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New Publications

• Chanson d'Automne for Bb or C trumpet and piano by Paul Wehage
• Mon Cousin de Cayenne for oboe, Bb clarinet, bassoon, trumpet, percussion and piano by Germaine Tailleferre
• Villanelle for high voice, flute and piano by Clémence de Grandval
• Chorale for concert band by Gregory Sullivan Isaacs
• Café Song for string quartet by Gregory Sullivan Isaacs
• Hymn for violin and piano by Gregory Sullivan Isaacs
• Solo de Concours no. 8 for oboe (or english horn, clarinet or saxophone) by Charles Colin
• Aube for SATB mixed chorus by Germaine Tailleferre, French text by Jean-Thierry Boisseau
• Sérérnade for alto saxophone and piano or orchestra by Claude Debussy completed by Robert Orledge
• Noël for voice, instrument (oboe, flute, clarinet, or soprano saxophone) and piano by Clémence de Grandval
• Marche des Rapins for piano by Clémence de Grandval
• Romance for F horn or tenor saxophone and piano by Louis Mayeur
• Fantaisie originale for baritone saxophone and piano by Louis Mayeur
• Eight new works for solo piano by Germaine Tailleferre
• Fêtes Galantes for orchestra by Claude Debussy completed by Robert Orledge

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New article about Tailleferre's two "Paris" ballets is here

Musik Fabrik is proud to announce the publication of a series of works for solo piano by Germaine Tailleferre. These eight works, of different periods and origins are from the period between 1912 and 1959, with the majority being from the 1950s.

Charlie Valse was written as a gift for Charlie Chaplin during a visit to Paris in 1953. 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.

Mémoire d'une Bergère (Autobiography of an Armchair) was a commission for incidental music from Radio France. 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.

Tuxedo is a work inspired by Jazz. During the middle of the 1950s, Tailleferre explored more popular musical styles in a series of works, including her Opéra-minute Un Rouille à 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.

Four shorter works are published as a collection (Quatre pièces brèves). These four short pieces are from various sources. The incomplete Exercise d'harmonie is the only Conservatory exercise that Tailleferre kept and clearly shows the influence of Wagner at the time of her studies. The Marche funèbre (comique) was probably from a film score in the late 1930s, Chats was part of a documentary film score about animals vers 1950 and Course à l'échalotte was also probably from a film score, evoking children's games.

The charming piece La dame au petit chien was probably from a film score from the 1930s, This short piece evokes an elegant petite femme de Paris walking her dog on the Grandes Boulevards to the sound of the player pianos coming out of the cafés.

Please see our piano music catalog for a complete list of works by Germaine Tailleferre for piano solo available from Musik Fabrik.

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Joseph-François Kremer: Les Trois Étapes Temporelles for organ

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Robert Orledge's new revision and orchestration for Debussy's Rhapsodie Mauresque for alto saxophone and orchestra has just been released. Piano reduction and full score are available for sale. Parts are on rental

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Frederick Frahm: Ghost Canyon for string quartet

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Two new volumes of works by Claude Debussy completed by Robert Orledge and recorded by Nicolas Horvath for Naxos - Grand Piano

Musik Fabrik is proud to announce the publication of two volumes of previously unknown works by Claude Debussy completed by Robert Orledge. These works have been recorded by Nicolas Horvath for Naxos: Grand Piano. You can find out more by visiting this special page.

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Première of Gregory Sullivan Isaacs' new work Night into Dawn, by Gary Levinson and The Violins of Hope

Musik Fabrik is proud to announce the première of an important work for string orchestra by noted American composer Gregory Sullivan Isaacs. The work, entitled �Night Into Dawn�� was commissioned by Gary Levinson (Senior Principal Associate Concertmaster of the Dallas Symphony) for The Violins of Hope, Miami and The Young Israel Congregation and The Shul of Bal Harbour. The work will be premi�red on December 2nd, 2019 at 8 P.M. at The Shul Sanctuary, 9540 Collins Avenue, Surfside, FL

The�Violins of Hope�are violins that were played by Jews during the Holocaust and have been restored by Amnon Weinstein.�Night Into Dawn�is a programmatic work that describes the Night, the decent of anti-Semitism, the brutality of the Holocaust and the Dawn, the renewal of the Jewish spirit.

�Since the Violins of Hope project is about the restored instruments, I decided to write individual and unique parts for each player rather than dividing them into larger groups such as first and second violins,� said Isaacs. The piece lasts about 12 minutes and Isaacs will conduct this world premiere performance.

Violinist Gary Levinson will sit in the solo violin chair and also act as concertmaster. �Gary and I are close friends and I am grateful for his energy that made this all possible,� said Isaacs.

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Just released: the new edition of Claude Debussy's Poème for violin and orchestra, completed by Robert Orledge

orchestration: 21EH22/4200/timp/1perc(susp. cym;/trangle)hp/strings (minimum 12.10.8.6.4) with solo violin

duration: aprox: 10'00"

Hear a live performance:

Debussy�s close friendship with the American violinist Arthur Hartmann (1881-1956) began in 1908, and in the summer of 1910 they planned an American tour of 24 East Coast cities during January-February 1912. During this tour, Debussy was to �conduct the orchestra, an opera of my composition [possibly at this stage The Fall of the House of Usher], or play the piano.� And in every concert, Hartmann was to perform Debussy�s specially composed Poème pour violon et orchestre as the main highlight of the evening. Although the fee of $15000 that Debussy demanded eventually proved too high for the organisers, he wrote two themes for the Poème in 1910, and in January 1914, when he arranged his piano prelude Minstrels for �piano et Hartmann�, he added three more, quite extended, and motivically linked themes. As in the case of his sketches for the contemporary ballet No-ja-li, these were virtually all the material necessary for him to complete the work, and as Debussy had no hesitation in asking other composers, such as André Caplet, Charles Koechlin and Henri Busser, to help him complete or orchestrate his works in the 1910-14 period, Robert Orledge decided to complete this masterful work, which was premièred in its final form on 4 March 2013 by Isabelle Faust (Vln), with Orchestre de Lyon, conducted by Heinz Holliger. For more infromatino and for links to purchase scores/piano reductions, please visit this page.

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Musik Fabrik is pleased to announce the pubilcation of Gregory Sullivan Isaac's opera for tenor and piano Henry Faust Second act aria (In the witches kitchen. Faust demands, then drinks, the youth potion. The devil conjures the image of Gretchen). See the full opera here.

Described as a "tour de force"� during the opera�s initial run of performances �Henry Faust� by Gregory Sullivan Isaacs is a three-act, one character opera based on Goëthe�s play as translated by Anna Swanwich (1859) with a libretto by the composer. It was premièred at the Circle Theatre in Chicago on April 11, 1993 with the Composer as Faust and Kevin Hinton, pianist. To find out more about the opera and purchase a score, please visit this page on our website.

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Musik Fabrik is pleased to announce the publication of an album of songs for bass voice and piano by Franz Liszt. This edition of songs by Franz Liszt (1811�1886) includes all of the scores recorded by bass Jared Schwartz and pianist Mary Dibbern for the CD Franz Liszt: Songs for Bass Voice and Piano, Toccata Classics 0441, released October 2017 and recently named �BEST LIEDER RECORDINGS OF 2017� by La Voix Des Arts. This is the first CD of songs by the composer with a selection for bass voice with all but one song transposed to fit the low-voice range. A complete version of the following excerpted notes, along with the translations of the poems into English, is included in the CD booklet. The album is divided into two volumes: Vol. 1: songs in German and Vol. 2 : songs in Italien, English and French.

The selections in this edition and on the CD are the first recorded performances of any of his voice-piano music by a bass voice, and all but one are transpositions to low-voice keys. The songs represent four of the six languages that Liszt set: German (7), French (3), Italian (1), and English (1). They are also examples of the stylistic and dramatic variety of three distinct periods that musicologists often use to describe Liszt�s musical production. The performers chose three songs from the Early Period (1838�1847) that includes the years of his rising fame as a piano virtuoso; five from the Weimar Period (1848�1858), when he abruptly left the concert stage to accept the post of Kappelmeister in the Weimar court; and finally, four from the Last Period (1870�1886), which began after Liszt left Weimar and took minor orders in the Catholic church. Throughout his career, Liszt wrote complex vocal music with a two-octave ambitus and dynamics ranging from the most delicate ppp to a roaring ff. His songs transformed the previously limited vocal tessaturas and range of dynamics found in the music of his contemporaries� 19th-century chamber music salons.

The centerpiece of both the song sollection and the CD recording is Le Juif errant (�The Wandering Jew�) (S.300), poem by Pierre-Jean de Béranger (1780�1857), which was Liszt�s last song before his 1848 move to Weimar. The accompaniment is derived from his piano solo of 1840, the étude de perfectionnement (S.142). Its musical material also appears in the later (1852) piano solo Ab irato�étude de perfectionnement de la Méthode des Méthodes (S.143). The seperate edition for Bass-baritone is in the original key of e minor. These are all available in our art song catalog

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Gian Paolo Chiti wrote his newly publisehd work �Play on B.A.C.H.� for the Moreno Gistain Duo, who premièred the work on the 28th February, 2015, for the concert season of the Fundación Juan March in Madrid. It was also recorded for Spanish National Radio. Juan Fernando Moreno Gistain wrote of the work: �It�s an honour for us that Maestro Chiti composed �Play on B.A.C.H.� for our concert programme dedicated to works based on the motif formed by the notes B.A.C.H. �Play on BACH� is a wonderful piece for piano duo and we are sure many duos will perform this in the future. The work has an amazing feeling of nostalgia, humour and charm; the audience loved it at every performance. It�s a masterwork and fits incredibly well in our concert programme.�

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Musik Fabrik is happy to annouce an important series of publications of songs by the French composer Ange Flégier. This project originated with the recording "Ange Flégier: Mélodies for Bass Voice and Piano" with American bass Jared Schwartz and pianist Mary Dibbern. They located out-of-print scores of songs especially suited to bass voice and then collaborated with us for the editing process. A number of Flégier�s songs in medium and low keys will be available shortly, in addition to a volume of songs for bass voice that corresponds to the recording. Those titles are listed below. The recording was released in September 2016 by Toccata Classics (London).

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Musik Fabrik is pleased to announce the release of a new collection of recordings for guitar by David W. Solomons;

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Musik Fabrik is very pleased to announce the release of Thérè Brenet's new orchestral CD, just in time for her 80th birthday in October:

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