFCD010 Composed
by Claude Debussy and
Robert Orledge.
Rediscoverd Debussy.
Classical,
Impressionistic. Score.
Musik Fabrik #MFCD010.
Published by Musik Fabrik
(FA.MFCD010). 8.27 x
11.69 inches. Les
accords de septieme
regrettent!!! was the
first of the birthday
gift Debussy wrote for
his second wife-to-be
Emma Barda on 4 June
1905. It consists of only
nine bards, inscribed as
follows: 'But see how
successfully the chords
of the 9th, equipped with
all their harmonies, send
the regrettable 7th [in
bars 1-4] about their
business and borrow from
the colour of the sky
some godlike gleams in
order to celebrate your
birthday, dear petite
mienne' ['Mais voici
qu'heureusement des
accords de 9me armes de
tous leurs harmoniques te
nous envole promener les
regrettable 7emes et
emprunte a la couleur de
ciel des lueurs
d'apotheose pour celebrer
ta chere fete de chere
petite mienne'] Which
shous how much their
initially idyllic
relationship was founded
on Emma's sympathetic
understanding of
Debussy's musical
language, something that
had proved impossible for
his first wife Lilly. $8.11 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
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