Edition Schott reflects a wide variety of music and offers a comprehensive music library suitable for students, amateur and professional musicians.
Edition Schott ranges from Renaissance to Contemporary solo instruments to orchestra, well-known pieces to interesting rarities and includes about twenty of Schott's acknowledged and well-established instrumental series such as Guitar-Archive, Violin Library, Il Flauto Traverso and Original Music for Recorder.
Edition Schott publications share the highest production values and a distinct house style with clear notations, practical page-turns and high-quality paper.
Edition Schott maintains and extends the internationally recognized tradition of excellence and reliability established in 1770 by Schott Music.

English ? German.

To mark its 250th anniversary, the Schott publishing house has dug up and reedited treasures from its historical publishing archives. This anthology is aimed at professional musicians and advanced amateurs interested in interesting new discoveries off the standard repertoire. It mainly contains works from the Romantic era: virtuoso pièces de résistance and encores, expressive character pieces, gems of salon music or elaborate arrangements of well-known (opera) melodies. Many of the original compositions and arrangements were written by major piano virtuosos of the 19th century. "The book has been excellently produced?the clarity of the notation is exceptional?Schott?s Joy of Music will surely appeal to any advanced player looking for less familiar gems, delivering rarified treasures aplenty!" ? Andrew Eales, Pianodao.

One of the best-known and most popular musical pieces of the 20th century in an easily playable piano arrangement by the Orff pupil Hermann Regner. A fine opportunity to become better acquainted with the piece by playing it.

Following the success of the first volume of Best of Piano Classics (ED 9060), Schott now presents another collection with a selection of 40 arrangements of popular classical masterpieces for the discerning amateur pianist to use over the years.

The contents include great works from Bach to Gershwin, ranging from chamber music, symphonies and concertos through to opera. This selection of musical favourites presents the best known and loveliest pieces of classical music from the Baroque era through to the 20th Century, from 'Air' to 'Rhapsody in Blue'. With fingerings, tempo and pedal suggestions added, these appealing arrangements for advanced players are in easy to read modern printed scores.

Recommended not only for tuition purposes, but for all those who enjoy playing the piano in their leisure time.

Maurice Bejart's great admiration for the films of Federico Fellini and their accompanying music prompted the French choreographer to seek the opportunity to collaborate with composer Nino Rota who remained Fellini's musical alter ego throughout his life. The music for Le Moliere imaginaire, a comedie-ballet in two acts in commemoration of the great French dramatist, was created during an extended period in the summer of 1976 when Bejart and Rota had allotted almost a month to be devoted solely to this project. The version of this music for piano originated during the collaborative working phase of the two artists and appears in abbreviated form at the beginning of the ballet when the curtain rises on the first act.

The nature of jazz has its roots in improvisation. The Jazz Sonata contains written-out pieces which correspond with improvised figures and formulae of jazz, while at the same time combining specific technical practice material with formal structures borrowed from 'art music'. With these features, the pieces are intended not only for practising jazz musicians but, perhaps even more-for pianists and teachers who, to complement their involvement with popular music, are looking for information and connections with jazz and its practice methods. The pieces are valid as individual pieces for teaching purposes or for use in a programme.

German.

The series &apos.Get to Know Composers&apos. presents works of famous masters in easy arrangements as well as original compositions for piano. A brief biographical sketch with contemporary colour illustrations as well as a list of the most important works provide easy access to the respective composer. Thus, amateur pianists and young piano pupils can embark on a vivid excursion into the life and work of important composers.
Tchaikovsky was the first Russian composer who gained worldwide fame. His symphonies, concertos and ballets are part of the standard repertoire of the musical scene. In addition to original piano works, this volume contains excerpts from Tchaikovsky&apos.s best-known compositions: the Violin Concerto and his Piano Concerto No. 1, Symphonies Nos. 5 and 6, the ballets &apos.SwanLake&apos., &apos.The Sleeping Beauty&apos. and &apos.Nutcracker&apos., as well as &apos.Capriccio Italien&apos. and other works.

The 48 Preludi of the Venetian composer Renato de Grandis (1927-2008) were created, in large part, in the years 1998-2002. It was only subsequently that he arranged them in 4 cycles of 12 preludes each, while also drawing back on older compositions. Written in a traditional pianistic style, they are short sketches which are sometimes characterized by musical thoughts, sometimes by moods or natural phenomena. The fourth volume presented here is once again divided into two cycles of 6 preludes each, with the first cycle paying tribute to the landscapes and towns of Friuli north of Venice.

The Mozart volume in the Schott Piano Collection series has been one of the standard works in music teaching for a long time. It contains a selection of 33 well-known and easy to .play piano works by Mozart, including the Turkish March, the variations on Ah! Vous dirai-je, Maman!, Fantasia in D minor, Adagio in B minor, and many more. A few important and popular works have been added to the present expanded new edition by Marianne Magolt, such as: 4 Minuets KV 2-6, Rondeau in D major KV 15d, and Sonata facile in C major KV 545. As a result, this new edition is even better suited to the .needs of pupils and piano lovers.

The Debussy volume of the 'Schott Piano Collection' series has been among the standard works of piano lessons for a long time, containing a careful selection of Debussy's major piano works in chronological order, ranging from the 'Danse bohemienne', written at the age of eighteen, to a number of the Preludes composed between 1910 and 1913. Two important and popular works have been added to this expanded new edition: 'Clair de lune' from the 'Suite Bergamasque', and the Prelude 'Des pas sur la neige'. As a result, the new edition is even better suited to the wishes of students and piano lovers.

The Hä.ndel volume of the 'Schott Piano Collection' series has been among the standard works of piano lessons for a long time, containing a careful selection of 26 known and easy-to-play piano works by Hä.ndel, including the easy Minuets in G major, G minor, Bouré.e in G major, Sonatina in Bb major, Chaconne in D minor, Sonata in C major, Passacaille in G minor, Grobschmied Variations, and many more. Two important and popular works have been added to this expanded new edition: the Suite in D minor, mostly known for the famous Sarabande, and the Largo from the opera 'Xerxes'. As a result, the new edition is even better suited to the wishes of students and piano lovers.

There are very few pieces in the Nikolai Kapustin oeuvre like this Sonatina intentionally written as aneasy piece. .

Kapustin was approached by a music school for children and asked to write something "not too difficult", and although he at first declined he changed his mind and turned towards writing something "easy". his Sonatina for piano, Op. 100 was composed in 2000. .The piece is written in the style of a simple classical sonatina, which makes it easily approachable, and sounds as if it were something from Haydn's or Mozart's chamber music performed with a jazz combo.

ABRSM Piano 2019 &. 2020 Grade 8 Syllabus.

To this day Theodor Kirchner (1823-1904) has failed to gain the recognition he deserves. A friend of Johannes Brahms and Clara Schumann, the artist has been labelled a mere follower of Schumann. His demanding yet never superficially virtuosic music for piano displays an highly individual range of tender lyrical sentiments. Kirchner's writing already hints at the approaching revolution of High and Late Romantik, thus pointing in the direction of Scriabin and Max Reger (the latter greatly idolized by Kirchner).

Piano Songs shows what makes up current jazz in Germany: melodies free of cliches and exciting grooves, moving between classical and modern music without fearing contact. Julia Hulsmann ranks among the best-known German jazz pianists and has released several CDs. The newly composed Piano Songs are her first sheet music edition.

The official sheet music edition of the same-named CD album Piano Songbook (Sony Classical). Includes arrangements and fantasies of popular works, ranging from baroque to romantic as well as own compositions by Martin Stadtfeld. Easy to intermediate difficulty - ideal for young pianists and returnees to the piano.

The works collected in this volume have accompanied me through my life. In difficult times, this music gives me stability and certainty.

The arrangements are partly free and subjective and distil what is essential for me. The motto was: as few notes as possible. This was also what I aspired to achieve in my 10 compositions in the third part. This means that most pieces can be used in piano lessons. Even those who return to the piano after a long time can pick up where they left off with these pieces. I hope that many people playing them will feel what I felt when making this volume: contemplation, absorption, inner strength.

(Martin Stadtfeld)

The concert piece Paganini Jazz by Fazil Say, which was inspired by classical, modern and jazz styles, is reminiscent of the music of such greats as Scott Joplin, Art Tatum, Gershwin and Bernstein, and was originally designed as a charming encore work (1988). following the appreciative response of music lovers and, in particular, that of music critics, it was transformed over a perion of time into a more substantial work for piano. Briefly, the piece was rewritten and expanded a number of times between 1988 and 1995. We can evaluate the work as having taken its inspiration from Paganini's renowned 24th Capriccio, transforming it into variations on jazz requiring virtuoso rendition as well as being a creation open to the addition of improvisations and a variety of arrangements.
Throughout music history a number of composers have written various works inspired by the 24th Capriccio. We can count among them Liszt, Brahms, Rachmaninov and Lutoslavski. In Say's work, however, .a different aspect must be noted: the composer is prepared to add various developmental passages and transitional improvisations while interpreting this work in concert. Furthermore, when the work is considered as a short encore piece, it is abbreviated in a manner deemed suitable by Say.

German - English - French.

The Listening Hand is a collection of exercises intended for all pianists who wish to develop their skills through 20th and 21st century music. Volume 3 focuses on rhythmic studies with examples selected from a wide range of repertoire.

Peteris Vasks occupies a special position in the circle of Baltic composers. He is not only the most significant and popular composer ever to come out of Latvia. he always speaks to his listeners with a fervent intensity that seems to point to something higher. This higher aspect is without a doubt something that stands above the world of humanity but is also present within each person: divine nature.

"I am deeply rooted in nature, in the nature of the North. It influences all of my music. The nature we know is also quite various. we have four very distinct seasons. The winter is very long, the summer very short and therefore all the more beautiful and longed for. The seasons in between are quite dramatic."

The first of Peteris Vasks's Seasons pieces was not written with the intention of forming a complete cycle. For his friend, Talivaldis Deksnis, he composed in 1980 Balta ainava - White Landscape (Winter), in 1981 Rudens muzika - Autumn Music, and in 1995 the Pavasara muzika - Spring Music. In 2008, Zala ainava - Green Landscape (Summer) came into being, the piece which completed the cycle.

In 2009, as a kind of "encore", Vasks wrote Vasaras vakara muzika - Music for a Summer Evening based on old sketches. this, of all the pieces, is the one most anchored in tradition. Only the two newest pieces - both of which have to do with summer - have a fixed metrical structure. The three earlier works are metrically free, notated without bar lines, which gives them an improvisatory character.

Vasks says of the individual pieces in the cycle: "In Balta ainava everything is white. A new year begins. It is a quiet meditation, a new beginning, with only two themes.

Pavasara muzika. Quasi una Sonata - the most demanding piece in this cycle - is intense, an impressive development. Spring comes slowly, with much drama. It is like a battle, until it is simply there. This multi-faceted piece, with its bird songs, lives from conflicts and dramatic intensification and ends in ecstatic rapture. Zala ainava is based on two themes. Our summer is very brief and offers a respite after the battles. And it is so beautiful! The music reflects joy and contentment. The first theme brings a kind of pure energy. the second is more devoted to tone painting. At the end, a five-note quotation from a well-known Latvian folksong about a drunkard is heard.

Rudens muzika begins pianissimo on a quiet September day, in a peaceful, sunny atmosphere. Now the autumn storms sweep over the land. a gentle sadness settles on the people and on nature, which surrenders its splendor. After a last great storm, the snow comes again as a symbol of purified conclusion and a new beginning. Vasaras vakara muzika takes place at the quiet end of a summer day. The sun sets. Slowness. Memories of previous experiences surface. With the memories' appearance comes an increase in intensity. Towards the end, a kind of folksong is heard: 'We have survived the time of tyranny and retained our identity'. The ending is quiet, everything is asleep."

Christoph Schluren

Translation: John Patrick Thomas and W. Richard Rieves