French composer, Henri Büsser entered the Paris Conservatoire in 1889. He won the 1893 Prix de Rome and led a highly successful career as a composer, conductor, teacher and organist. His compositions for a variety of instruments are exceptional, Piece In D for French Horn and Piano being no exception. As reflected in Piece In D, Büsser's compositional style was sophisticated, yet true to the 19th century French tradition. Elements of the work include include, chromaticism, use of a wide tessitura, complex rhythms, scalic passages and wide intervals. For all advanced Horn players, Büsser's Piece In D is essential to a varied repertoire.
SKU: HL.48182923
UPC: 888680865399. 9.0x12.0x0.084 inches.
Henri Busser: Piece Op.22 in B flat major (Oboe & Piano).
SKU: HL.48180301
UPC: 888680795627. 9x12 inches.
The second of the Two Pieces for flute and harp or piano accompaniment,'“2. The squirrels” is a lovely short piece composed by Henri Busser. Really different from the “1. The swans,” this piece is much more cheerful and slightly faster. It is perfect to work on the flexibility of the tone and good training to be able execute more challenging pieces. Starting in D major, the piece has a ternary form (ABA), with a beginning in staccato, a slower B part and the repeat of the initial theme for the end. The most difficult part of this piece will be found in the last two measures, with really fast notes to play. It will be necessary to start to play them at a slower tempo to get the perfect technique and then increase the speed. This work is preceded by “The Swans,” with a difficulty rated at 5. Henri Busser (1872-1913) is a French classical composer and organist. He was a professor at the Paris Conservatoire and a member of the Académie française. He wrote a ballet, numerous operas and chamber music.
SKU: 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 SilenceFrom 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.
SKU: HL.48182951
UPC: 888680864545. 9.0x12.0 inches.
Piece de Concert sur des Airs languedociens.
SKU: HL.50574992
SKU: HL.48180300
UPC: 888680795436. 9.0x12.0x0.036 inches.
The first of the Two Pieces for flute and harp or piano accompaniment, “1. The swans”? is a lovely short piece composed by Henri Busser. Really melodious, this piece is perfect to work on the flexibility of the tone and a good training to be able execute pieces more difficult. Written mainly in A key, not often used by flutists, and starting Andantino moderato, the piece symbolizes the swans, riding on a lake. It features an intro, a main theme in [A] which comes back A tempo in [C] and a final Piú moderato, finishing with a really high trill. Some difficulties, such as the A key and the range used on this piece will require an intermediate technique: difficulty is rated at 5. This first piece is followed by the second one: “?The squirrels.” Henri Busser (1872-1913) is a French classical composer and organist. He was a professor at the Paris Conservatoire and a member of the Académie française. He wrote a ballet, numerous operas and chamber music.
SKU: HL.48181536
UPC: 888680842109. 9.0x12.0x0.05 inches.
“Camille Saint-Saëns (1835-1921) is best known for his Carnival of the Animals and Organ Symphony. Yet, his Fantasy in E flat major arranged for Cornet or Trumpet and Piano remains popular in the advanced repertoire for the instruments. Saint-Saëns entered the Paris Conservatoire at the mere age of thirteen, where he studied Organ and composition. He then went on to have a successful career as an organist and composer, writing his Fantasy in E flat major in 1857. The piece was originally composed for the Organ, but Henri Busser (1872-1973) recognised the work's significance and arranged it for Cornet or Trumpet with Piano accompaniment. To this day, Fantasy in E flat major remains prominent in the advanced brass player's repertoire.”.
SKU: HL.48186455
UPC: 888680828639. 9x12 inches.
“Born to an Italian father and a French mother, Eugène Bozza (1905-1991) divided his music studies between the Academia Santa Cecilia in Rome and the Conservatoire de Paris, where he was taught by Henri Büsser and Henri Rabaud. His chamber music compositions reveal a marked predilection for wind instruments, as reflected in Fantaisie pastorale for oboe and piano (1939) and New-Orléans for bass saxhorn and piano (1944). During his stay a few years earlier at the Villa Medici in Rome (1936), Bozza had written his Aria Pour Saxophone Alto Et Piano ' a free adaptation of the third movement of Johann Sebastian Bach's Organ Pastorale in F major BWV 590. This expansive and nostalgic melody, which unfolds over a regular meter, has become one of the most widely played SaxoEphone pieces in the world. Having enjoyed such success, Éditions Leduc has decided to supplement its republication with an audio version that will enable saxoEphonists to carry out 'full-scale' practice.&rdquo.
SKU: HL.48182135
UPC: 888680836801. 9x12.25 inches.
“Fren ch composer, Henri Büsser entered the Paris Conservatoire in 1889. He won the 1893 Prix de Rome and led a highly successful career as a composer, conductor, teacher and organist. His compositions for a variety of instruments are exceptional, Piece in D for French Horn and Piano being no exception. As reflected in Piece in D, Büsser's compositional style was sophisticated, yet true to the 19th century French tradition. Elements of the work include include, chromaticism, use of a wide tessitura, complex rhythms, scalic passages and wide intervals. For all advanced Horn players, Büsser's Piece in D is essential to a varied repertoire.&rdquo.
SKU: TM.05223SC
Orch by H. Busser. Nos. 1-4. Originally scored for organ. Piano not included in score.
SKU: TM.05223SET
