Baroque to Modern presents music from the 1700s through the 1900s, with composer biographies and practice and performance tips. Organized by difficulty level, the music is presented in newly researched editions. Each volume is in progressive order.

Arrangement for Piano-Aside from the Violin Chaconne (HN 557) and the ten Chorale Preludes for Organ (HN 1293) the Prelude and Fugue in D major ranks among the best-known Piano transcriptions Busoni fashioned from J. S. Bach?s works. Considerable evidence suggests that he viewed these three pieces as paradigmatic examples of his transcription technique. Busoni?s explicit labelling of the Prelude and Fugue ?for concert performance? in the title already serves as an indication of the heightened virtuosic requirements. And indeed here Busoni demands that the pianist have perfectly mastered the keyboard always with the aim of delegating to the Piano effectively but still in the spirit of Bach the mighty sound-world of the Organ work. This Urtext edition is heartily recommended to all those pianists who have ever wanted finally to pull out all the stops on the Piano.

A complete modern approach to playing the Hammond Organ this fully-illustrated method by nationally-known teacher Orville R. Foster is split into seven parts and can be used with both spinet and pre-set models.

Easier Piano Pieces 03-Cornelius Gurlitt was a German organist pianist and composer who wrote many instructional pieces and studies. He obviously composed at speed with considerable facility and it is not surprising that some of his output lacks individuality. Kleine Blumen however is one of his works which displays particular charm and character. No titles were originally given to the twelve pieces of Op.205 but in an Augener edition of 1936 names of flowers were used.

Zum Sonatensatz In G Kv 312 Von Wolfgang Amadeus Mozart. Par SCHMIDINGER HELMUT. Mein Zugang war ein „spielerischer“: ich spielte mehrmals am Tag Mozarts Sonatensatz am Klavier und beobachtete, welche Elemente und Tonfolgen im Gedächtnis haften blieben. Diesen inneren und sehr persönlichen Ausschwingvorgang (Decay) Mozart’scher Musik, der sich wie von selbst einstellt, wenn man die Musik – und zwar immer nur Phrasen davon, niemals ganze Werke – nicht mehr aus dem Kopf bringt, habe ich als Anstoß zur Komposition genommen. Und so wie sich im Laufe von Tagen ein „Nachklang“ ergeben hat, hat sich auch ein „Einschwingvorgang“ (Attack) herausgebildet. Beide Stück sind daher attacca mit Mozarts Sonatensatz verbunden und beziehen ihre Gestalt sehr direkt aus demkompositorischen Originalmaterial, ohne jedoch ins hörbar „zitathafte“ abzugleiten. (Helmut Schmidinger)/ Répertoire / Piano