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PIANO & CLAVIERS
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12
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36
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2 Hautbois (duo)
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Ensemble de Clarinettes
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2
Ensemble de Flûtes
2
Quatuor de Flûtes : 4 flûtes
1
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Cor anglais, Piano
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Hautbois, Violin, Alto et Violoncelle (Quatuor)
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Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
15
Trompette, Saxophone (duo)
10
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7
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7
2 Trombones (duo)
7
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5
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5
Quatuor de Cuivres : 2 trompettes, trombone, tuba
4
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3
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Ensemble de Trombones
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2
Tuba
2
Quatuor de Cuivres
1
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Euphonium, Piano (duo)
1
2 Cors (duo)
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Violon, Alto (duo)
11
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9
2 Violoncelles (duo)
7
2 Violons (duo)
7
Quatuor à cordes: 2 violons, alto, violoncelle
6
2 Altos (duo)
5
Violon et Piano
4
Violoncelle, Piano
3
Alto, Piano
3
4 Violoncelles
2
Violon (partie séparée)
2
Quatuor à cordes: 4 violons
2
Quatuor à cordes : 4 altos
2
Violon
2
Violoncelle (partie séparée)
1
Trio à Cordes: 2 violons, violoncelle
1
Violon, Guitare (duo)
1
Contre Basse
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Alto (partie séparée)
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PERCUSSIONS & ORCHESTRES
Orchestre d'harmonie
17
Orchestre
11
Fanfare
6
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5
Orchestre à Cordes
4
Orchestre de chambre
3
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AUTRES
Vous avez sélectionné:
The Minute Man March
Piano seul
Partitions à imprimer
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The Minute Man March & Two-Step
Piano seul
Piano solo - Digital Download SKU: S8.AC0300-1000187 Composed by Howard A. Winburn.…
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Piano solo - Digital Download SKU: S8.AC0300-1000187 Composed by Howard A. Winburn. From the Sam DeVincent Collection of Illustrated American Sheet Music, Series 5.1: Politics and Political Movements - Patriotic Music, Box 4, Folder V, Archives Center, National Museum of American History, Smithsonian Institution. Patriotic, Revolutionary War. 7 pages. Published by Smithsonian Institution (S8.AC0300-1000187). Sheet music published in 1906 by Sam Fox Publishing, Inc. About Sheet Music from the Smithsonian CollectionThe Smithsonian Collection: These official, high-quality facsimiles have been hand-picked from the Sam DeVincent Collection of Illustrated American Sheet Music in the Archives Center of the Smithsonian Institution and are available exclusively through Sheet Music Plus.The Smithsonian name and logo are registered trademarks of the Smithsonian Institution.
$5.99
5.4 €
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Piano seul
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Howard A
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The Minute Man March & Two-Step
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Smithsonian Institution
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SheetMusicPlus
Debussy Inconnu: Album of works for the piano by Claude Debussy completed by Robert Orledge, Vol. 1
Piano seul
Piano Solo - Advanced Intermediate - Digital Download Composed by Claude Debussy/Ro…
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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’<br> <br> From Robert Orledge's notes:<br> <br> 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).<br> <br> 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.<br> <br> 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.<br> <br> 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
35.13 €
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Piano seul
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Claude Debussy/Robert Orledge
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Debussy Inconnu: Album of works for the piano by Claude Debussy completed by Robert Orledge, Vol. 1
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Musik Fabrik Music Publishing
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SheetMusicPlus
Debussy Inconnu: Album of works for the piano by Claude Debussy completed by Robert Orledge, Vol. 2
Piano seul
Piano Solo - Advanced Intermediate - Digital Download Composed by Claude Debussy/Ro…
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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<br> <br> From Robert Orledge's notes:<br> <br> 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).<br> <br> 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.<br> <br> 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.<br> <br> 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
35.13 €
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Piano seul
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Claude Debussy/Robert Orledge
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Debussy Inconnu: Album of works for the piano by Claude Debussy completed by Robert Orledge, Vol. 2
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Musik Fabrik Music Publishing
#
SheetMusicPlus
Marie-Agnès Nataf: IL FUOCO RUBATO Anamorphoses III for piano
Piano seul
Piano Solo - Level 3 - Digital Download SKU: A0.533330 Composed by Marie-Agnès N…
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Piano Solo - Level 3 - Digital Download SKU: A0.533330 Composed by Marie-Agnès Nataf. Concert,Contemporary. Score. 7 pages. Musik Fabrik Music Publishing #2344341. Published by Musik Fabrik Music Publishing (A0.533330). Il fuoco rubato is one of the 3 pieces for piano solo Anamorphoses whose titles areBartoquade I, Bartoquade II b and Il fuoco rubato. These pieces can be linked together as awhole, in that order. The duration is of 5 minutes. They can also be played separately, orgrouped by two (Bartoquades I et II b, duration 3’). The same approach governs the writing ofthese compositions : taking model on works of the repertoire and transforming them as muchas possible while keeping a lot of important parameters.There are many cautionary accidentals. They are not enclosed in brackets to avoidoverloading writing. They are not systematically mentionned. In case of doubt, one willconsider the logic of the composition. When useful, one can distribute differently notesbetween the 2 hands on the condition of respecting the balance between voices. The sign *[on measure 80 means chromatic cluster (F-F#-G). Marie-Agnès NATAF was born on March 2, 1952 at Issy-les-Moulineaux, in the suburbs of Paris, Before deciding to devote herself completely to music, she began by studying both mathematics and musics at the same time. She had a varied base in her musical training, which allowed her to understand the teaching of her main teacher Narcis BONET. She studied the piano, chamber music, musical analysis, harmony and also to a lesser degree the flute, counterpoint and conducting. As a pianist, she received a First Prize in Piano and in Chamber Music at the Orsay Conservatory, the Gold Medla at the National Music School of Cahcan and the Artist Diploma at the Ecole Normale de Musique de Paris – in the class of Germaine MOUNIER. For composition, she studied with Narcis BONET (who later invited her to the Conservatoire Américain of Fontainebleau as accompanist and teacher of French Diction), Yoshihisa TAÃRA, and Edith CANAT de CHIZY. Having taught for a time at the Ecole Normale de Musique de Paris, she is currently professor of piano at the Conservatoire Erik Satie of Villebon-sur-Yvette, Marie-Agnès Nataf has a double career of performer and composer. In both areas, she is especially attracted to chamber music, for the rich musical and human exchanges that this type of music permits. She has written her works Trois mélodies sur des poèmes de Marie-Isabelle SOLANO, Révolte sans paroles and Elan brisé for her colleagues the mezzo-soprano Nicole PARAMYTHIOTTI and the flutiste Isabelle MARCHAL with whom he has given concerts for many years. As a performer, she has premiered works by composers such as Gian-Paolo CHITI, Gloria COATES, Jean-Marie MACHADO, Yoshifumi UMEZAWA, Miao Wen WANG, without speaking of her own compositions. She also tries to discover high quality works of music which are rarely performed, especially works by women composers such as Thérèse BRENET, Dianne GOOLKASIAN-RAHBEE, Ruth LOMON. Her principal works are Trois mélodies sur des poèmes de Marie-Isabelle SOLANO, for mezzo-soprano and piano, 8'30, 1981-83-86. Bartoquade I - Anamorphoses I, 1', et Bartoquade II b - Anamorphoses II, 2', for piano, 1990 revised in 2012. Il fuoco rubato - Anamorphoses III for piano, 2', 1991 revised in 2012. Révolte sans paroles for mezzo-soprano, flute and piano, 16'30, 2000. and Elan brisé and flute and piano, 6'30, 2005. In 2001, on the ocassion of the premier of Révolte sans paroles at the Centre Culturel Jacques Brel of of Villebon-sur-Yvette, she was invited to give a conference on her works at the Conservatoire Erik Satie. In April 2002, her songs were selected by the ensemble North /South Consonance directed by Max LIFCHITZ in a competition. In 2012, the Bartoquades were chosen to be on the list of works proposed by the FFEM for their examination list for intermediate pianists. On the su.
$7.95
7.17 €
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Piano seul
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Marie-Agnès Nataf
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Marie-Agnès Nataf: IL FUOCO RUBATO Anamorphoses III for piano
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Musik Fabrik Music Publishing
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SheetMusicPlus
Beethoven, Chopin, Mozart, Schubert & Schumann Piano Favorites Collection - Piano Solo
Piano seul
Piano Solo - Level 3 - Digital Download SKU: A0.790183 Composed by Franz Schubert, …
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Piano Solo - Level 3 - Digital Download SKU: A0.790183 Composed by Franz Schubert, Frederic Chopin, Ludwig van Beethoven, Robert Schumann, and Wolfgang Amadeus Mozart. Arranged by Franz Schubert, Frederic Chopin, Ludwig van Beethoven, Robert Schumann, and Wolfgang Amadeus Mozart. Classical,Concert. Score. 68 pages. Diamond S Music #5777185. Published by Diamond S Music (A0.790183). Beethoven, Chopin, Mozart, Schubert & Schumann Piano Favorites Collection - Piano Solo. This is a collection of 13 beloved Classical pieces by Beethoven, Chopin, Mozart, Schubert & Schumann for the intermediate to early advanced pianist. Full Contents-CHOPIN: Minute Waltz (Op. 64, No.1), Military Polonaise (Op. 40, No.1), Funeral March (3rd Movement from Piano Sonata No.2 in Bb Minor), 3 Nocturnes, Op.9 (No.1 in Bb Minor, No.2 in Eb Major, No.3 in B Major). MOZART: Fantasia No.3 in D Minor (K.397/385g) with 3 alternate endings, Turkish March (Rondo Alla turca, 3rd Movement from Piano Sonata No. 11, K.331). SCHUBERT: Impromptu in Gb Major (Op.90, No.3, D.899). SCHUMANN: Träumerei (Reverie from Scenes from Childhood, Op. 15, No.7). BEETHOVEN: 1st Movement of Moonlight Sonata (Sonata No. 14 in C#minor, Op. 27, No.2), 2nd movement from Sonata Pathétique (Sonata No. 8 in C Minor, Op. 13), Für Elise (Bagatelle No. 25 in A minor, WoO 59). 65 pages of music. Other similar arrangements and selections from DIAMOND S MUSIC available at: https://www.sheetmusicplus.com/publishers/diamond-s-music/6940
$20.99
18.93 €
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Piano seul
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Franz Schubert, Frederic Chopin, Ludwig van Beethoven, Robert Schumann, and Wolfgang Amadeus Mozart
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Beethoven, Chopin, Mozart, Schubert & Schumann Piano Favorites Collection - Piano Solo
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Diamond S Music
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SheetMusicPlus
March of the Martyr
Piano seul
Piano Solo - Level 4 - Digital Download SKU: A0.545965 By Shane Lamb. By Shane Lamb…
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Piano Solo - Level 4 - Digital Download SKU: A0.545965 By Shane Lamb. By Shane Lamb. Classical,Romantic Period. Score. 9 pages. Shane Lamb #156078. Published by Shane Lamb (A0.545965). This is a stately and solemn march with a prominent left hand melody in F minor. It is around seven and a half minutes long, and is early advanced difficulty level.
$5.00
4.51 €
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Piano seul
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Shane Lamb
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March of the Martyr
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Shane Lamb
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SheetMusicPlus
Hansel und Gretel - New Urtext Edition
Piano seul
Fairy-tale Opera in three acts. Composed by Engelbert Humperdinck (1854-1921). This …
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Fairy-tale Opera in three acts. Composed by Engelbert Humperdinck (1854-1921). This edition: vocal/piano score. Klavierauszug, Marchen, Oper. Downloadable. Duration 120 minutes. Schott Music - Digital #Q16445. Published by Schott Music - Digital
German - English.<br> <br> For the first time, all available sources of Engelbert Humperdinck's fairy-tale opera, Hansel und Gretel, have been consulted in the preparation of the present new edition. In evaluating them it became clear that a great number of corrections needed to be taken into account, for which the composer was indebted to the experiences of conductors known to him - Richard Strauss (Weimar), Hermann Levi (Munich) and Ludwig Rottenberg (Frankfurt) - as well as hiw own insight. In this way, a critical edition has been produced which not only offers an Urtext entirely faithful to the sources, but also provides important new improvements, tested on the stage an approved by the composer. Where, previously, slight alterations have unquestionably been necessary in order to prevent the vocal lines from being covered by the large-scale orchestration, convincing and authentic solutions are now available. Also, for the first time, the work's 'Desau-Finale' has been published, which Humperdinck composed for the production by Cosima Wagner.<br> <br> The edition is part of the ABRSM syllabus (grades 6,8).
$33.99
30.65 €
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Piano seul
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Engelbert Humperdinck
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Hansel und Gretel - New Urtext Edition
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Schott Music - Digital
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SheetMusicPlus
His Buttons Are Marked U.S. - piano solo
Piano seul
Piano Solo - Level 3 - Digital Download SKU: A0.1156999 Composed by Carrie Jacobs-B…
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Piano Solo - Level 3 - Digital Download SKU: A0.1156999 Composed by Carrie Jacobs-Bond. Arranged by Phil Beaman. March,Patriotic. Score. 2 pages. Phil Beaman #757324. Published by Phil Beaman (A0.1156999). His Buttons Are Marked U.S. is a piano solo arrangement of the 1918 hit pop song by Carrie Jacobs-Bond, which was originally a ballad for voice and piano. This ballad was written during WW1 so I have taken the melody and set it to a full blown patriotic march. 2 page score; 2:00 minutes This piece is also found in my book, Carrie Jacobs-Bond, Popular Songs 1900-1925, a collection of 51 of her songs I have arranged for piano solo, which is also available on this site.
$2.25
2.03 €
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Piano seul
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Carrie Jacobs-Bond
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Phil Beaman
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His Buttons Are Marked U.S. - piano solo
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Phil Beaman
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SheetMusicPlus
Prelude in F# minor Op. 13 No. 2
Piano seul
Piano Solo - Level 2 - Digital Download SKU: A0.987698 Composed by E.F.J. Fagan. Co…
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Piano Solo - Level 2 - Digital Download SKU: A0.987698 Composed by E.F.J. Fagan. Contemporary,Romantic Period. Score. 2 pages. Erin Fagan #21201. Published by Erin Fagan (A0.987698). This is the second Prelude from my first set of 24 Preludes for Solo Piano. Attention to dynamic contrast is important in this simple march-like piece as a gradual shift from the quietest to loudest dynamic should be heard each time the theme is heard. No expense should be spared in the final iteration of the theme in terms of dynamics and while there is a metronome marking at the start it is a guideline, the piece should be neither fast nor slow but with a simple adherence to the idea of the 'martellato' direction. This piece is rather simple except for the accel. section at the end which requires some finesse, however for a beginner pianist it should not be too much of a challenge. Performance time should be roughly 2 minutes.
$4.00
3.61 €
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Piano seul
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E
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Prelude in F# minor Op. 13 No. 2
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Erin Fagan
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SheetMusicPlus
Variations
Piano seul
Piano - intermediate - Digital Download SKU: S9.Q18657 Sur Auprès de ma blond…
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Piano - intermediate - Digital Download SKU: S9.Q18657 Sur Auprès de ma blonde. Composed by Naji Hakim. This edition: Sheet music. Downloadable. Duration 10 minutes. Schott Music - Digital #Q18657. Published by Schott Music - Digital (S9.Q18657). Naji Hakim (*1955), French composer of Lebanese descent, not only writes pieces for his principal instrument, the organ; even his piano works are characterized by many different sources, his major source of inspiration often being folk songs such as 'Auprès de ma blonde' whose melody dates back to the 16th century. The theme, which is introduced with a typical march rhythm, is developed in seven entertaining variations. One of the most popular French folk songs, interpreted by Elvis Presley and Doris Day among others, still is sung and played today. The present arrangement is an effective addition to the repertoire of every pianist.
$13.99
12.62 €
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Piano seul
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Naji Hakim
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Variations
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Schott Music - Digital
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SheetMusicPlus
Leaving with a sigh
Piano seul
Piano Solo - Level 4 - Digital Download SKU: A0.926209 Composed by Dirk Ettelt. Con…
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Piano Solo - Level 4 - Digital Download SKU: A0.926209 Composed by Dirk Ettelt. Concert,Holiday,Instructional. Score. 5 pages. Dirk Ettelt #4628235. Published by Dirk Ettelt (A0.926209). Leaving with a sigh is a piece for solo piano written in c sharp minor with a technically and rhythmically challenging level. It was composed in March - May 2019 in the context of the composer's change of residence.The score contains fingering indictions in order to support the pianist with technically demanding passages. The piece can be played with a duration of 3,5 minutes and fits ideally for short-term performance occasions.A live recording can be listened to at https://youtu.be/vfKpHVHYkEs
$2.99
2.7 €
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Piano seul
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Dirk Ettelt
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Leaving with a sigh
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Dirk Ettelt
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SheetMusicPlus
Nacht-Urnen
Piano seul
Piano - intermediate to advanced - Digital Download SKU: S9.Q3154 Nocturnes.…
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Piano - intermediate to advanced - Digital Download SKU: S9.Q3154 Nocturnes. Composed by Stefan Heucke. This edition: Sheet music. Downloadable. Op. 32. Duration 5 minutes. Schott Music - Digital #Q3154. Published by Schott Music - Digital (S9.Q3154). Der Titel des Klavierzyklus’ Nacht-Urnen ist ein makabres Wortspiel mit dem französischen Begriff Noct-urne. Die Assoziation Urne - Grabgefäß ist beabsichtigt, denn die Gattung des romantischen Nachtstücks für Klavier wird in diesen Stücken - zumindest im übertragenen Sinne - zu Grabe getragen. Das erste Stück Nocturne greift auf den dreiteiligen Typ des Chopin’schen Nocturnes zurück. Einer von zart getropften Tönen umspielten Melodie folgt ein bewegt - aufgewühlter Mittelteil, dem sich die Reprise des ersten Teils anschließt, diesmal allerdings wird die Melodie von leise rauschenden Skalen umspielt, ehe eine beinahe nüchterne Coda die musikalische Quintessenz brennglasartig zusammenfasst und bündelt. Dieses Stück entstand 1998 und war Pflichtstück beim Internationalen Schubert-Wettbewerb 2000 in Dortmund. Die drei folgenden Stücke bilden gewissermaßen eine Einheit. Nummer zwei Ciacona notturna ist ein höchst virtuoses Werk für die linke Hand allein, in dem sich große Klavierkomponisten, die Werke für die linke Hand allein geschrieben haben – Alkan, Brahms, Godowsky, Ravel, Prokofieff – gleichsam ein nächtliches Stelldichein geben. Das dritte Stück Unendliche Melodie – Melodie der Unendlichkeit (für die rechte Hand allein – meines Wissens außer einer Etüde von Alkan das einzige existierende Werk für die rechte Hand allein) spielt mit der Idee eines Zeitkontinuums, das schon vor Beginn des Stückes unhörbar im Raum war und sich auch nach dem Ende des Stückes in alle Ewigkeit weiter fortsetzen könnte. Ein einzelner Ton f in der Mitte der Klaviatur wird 55 Takte lang angeschlagen und über ihm entfaltet sich eine weit gespannte Melodie, die die rechte Hand alleine ausspinnt. Exakt beim Höhepunkt der Melodie (es ist der Goldene Schnitt), wechselt das f zum e, das weitere 33 Takte lang angeschlagen wird, während die Melodie darüber wieder zurück zur Mitte findet. Diese 88 Takte symbolisieren die Unendlichkeit: 8 als barockes Zahlensymbol für die Vollkommenheit der Ewigkeit und die liegende 8 als mathematisches Symbol für die Unendlichkeit. Schließlich ist in dem Titel des Stückes noch eine Anspielung auf Richard Wagners Begriff der Unendlichen Melodie enthalten. Nach einem Stück für die linke und einem für die rechte Hand allein, kann sich als viertes nur ein Unisonostück anschließen, in dem beide Hände stets die gleichen Töne, aber in unterschiedlichen Oktavabständen und verschiedenen rhythmischen Akzenten spielen. La scala dell’inferno (Die Höllenleiter) stürzt von höchster Höhe in rasenden Skalen in die tiefsten Regionen des Klaviers hinab, unterbrochen von zwei kurzen Zitaten des Dies Irae in der Mitte. Der Schlusssatz schließlich Marche funèbre knüpft in seiner düsteren Unentrinnbarkeit an die großen Trauermarschvorbilder Beethovens (op. 26) und Chopins (op.35) an. Die sich in schwerem Fünfertakt entlang rollenden düsteren Tonkaskaden werden in der Mitte von einem gläsern-durchsichtigen Mittelteil unterbrochen, der in seiner gleißenden, fast schneidenden Helligkeit Assoziationen an Nahtoderlebnisse nahe legen mag. Die Nacht-Urnen op. 32 wurden 2001 im Museum Baden in Solingen von dem Pianisten Rainer Klaas uraufgeführt, dem der Zyklus auch gewidmet ist. - Stefan Heucke.
$33.99
30.65 €
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Piano seul
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Stefan Heucke
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Nacht-Urnen
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Schott Music - Digital
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SheetMusicPlus
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