Debussy

Par DEBUSSY CLAUDE. Claude Debussy had difficulties finishing his last major work, the Sonata for Violin and Piano. This can be seen in the many drafts which have been handed down and the fact that the cycle for which it was conceived was left unfinished. The work originated under the impact of Debussy' s progressing illness as well as the First World War. The first edition, published during the final year of Debussy' s life, contains many rhythmic errors. The non-autograph metronome marks as well as the discrepancies between the separate violin part and the violin part in small print in the piano score are two problems that have affected the work' s later reception. Both are examined here in a fresh light. In addition to the Sonata, this edition contains arrangements of „La fille aux cheveux de lin' and „Il pleure dans mon coeur' by the American violinist Arthur Hartmann. It was Hartmann who inspired Debussy to make an arrangement of his well-known piano piece „Minstrels' , also included in our edition. - Debussy' s complete works for violin and piano - With arrangements by Debussy' s acquaintance Hartmann - Informative Foreword (Eng/Fr/Ger) - Critical Commentary (Eng)/ Répertoire / Violon et Piano

[Henle Album - Klaviermusik von Bach bis Debussy] / Classique / Partition / Broché / Edition Urtext

Claude Debussy's Douze Etudes (Twelve Studies) for piano were written during the summer of 1915, a period in the composer's life filled with intense creativity. This scholarly edition, edited by Dr. Stewart Gordon, has been carefully researched from autographs and first editions. Discrepancies between sources are mentioned in footnotes. In prefatory matter, Dr. Gordon discusses Debussy's playing, pedaling considerations, and articulation issues. Also provided are detailed analyses of each study's structure, a chart of metronome marks corresponding with recorded performances of the Etudes by famous pianists, and a glossary of the French terms used throughout the Etudes. Additionally, valuable performance recommendations, helpful fingering, and pedaling suggestions are offered in this comprehensive edition. / Piano

Manuel De Falla's Homenaje Le Tombeau De Claude Debussy for solo Guitar. 2014 revised edition by John Duarte. / Guitare

Un arrangement charmant de l'un de Debussy oeuvres les plus connues. / Piano / niveau : Elémentaire / Partition

French pianist arranger composer and conductor Jean Michel Defaye (b. 1932) entered the Paris Conservatoire at the mere age of ten years old. His successful compositions and arrangements were mainly for brass  À La Manière De Debussy composed in 2002 for Trombone and Piano being no exception. With a typical performance lasting about five minutes Defaye's À La Manière De Debussyreflects the compositional techniques of Claude Debussy by use of chromaticism evocative melodic passages spread chords in the accompanimentand a calm nature. Defaye's passion to explore a variety of preceding composers is clear withÀ La Manière De Debussy being a part of a series which explores the music of many great composers. For all aspiring trombonists wishing to vary and expand their repertoire  À La Manière De Debussy by Jean Michel Defaye is essential.

French pianist, arranger, composer and conductor, Jean Michel Defaye (b. 1932) entered the Paris Conservatoire at the mere age of ten years old. His successful compositions and arrangements were mainly for brass, In the Style ofDebussy, composed in 2002 for Trombone and Piano, being no exception. With a typical performance lasting about five minutes, Defaye's In the Style of Debussy reflects the compositional techniques of Claude Debussy by use ofchromaticism, evocative melodic passages, spread chords in the accompaniment and a calm nature. Defaye's passion to explore a variety of preceding composers is clear with In the Style of Debussy being a part of a series whichexplores the music of many great composers. For all aspiring trombonists wishing to vary and expand their repertoire, In the Style of Debussy by Jean Michel Defaye is essential. / Partitions classique / Cuivres et percussions / Trombone / LEDUC

?Ich glaube ohne falsche Eitelkeit dass diese drei Stücke sich gut machen und ihren Platz in der Klavierliteratur einnehmen werden ? zur Linken Schumanns oder zur Rechten Chopins ? as you like it? schrieb Debussy im August 1905 selbstbewusst an seinen Verleger Jacques Durand. Die ?Images? verzaubern durch irisierende Klangfarben und schillernde Harmonien ?nach den neuesten Entdeckungen der harmonischen Chemie? getragen von einem im zweiten Heft durchgehend auf drei Systemen notierten virtuosen Klaviersatz.Zum 150. Geburtstag des Komponisten legt Bärenreiter die bereits zu Debussys Lebzeiten überaus erfolgreichen Images in einem auf der Grundlage neuesterForschungsergebnisse und Quellenrecherchen aktuell und zuverlässig edierten Urtext vor. Ein klar strukturiertes Notenbild Fingersätze von Tamara Stefanovich und aufführungspraktische Hinweise bieten optimale Voraussetzungen für das Studium dieser Werke.- Urtext auf der Grundlage neuester Forschungsergebnisse und Quellenrecherchen- Mit Fingersätzen von Tamara Stefanovich- Detailliertes Vorwort (dt./engl.) und Kritischer Kommentar (engl.)Tamara Stefanovich studierte an der Universität in Belgrad am Curtis Institute of Music und an der Hochschule für Musik und Tanz in Köln. Sie konzertierte u. a. mit dem Cleveland Orchestra dem London Philharmonic und dem Chicago Symphony Orchestra unter Dirigenten wie Esa-Pekka Salonen Vladimir Jurowski und Pierre Boulez und machte Aufnahmen für die Deutsche Grammophon. Debussys ?Images? interpretierte sie 2011 beim ?Klavier-Festival Ruhr?. Zusammen mit Pierre-Laurent Aimard verfasste sie die Fingersätze für das ?Klavier-Festival Ruhr Bärenreiter Piano Album? (BA 9659). ?

This single edition it is number 10 in the first volume of the Préludes (HN 383) of 1910 shows the extent of Debussy?s imagination as he conjures up the old city of Ys that has sunk into the sea. Debussyenjoyed playing this piece himself and also left behind a recording on Piano roll. This gives important insights into his tempi. The term prélude reminiscent of Chopin makes clear the return to traditional forms which the nowestablished composer was slowly embracing once again. The programmatic title as with all of the Préludes is only given at the end of the piece thus underlining its passing significance.

Following the recent publication of the full score and performance material to Debussy?s ?La Mer? (BA 7880), Bärenreiter now presents the study score edition of this ?impressionistic? masterpiece. The new scholarly-critical edition draws on several important sources previously unavailable to musicologists, resulting in an array of new readings and corrections. In addition, there are many changes, especially in terms of articulation and dynamics. This new edition includes the famous ?fanfare? in Movement III, clearly marked in small print and brackets. This fanfare was excised in the 1910 reissue of the work, but was reinstated by a number of great conductors who knew Debussy, i.e. Monteux, Münch, Mitropoulos and Ansermet. They felt that the excision was a misunderstanding and that the fanfare was necessary for the structure of the movement. And so, the Bärenreiter edition presents the revival of a performing tradition which is committed to the fanfare. - New Urtext edition with numerous corrections in comparison to other editions - Important sources which were previously inaccessible have been taken into account Edition no.: TP 780 ISMN: 9790006205455 Editor: Woodfull-Harris, Douglas Language(s) of text: French, English, German Product format: Study score, Urtext edition Binding: Paperback Pages / Format: XXVIII, 158 S. - 22,5 x 16,5 cm

J-P. Marty - D. Herlin - E. Lemaitre. Par DEBUSSY CLAUDE. Partitions de la Fantaisie pour piano et orchestre (2ème version) de Claude Debussy avec partie de piano soliste. La Fantaisie pour piano et orchestre ne fut jamais publiée, ni exécutée en concert du vivant de Debussy. Il fallut attendre 1919 pour que Fromont la publie dans sa version originale. Vingt-neuf ans après sa composition, sans tenir compte des diverses modifi cations apportées par Debussy au fi l des années, elle fut créée à Londres le 20 novembre 1919 avec Alfred Cortot en soliste et la Royal Philharmonic Society. Quelque temps après, le 7 décembre 1919, la création parisienne réunissait la pianiste Marguerite Long et André Messager qui dirigeait l'orchestre des Concerts Lamoureux. C'est à la suite de ce concert qu'Emma Debussy offrit à la pianiste le manuscrit autographe de la particelle du premier mouvement. La présente édition comprend la partie de piano soliste du matériel extrait de la partition d'orchestre publiée au sein des OEUVRES COMPLETES DE CLAUDE DEBUSSY, Série V, volume 2 bis. On trouvera des renseignements complémentaires, le détail des principes éditoriaux et les variantes relatives aux différentes sources dans les Notes critiques de ce volume (DB 15575). Il s'agit de la seconde version de la Fantaisie éditée par Jean Pierre Marty avec la collaboration de Denis Herlin et Edmond Lemaître, qui tient compte des nombreux remaniements du compositeur. / Rép Classique / Répertoire / Piano et Orchestre