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You've selected:
Claude Debuss Robert Orledge
Sheetmusic to print
35 sheet music found
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1
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Claude Debussy/Robert Orledge: Prélude à L'Histoire de Tristan for orchestra, score only
Claude Debussy/Robert Orledge: Prélude à L'Histoire de Tristan for orchestra, score only
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Orchestra
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INTERMEDIATE/ADVANCED
#
Classical
#
Claude Debussy/Robert Orledg
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Claude Debussy/Robert Orledge:
#
Musik Fabrik Music Publishing
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SheetMusicPlus
Full Orchestra - Advanced Intermediate - Digital Download Composed by Claude Debussy/Robert Orledge. 20th Century, Impressionistic. Score. 19 pages. ...
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Full Orchestra - Advanced Intermediate - Digital Download Composed by Claude Debussy/Robert Orledge. 20th Century, Impressionistic. Score. 19 pages. Published by Musik Fabrik Music Publishing
Scored for 21EH22/2200/timp/1perc/hp/strings Parts on rental.
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 - Joesph Bédier’s adaptation of a twelfth-century Breton romance by the Anglo-Norman poet known as Tomas - which had recently been published in Paris. Debussy enthusiastically outline 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 Cornwal 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 hi when he goes mad at the end.
The idea of a Tristan that restorced 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 pubisher 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 it ecstatic climas, representing the transient happiness of the lovers, it dissolves into an expressive coda and an elegiac close (all growing from Debussy’s opennning, off-stage trumpet calls), leaving us with the ultimate tragedy of their ill-fated advice.
Unforunately, Mourey’s actual libretto has been lost and the project eventually foundered because Bédier’s cousin, Louis Artus, wanted Debussy to use the scenario he had prepared and copyrights 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)!
$19.95 ≈
17.92€
Claude Debussy: Petite Valse for solo piano, completed by Robert Orledge
Claude Debussy: Petite Valse for solo piano, completed by Robert Orledge
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Piano solo
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INTERMEDIATE
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Claude Debuss /Robert Orledge
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Claude Debussy: Petite Valse f
#
Musik Fabrik Music Publishing
#
SheetMusicPlus
Piano Solo - Level 3 - Digital Download SKU: A0.534655 Composed by Claude Debuss /Robert Orledge. 20th Century,Concert,Romantic Period,Standards. Score. ...
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Piano Solo - Level 3 - Digital Download SKU: A0.534655 Composed by Claude Debuss /Robert Orledge. 20th Century,Concert,Romantic Period,Standards. Score. 4 pages. Musik Fabrik Music Publishing #5727025. Published by Musik Fabrik Music Publishing (A0.534655). Recorded by Nicolas Horvath for Grand Piano records (GP822)Together with other manuscript sketches from Debussy’s last productive summer of 1915, the Hotel Drouot sale in Paris, on 7 December 2004 included the start of an unknown piano piece. The 18-bar outline suggested a Petite Valse (‘Little Waltz’) in the accessible style of Debussy’s La Plus que lente of 1910, to which astute pianists will recognise passing allusions both during and at the end of my completion. The waltz is simply meant to be enjoyed by pianists seeking what might be termed a novelty by a great composer, as well as by its audience.
$7.95 ≈
7.14€
Claude Debussy/Robert Orledge : Sérénade for alto saxophone and piano
Claude Debussy/Robert Orledge : Sérénade for alto saxophone and piano
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Alto Saxophone and Piano
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INTERMEDIATE/ADVANCED
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Asya Fateyeva
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Claude Debussy/Robert Orledge
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Musik Fabrik Music Publishing
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SheetMusicPlus
Alto Saxophone,Piano - Level 4 - Digital Download SKU: A0.1152387 By Asya Fateyeva. By Claude Debussy/Robert Orledge. 19th Century,20th Century,Classical...
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Alto Saxophone,Piano - Level 4 - Digital Download SKU: A0.1152387 By Asya Fateyeva. By Claude Debussy/Robert Orledge. 19th Century,20th Century,Classical,Contest,Festival,Romantic Period. Score and part. 22 pages. Musik Fabrik Music Publishing #752611. Published by Musik Fabrik Music Publishing (A0.1152387). Taken from a sketch that Debussy's wife gave to Joachim Nin after his death, the work was completed by Debussy Scholar Robert Orledge. The saxophone version was made for Asya Fateyeva.
$12.95 ≈
11.63€
Claude Debussy/Robert Orledge : Sérénade for alto saxophone and orchestra - Score Only
Claude Debussy/Robert Orledge : Sérénade for alto saxophone and orchestra - Score Only
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Orchestra
#
INTERMEDIATE/ADVANCED
#
Classical
#
Asya Fateyeva
#
Claude Debussy/Robert Orledge
#
Musik Fabrik Music Publishing
#
SheetMusicPlus
Full Orchestra - Level 4 - Digital Download SKU: A0.1152389 By Asya Fateyeva. By Claude Debussy/Robert Orledge. 19th Century,Classical,Romantic Period. 3...
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Full Orchestra - Level 4 - Digital Download SKU: A0.1152389 By Asya Fateyeva. By Claude Debussy/Robert Orledge. 19th Century,Classical,Romantic Period. 34 pages. Musik Fabrik Music Publishing #752612. Published by Musik Fabrik Music Publishing (A0.1152389). Taken from a sketch given by Debussy's wife to Joachim Nin, the work was complete and orchestred for 32(EH)23/2100/timp/1perc/hp/strings by the Debussy Scholar Robert Orledge for the saxophonist Asya Fateyeva. This item is the score plus the solo part. A version for saxophone and piano a the score of the version for saxophone and 17 instruments are available for sale. The parts are on rental from the publishe.
$18.95 ≈
17.02€
Claude Debussy/Robert Orledge : Sérénade for alto saxophone and 17 instruments - Score Only
Claude Debussy/Robert Orledge : Sérénade for alto saxophone and 17 instruments - Score Only
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Chamber Orchestra
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INTERMEDIATE/ADVANCED
#
Classical
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Asya Fateyeva
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Claude Debussy/Robert Orledge
#
Musik Fabrik Music Publishing
#
SheetMusicPlus
Chamber Orchestra - Level 4 - Digital Download SKU: A0.1152395 By Asya Fateyeva. By Claude Debussy/Robert Orledge. 19th Century,Classical,Romantic Period...
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Chamber Orchestra - Level 4 - Digital Download SKU: A0.1152395 By Asya Fateyeva. By Claude Debussy/Robert Orledge. 19th Century,Classical,Romantic Period. 31 pages. Musik Fabrik Music Publishing #752619. Published by Musik Fabrik Music Publishing (A0.1152395). Taken from a sketch given by Debussy's wife to Joachim Nin, the work was completed and orchestrated by the Debussy Scholar Robert Orledge. The chamber version is scored for 21(EH)11/1000/1perc/hp/strings(22221) This item is the full score and the solo part. A version for saxophone and piano and the full score of the full orchestra version are available for sale. The parts are on rental from the publisher.
$15.95 ≈
14.33€
Debussy/Orledge: La Saulaie for baritone and orchestra, piano-vocal score
Debussy/Orledge: La Saulaie for baritone and orchestra, piano-vocal score
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Baritone voice, Piano
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ADVANCED
#
Classical
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Claude Debussy/Robert Orledge
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Debussy/Orledge: La Saulaie fo
#
Musik Fabrik Music Publishing
#
SheetMusicPlus
Baritone Horn TC,Vocal Solo,Voice - Level 5 - Digital Download SKU: A0.534737 Composed by Claude Debussy/Robert Orledge. 20th Century,Holiday,Love,Standa...
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Baritone Horn TC,Vocal Solo,Voice - Level 5 - Digital Download SKU: A0.534737 Composed by Claude Debussy/Robert Orledge. 20th Century,Holiday,Love,Standards. 34 pages. Musik Fabrik Music Publishing #6533975. Published by Musik Fabrik Music Publishing (A0.534737). Debussy left three pages of sketches for this setting of Dante Gabriel Rossetti's Willow-wood as translated into French by Pierre Loÿis. Robert Orledge has completed and orchestrated this work using these sketches. The item is the piano-vocal score. The full score is for sale. The parts are on rental from the publisher.
$25.95 ≈
23.31€
Debussy/Orledge: La Saulaie for baritone and orchestra, full score
Debussy/Orledge: La Saulaie for baritone and orchestra, full score
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Classical
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Claude Debussy/Robert Orledge
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Debussy/Orledge: La Saulaie fo
#
Musik Fabrik Music Publishing
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SheetMusicPlus
Large Ensemble Voice - Level 5 - Digital Download SKU: A0.534736 Composed by Claude Debussy/Robert Orledge. 20th Century,Holiday,Love,Standards. Score an...
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Large Ensemble Voice - Level 5 - Digital Download SKU: A0.534736 Composed by Claude Debussy/Robert Orledge. 20th Century,Holiday,Love,Standards. Score and parts. 42 pages. Musik Fabrik Music Publishing #6533969. Published by Musik Fabrik Music Publishing (A0.534736). Debussy left three pages of sketches for this setting of Dante Gabriel Rossetti's Willow-wood as translated into French by Pierre Loÿis. Robert Orledge has completed and orchestrated this work using these sketches. The item is the full score. The piano vocal score is for sale. The parts are on rental from the publisher.
$29.95 ≈
26.90€
Debussy/Orledge: Toomai des éléphants for violin and piano, score and part
Debussy/Orledge: Toomai des éléphants for violin and piano, score and part
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Violin and Piano
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INTERMEDIATE/ADVANCED
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Classical
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Claude Debussy/Robert Orledge
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Debussy/Orledge: Toomai des é
#
Musik Fabrik Music Publishing
#
SheetMusicPlus
Piano,Violin - Level 4 - Digital Download SKU: A0.534738 Composed by Claude Debussy/Robert Orledge. 20th Century,Concert,Standards,World. 19 pages. Musik...
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Piano,Violin - Level 4 - Digital Download SKU: A0.534738 Composed by Claude Debussy/Robert Orledge. 20th Century,Concert,Standards,World. 19 pages. Musik Fabrik Music Publishing #6606487. Published by Musik Fabrik Music Publishing (A0.534738). In January 1913, Debussy struggled to complete Toomai des éléphants as the 11th prelude in Book 2, finally replacing it by a rather Stravinskian study Les Tierces alternées. However, his daughter Chouchou was fascinated by elephants and in the summer of 1913, Debussy wrote her a ‘Toybox Ballet’ (La Boîte à joujoux) which contains a ‘Pas de l’éléphant’ and an ‘old Hindu chant which is still used to train elephants [in India]. It is constructed on the scale of “5 o’clock in the morningâ€, which means it must be in 5/4 time.’ My reconstruction of this lost prelude is based around this material and it evokes a day in the life of Toomai, the young mahout, and his faithful elephant Kala Nag from one dawn to the next, incorporating the legendary ‘Elephants’ Dance’ from Rudyard Kipling’s First Jungle Book (1894) which only Toomai was ever privileged to witness. The version presented here is the revised second version of this prelude which contains an effect of piano harmonics as the dawn returns towards the end.
$11.95 ≈
10.73€
Debussy/Orledge : Toomai des éléphants for orchestra - Score Only
Debussy/Orledge : Toomai des éléphants for orchestra - Score Only
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Orchestra
#
INTERMEDIATE/ADVANCED
#
Classical
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Claude Debussy/Robert Orledge
#
Debussy/Orledge : Toomai des
#
Musik Fabrik Music Publishing
#
SheetMusicPlus
Full Orchestra - Level 4 - Digital Download SKU: A0.862370 Composed by Claude Debussy/Robert Orledge. Children,Classical,Multicultural,World. Score and p...
(+)
Full Orchestra - Level 4 - Digital Download SKU: A0.862370 Composed by Claude Debussy/Robert Orledge. Children,Classical,Multicultural,World. Score and parts. 17 pages. Musik Fabrik Music Publishing #468850. Published by Musik Fabrik Music Publishing (A0.862370). Scored for 3222/2200/timp/1perc/cel/pno/hp/strings, this item is the score only. The parts are available on rental from the publisher.
$20.00 ≈
17.96€
Debussy Inconnu: Album of works for the piano by Claude Debussy completed by Robert Orledge, Vol. 2
Debussy Inconnu: Album of works for the piano by Claude Debussy completed by Robert Orledge, Vol. 2
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Piano solo
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INTERMEDIATE/ADVANCED
#
Classical
#
Claude Debussy/Robert Orledg
#
Debussy Inconnu: Album of work
#
Musik Fabrik Music Publishing
#
SheetMusicPlus
Piano Solo - Advanced Intermediate - Digital Download Composed by Claude Debussy/Robert Orledge. 20th Century, Impressionistic, Repertoire. Score. 76...
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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
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 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).
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 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.
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 ≈
34.99€
Debussy Inconnu: Album of works for the piano by Claude Debussy completed by Robert Orledge, Vol. 1
Debussy Inconnu: Album of works for the piano by Claude Debussy completed by Robert Orledge, Vol. 1
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Piano solo
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INTERMEDIATE/ADVANCED
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Classical
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Claude Debussy/Robert Orledg
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Debussy Inconnu: Album of work
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Musik Fabrik Music Publishing
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SheetMusicPlus
Piano Solo - Advanced Intermediate - Digital Download Composed by Claude Debussy/Robert Orledge. 20th Century, Impressionistic, Repertoire, Recital. ...
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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’
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 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).
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 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.
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 ≈
34.99€
Claude Debussy: Prléude à L'Histoire de Tristan for solo piano, completed by Robert Orledge
Claude Debussy: Prléude à L'Histoire de Tristan for solo piano, completed by Robert Orledge
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Piano solo
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INTERMEDIATE/ADVANCED
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Classical
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Claude Debussy/Robert Orledg
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Claude Debussy: Prléude à L'
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Musik Fabrik Music Publishing
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SheetMusicPlus
Piano Solo - Advanced Intermediate - Digital Download Composed by Claude Debussy/Robert Orledge. Romantic Period, Impressionistic, Repertoire, Reci...
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Piano Solo - Advanced Intermediate - Digital Download Composed by Claude Debussy/Robert Orledge. Romantic Period, Impressionistic, Repertoire, Recital. Score. 6 pages. Published by Musik Fabrik Music Publishing
Recorded by Nicolas Horvath on Grand Piano records (GP822)
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 Bédier’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.
Unfortunately, Mourey’s actual libretto has been lost and the project eventually foundered because Bédier’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)!
Robert Orledge
$10.35 ≈
9.30€
Robert Orledge:Un Jour Affreux avec le Diable dans le beffroi for piano and narrator, based on themes from Debussy's "Le Diable dans le beffoir"
Robert Orledge:Un Jour Affreux avec le Diable dans le beffroi for piano and narrator, based on themes from Debussy's "Le Diable dans le beffoir"
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Easy Piano
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EASY
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Claude Debussy/Robert Orledge
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Robert Orledge:Un Jour Affreux
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Musik Fabrik Music Publishing
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SheetMusicPlus
Piano Solo, Narrator - Advanced - Digital Download Composed by Claude Debussy/Robert Orledge. 20th Century, Impressionistic, Recital, Spoken Word. Score. 3...
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Piano Solo, Narrator - Advanced - Digital Download Composed by Claude Debussy/Robert Orledge. 20th Century, Impressionistic, Recital, Spoken Word. Score. 30 pages. Published by Musik Fabrik Music Publishing
I owe an enormous debt of gratitude to the celebrated pianist Nicolas Horvath for enthusiastically
bringing my Debussy works to public attention in their solo piano formats, both through his recent
recitals across France and through this Naxos Grand Piano release (GP822). In some cases these are
true piano pieces (like Toomai des éléphants), in others they are piano reductions of orchestral scores
(like Fêtes galantes), while in others they are piano solos in their own right that also exist in orchestral
versions (as in the incidental music for Le Roi Lear). Needless to say, most of these tracks are world
première recordings, and this is certainly true of A Night in the House of Usher and its companion piece Un Jour affreux avec Le Diable dans le beffroi (?A Dreadful Day with the Devil in the Belfry?) which I arranged specially for Nicolas in November 2018 as a virtuosic, almost Lisztian paraphrase-fantasy. To remind us of the plot as the dramatic scenes unfold, Un Jour affreux avec le Diable dans le beffroi, like the start of No-ja-li) has a narrator (spoken in French by Florient Azoulay on the Grand Piano recording):
[After an overture rising from the underworld, with a polka and a citation of a chldren?s folksong Savez vous plantez les choux?, a carillon rings out]: Hearing it, the Dutch villagers start to count, with the bells of the belfry / 1, 2, 3, 4, 5, 6, 7, 10, 8, 9, 11, and 12 / Perfect! / 13!?!/ The bell rang 13 times / 13! / The Devil is here where the clock should be! / Damn! / The bells are cracked. / The Devil laughs fit to burst / He pulls from the pocket of his coat, a small dancing master?s violin / ?My God!? says the devil ? and he tunes his violin slowly / The Devil leads the villagers in a fantastic and relentless jig [making jokes at the expense of concertos by Beethoven, Brahms and Tchaikovsky] / The Devil directs the villagers towards the canal ? where he jumps to the other side, laughing all the time / The villagers try to imitate him, but they fall into the water. / [In Part 2] the villagers are transported to a hedonistic and lively Italian village. They are similarly transformed: the men have crooked hats ? the women have wide open bodices! They dance a mad Tarantella / 1, 2, 3, 4, 5, 6, 7 and 13 / shouting ?Hey there! (Hola?) / Jean, the young hero, makes a fervent prayer to God against the Devil / The prayer is answered and the bell again rings normally! / The expression of the Devil changes: he shudders! / Everything goes black / The devil disappears in a brief red glow ? / And the carillon and the bells chime as usual / 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11 and 12 / Perfect! / But the Devil?s grinning face ap-
pears once again where the clock should be ? briefly
$19.95 ≈
17.92€
Claude Debussy: Fêtes Galantes for solo piano, completed by Robert Orledge
Claude Debussy: Fêtes Galantes for solo piano, completed by Robert Orledge
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Piano solo
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INTERMEDIATE/ADVANCED
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Classical
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Claude Debussy/Robert Orledge
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Claude Debussy: Fêtes Galante
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Musik Fabrik Music Publishing
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SheetMusicPlus
Piano Solo - Level 4 - Digital Download SKU: A0.534653 Composed by Claude Debussy/Robert Orledge. 20th Century,Concert,Romantic Period,Standards. Score. ...
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Piano Solo - Level 4 - Digital Download SKU: A0.534653 Composed by Claude Debussy/Robert Orledge. 20th Century,Concert,Romantic Period,Standards. Score. 16 pages. Musik Fabrik Music Publishing #5726995. Published by Musik Fabrik Music Publishing (A0.534653). Recorded for Grand Piano (GP822) by Nicolas Horvath.IFêtes galantes was actually planned as a hybrid opera-ballet to a libretto by Debussy’s friend Louis Laloy. For this, Laloy arranged selected poetry by Paul Verlaine into three tableaux, replacing an earlier (unstarted) Debussyan project with Charles Morice entitled Crimen amoris. During his last productive summer of 1915, Debussy set a sequence from the start of the first tableau, ‘Les Masques’, involving stanzas 1 and 3 of the opening song for Mezzetin in Verlaine’s comedy Les Uns et les autres. The action is set in a park à la Watteau late one summer afternoon as Mezzetin attempts to entertain a group of nonchalant masqueraders with only the aid of his voice and a mandolin..This appears to have been prefaced by a slower, elegiac introduction reminiscent of the opening of the comtemporary Cello Sonata and it leads to a danced minuet by the masqued dancers which has clear echoes of the piano piece L’Isle Joyeuse (1904). Following Laloy’s scenario, the mas-queraders then sing extracts from Verlaine’s ‘A la promenade’ (from Fêtes galantes itself). The minuet returns at greater length before being cut short by a chilly gust of wind, after which the park returns to its orginal state (and music) as though nothing had really happened.
$12.95 ≈
11.63€
Claude Debussy: Sérénade for violin and piano
Claude Debussy: Sérénade for violin and piano
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Violin and Piano
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INTERMEDIATE/ADVANCED
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Classical
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Claude Debussy/Robert Orledge
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Claude Debussy: Sérénade for
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Musik Fabrik Music Publishing
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SheetMusicPlus
Piano,Violin - Level 4 - Digital Download SKU: A0.534583 Composed by Claude Debussy/Robert Orledge. 20th Century,Concert,Romantic Period,Standards. 21 pa...
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Piano,Violin - Level 4 - Digital Download SKU: A0.534583 Composed by Claude Debussy/Robert Orledge. 20th Century,Concert,Romantic Period,Standards. 21 pages. Musik Fabrik Music Publishing #4727479. Published by Musik Fabrik Music Publishing (A0.534583). Preface:In the early 1890s, Debussy composed the opening of a lyrical piece in E major for violin and piano, perhaps as a shorter companion piece for the violin Nocturne he was planning for the Belgian violinist Eugène Ysaÿe. After Debussy’s death in 1918, his second wife Emma often gave away sketch pages to performers or composers as memorials to her beloved husband , and this particular page was given to the Cuban born pianist and composer Joaquin Nin (1879-1949). It came up for sale in the catalogue of the British antiquarian dealer Lisa Cox in 2010 and although it might possibly be an early song for contralto and piano, the more dynamic idea in bar 12 strongly suggests the violin, especially as it begins on an open D string. Moreover, there is no text and in pieces of this length, Debussy usually wrote at least one word in, if only to remind himself where he had got to in any song. So my starting point was a complete 12-bar melody gently undulating in the violin’s lowest register over a sensual accompaniment, rising to a climax in bar 12 and giving me a contrasting idea that I could use as a link between sections and in the cadenza. As the B section (bars 14-26) derives directly from Debussy’s opening theme by metamorphosis, my own additions were restricted to the central section (bars 27-57) - comprising a new scherzando idea (C) and the more lyrical D (bars 36-46). C returns at bar 47, followed by the opening sections in reverse order, so that the Sérénade begins and ends with Debussy’s material and is cast in arch form (ABCDCBA). Robert OrledgeBrighton, 19 June 2019Robert Orledge was born in Bath in 1948 and educated at Clare College, Cambridge, where he gained his doctorate for his study of the composer Charles Kœchlin in 1973. Between 1971 and 1991 He rose from Lecturer to Professor in the Music Department of the University of Liverpool, publishing books on Gabriel Fauré, Claude Debussy, Charles Kœchlin and Erik Satie, as well as numerous articles, editions and reviews. As a historical musicologist, Professor Orledge specialized in the way composers composed, ,and since taking early retirement in 2004, he has concentrated on completing and orchestrating Debussy’s unfinished works, and especially his theatre projects. His completion of Debussy’s opera The Fall of the House of Usher (1908-17) was successfully premiered at the Bregenz Opera Festival in Austria in August 2006 and has since been performed in America, Portugal Germany and Holland, as well as being broadcast throughout Europe. A DVD of the Bregenz premier is available on Capriccio 93517, produced by Phylida Lloyd and conducted by Lawrence Foster. His completion of the Chinese ballet No-ja-li ou Le Palais du Silence (1914) was also premiered in 2006 in Los Angeles and other completions include La Saulaie and the Nocturne and Poème for violin and orchestra as well as Debussy’s other Poe opera Le Diable dans le Beffroi.Préface en français : Au debut des années 1890, Debussy a composé le debut d’une pièce lyrique en Mi majeur pour violon et piano, peut-être pour accompagner la Nocturne pour violon que Debussy a destinée pour le violoniste belge Eugène Ysaÿe. Après la morte de Debussy en 1918, sa deuxième femme Emma avait l’habitude d’offrir ses pages d’esquisses aux intérpètes et compositeurs en souvenir de son regreté mari. Cette page d’esquisse a été offerte aux compositeur et pianiste cubain Joaquin Nin (1879-1949). Cette page a été mise en vente dans la catalogue de l’antiquaire britannique Lisa Cox en 2010 et malgré que cette esquisse est peut-être le début d‘une mélodie pour contralto et piano, l‘idée dynamique dans la douzième mesure suggère la violon, surtout qu‘elle commence sur la.
$12.95 ≈
11.63€
Claude Debussy: Sérénade for violin and 17 instrments, full score and solo part only (parts on ren
Claude Debussy: Sérénade for violin and 17 instrments, full score and solo part only (parts on ren
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Chamber Orchestra
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INTERMEDIATE/ADVANCED
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Classical
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Claude Debussy/Robert Orledge
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Claude Debussy: Sérénade for
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Musik Fabrik Music Publishing
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SheetMusicPlus
Chamber Orchestra - Level 4 - Digital Download SKU: A0.1080705 Composed by Claude Debussy/Robert Orledge. 20th Century,Romantic Period,Standards. Score a...
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Chamber Orchestra - Level 4 - Digital Download SKU: A0.1080705 Composed by Claude Debussy/Robert Orledge. 20th Century,Romantic Period,Standards. Score and parts. 30 pages. Musik Fabrik Music Publishing #4727447. Published by Musik Fabrik Music Publishing (A0.1080705). Instrumentation2 flûtes/2 flutescor anglais (doublant hautbois/doubling oboe)clarinette en La/clarinet in Abasson/bassooncor en Fa/horn in Fpercission (1 éxecutant - timbales (3)/cymbale suspendue, tambour de basque)/percussion (1 performer - timpani (3)/suspended cymbal, tambourine)harpe/harp9 cordes/9 strings (2.2.2.2.1)durée/duration: 5 minutes 30 secconds (environ/approx.) Une versions pour violon et piano ainsi qu’une version pour violon et orchestre (31CA(hb)23/2100/timb/perc/hpe/cordes)est également disponibile/A version for violin and piano as well as a version for violin and orchestra (31EH(ob)23/2100/timp/perc/strings) is also available.______________________Prmière: Edmond Agapian, violin with the Calagray (CA) Youth orchestra, cond. Gareth Jones, University of Calgary, 28 Janaury, 2011Première of the version for violin and 17 instruments: Frédéric Moisan, violin Orchestre 21 cond. Paolo Bellomio, Unveristy of Montreal, Canada, 2 March 2012Preface:In the early 1890s, Debussy composed the opening of a lyrical piece in E major for violin and piano, perhaps as a shorter companion piece for the violin Nocturne he was planning for the Belgian violinist Eugène Ysaÿe. After Debussy’s death in 1918, his second wife Emma often gave away sketch pages to performers or composers as memorials to her beloved husband , and this particular page was given to the Cuban born pianist and composer Joaquin Nin (1879-1949). It came up for sale in the catalogue of the British antiquarian dealer Lisa Cox in 2010 and although it might possibly be an early song for contralto and piano, the more dynamic idea in bar 12 strongly suggests the violin, especially as it begins on an open D string. Moreover, there is no text and in pieces of this length, Debussy usually wrote at least one word in, if only to remind himself where he had got to in any song. So my starting point was a complete 12-bar melody gently undulating in the violin’s lowest register over a sensual accompaniment, rising to a climax in bar 12 and giving me a contrasting idea that I could use as a link between sections and in the cadenza. As the B section (bars 14-26) derives directly from Debussy’s opening theme by metamorphosis, my own additions were restricted to the central section (bars 27-57) - comprising a new scherzando idea (C) and the more lyrical D (bars 36-46). C returns at bar 47, followed by the opening sections in reverse order, so that the Sérénade begins and ends with Debussy’s material and is cast in arch form (ABCDCBA). Robert OrledgeBrighton, 19 June 2019Robert Orledge was born in Bath in 1948 and educated at Clare College, Cambridge, where he gained his doctorate for his study of the composer Charles Kœchlin in 1973. Between 1971 and 1991 He rose from Lecturer to Professor in the Music Department of the University of Liverpool, publishing books on Gabriel Fauré, Claude Debussy, Charles Kœchlin and Erik Satie, as well as numerous articles, editions and reviews. As a historical musicologist, Professor Orledge specialized in the way composers composed, ,and since taking early retirement in 2004, he has concentrated on completing and orchestrating Debussy’s unfinished works, and especially his theatre projects. His completion of Debussy’s opera The Fall of the House of Usher (1908-17) was successfully premiered at the Bregenz Opera Festival in Austria in August 2006 and has since been performed in America, Portugal Germany and Holland, as well as being broadcast throughout Europe. A DVD of the Bregenz premier is available on Capriccio 93517, produced by Phylida Lloyd and conducted by Lawrence Foster. His completion of the Chinese ballet No-ja-li ou Le Palais du Silence (1914) was also premiered in 2006 in Los Angeles and ot.
$16.95 ≈
15.23€
Claude Debussy: Rhapsodie Mauresque for alto saxophone and piano, revised by Robert Orledge
Claude Debussy: Rhapsodie Mauresque for alto saxophone and piano, revised by Robert Orledge
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Alto Saxophone and Piano
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ADVANCED
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Classical
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Claude Debussy/Robert Orledge
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Claude Debussy: Rhapsodie Maur
#
Musik Fabrik Music Publishing
#
SheetMusicPlus
Alto Saxophone,Piano - Level 5 - Digital Download SKU: A0.534687 Composed by Claude Debussy/Robert Orledge. 20th Century,Concert,Standards. Score and par...
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Alto Saxophone,Piano - Level 5 - Digital Download SKU: A0.534687 Composed by Claude Debussy/Robert Orledge. 20th Century,Concert,Standards. Score and part. 55 pages. Musik Fabrik Music Publishing #6215665. Published by Musik Fabrik Music Publishing (A0.534687). This new version of the Debussy Saxophone Rapsodie goes back to the two original autograph sources. Dr. Robert Orledge is one of the World's leading Debussy scholars and this new reworking represents his long years of work on Debussy's incomplete scores. This is the piano reduction with solo part. The orchestral score is also available for sale. Parts are on rental from the publisher. With complete performance notes
$19.95 ≈
17.92€
Claude Debussy: Rhapsodie Mauresque for alto saxophone and orchestra, revised by Robert Orledge, sco
Claude Debussy: Rhapsodie Mauresque for alto saxophone and orchestra, revised by Robert Orledge, sco
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Orchestra
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ADVANCED
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Classical
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Claude Debussy/Robert Orledge
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Includes complete notes
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Claude Debussy: Rhapsodie Maur
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Musik Fabrik Music Publishing
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SheetMusicPlus
Full Orchestra - Level 5 - Digital Download SKU: A0.534688 Composed by Claude Debussy/Robert Orledge. 20th Century. Score and parts. 75 pages. Musik Fabr...
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Full Orchestra - Level 5 - Digital Download SKU: A0.534688 Composed by Claude Debussy/Robert Orledge. 20th Century. Score and parts. 75 pages. Musik Fabrik Music Publishing #6215671. Published by Musik Fabrik Music Publishing (A0.534688). This new version of the Debussy Saxophone Rapsodie goes back to the two original autograph sources. Dr. Robert Orledge is one of the World's leading Debussy scholars and this new reworking represents his long years of work on Debussy's incomplete scores. Scored for 3(pic)2(EH)22/4331/timb/2perc/cel/hp/strings This is the orchestral score. The piano reduction with the solo part is also available for sale. Parts are on rental from the publisher. Includes complete notes.
$29.95 ≈
26.90€
Claude Debussy: Rodrigue et Chimène: Prélude à l'Acte 1 for solo piano, completed by Robert Orledge
Claude Debussy: Rodrigue et Chimène: Prélude à l'Acte 1 for solo piano, completed by Robert Orledge
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Piano solo
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INTERMEDIATE
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Classical
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Claude Debussy/Robert Orledge
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Claude Debussy: Rodrigue et Ch
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Musik Fabrik Music Publishing
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SheetMusicPlus
Piano Solo - Level 3 - Digital Download SKU: A0.534658 Composed by Claude Debussy/Robert Orledge. 20th Century,Concert,Romantic Period,Standards. Score. ...
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Piano Solo - Level 3 - Digital Download SKU: A0.534658 Composed by Claude Debussy/Robert Orledge. 20th Century,Concert,Romantic Period,Standards. Score. 9 pages. Musik Fabrik Music Publishing #5732669. Published by Musik Fabrik Music Publishing (A0.534658). This is the piano solo reduction of Debussy’s Wagnerian opera Rodrigue et Chimène (1890–93) which has had quite a few orchestral performances. Here the work is completed by Robert Orledge with a new concert ending.
$10.35 ≈
9.30€
Claude Debussy: Le Roi Lear Suite for piano
Claude Debussy: Le Roi Lear Suite for piano
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Piano solo
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INTERMEDIATE/ADVANCED
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Classical
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Claude Debussy/Robert Orledge
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With full program notes by Dr
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Claude Debussy: Le Roi Lear Su
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Musik Fabrik Music Publishing
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SheetMusicPlus
Piano Solo - Level 4 - Digital Download SKU: A0.534681 Composed by Claude Debussy/Robert Orledge. 20th Century,Concert,Romantic Period. Score. 23 pages. ...
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Piano Solo - Level 4 - Digital Download SKU: A0.534681 Composed by Claude Debussy/Robert Orledge. 20th Century,Concert,Romantic Period. Score. 23 pages. Musik Fabrik Music Publishing #6133653. Published by Musik Fabrik Music Publishing (A0.534681). A seven-movement suite for piano solo, completed from Debussy's Sketches by Robert Orledge. With full program notes by Dr. Orledge. Recorded by Nicolas Horvath on The Unknown Debussy (GP822, distributed by Naxos)
$16.95 ≈
15.23€
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