English - German.

To mark .the 250th anniversary of Schott Music, these treasures have been uncovered from the archives, reedited and presented in these beautiful editions. .This anthology is aimed at intermediate to advanced cellists looking for some .interesting new discoveries .away from the .standard repertoire. Containing works largely from the Romantic era, these are virtuoso pieces de resistance and encores, expressive character pieces, gems of salon music .and elaborate arrangements of well-known melodies and themes. Many of the original compositions and arrangements were written by major instrumentalists of the 19th century.

German - Danish.

To mark .the 250th anniversary of Schott Music, these treasures have been uncovered from the archives, reedited and presented in these beautiful editions. .This anthology is aimed at intermediate to advanced clarinetists looking for some .interesting new discoveries .away from the .standard repertoire. Containing works largely from the Romantic era, these are virtuoso pieces de resistance and encores, expressive character pieces, gems of salon music .and elaborate arrangements of well-known melodies and themes. Many of the original compositions and arrangements were written by major instrumentalists of the 19th century.

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.

The Spanish violinist and composer Pablo de Sarasate (1844-1908) is one of the most fascinating personalities among the 19th-century virtuosos. The child prodigy received violin lessons at the age of five, gave his first concert three years later and, at the age of twelve, went to attend the renowned Paris Conservatoire. With his brilliant playing and smooth violin sound he took the concert halls of Europe and America by storm. Famous colleagues such as Saint-Saens, Lalo or Bruch wrote solo works for him. He too composed effective solos for his own use. His 'Zigeunerweisen' are a firm part of the virtuoso repertoire. The present collection unites unknown and well-known works by Sarasate, original works and arrangements - real treats and virtuoso fodder.

Piano teachers (as well as pupils) know about the problem of the adult concert repertoire: there is a lack of literature for young, talented and virtuoso pianists, when the hands are in the process of growth but still small. This moment creates serious difficulties in the process of teaching gifted children who want to prove themselves in a full-scale concert repertoire, as most of the classical and romantic pieces contain octaves, wide chords and interval sequences that require an adult hand.
Rosenblatt's 8 Etudes in Jazz Style are the result of his cooperation with the pianist Michael Bischoffberger. All pieces are devoted to the development of the pianist's basic technical skills: with scales, arpeggios, double notes, chord technique, cantilena and sustain pedaling skill. However, the pieces only use intervals smaller than the octave, the septima is the largest interval. The pieces are excellent for teaching and they sound absolutely adult, bright and "fresh" because of the Jazz based style of the music.
Excellent pieces for concert, teaching and competition.

I composed the Piano Concerto in two stages: the first three movements during the years 1985-86, the next two in 1987, the final autograph of the last movement was ready by January, 1988. The concerto is dedicated to the American conductor Mario di Bonaventura. .

The markings of the movements are the following: .

1. Vivace molto ritmico e preciso .
2. Lento e deserto .
3. Vivace cantabile .
4. Allegro risoluto .
5. Presto luminoso.

The first performance of the three-movement Concerto was on October 23rd, 1986 in Graz. Mario di Bonaventura conducted while his brother, Anthony di Bonaventura, was the soloist. Two days later the performance was repeated in the Vienna Konzerthaus. After hearing the work twice, I came to the conclusion that the third movement is not an adequate finale. my feeling of form demanded continuation, a supplement. That led to the composing of the next two movements. The premiere of the whole cycle took place on February 29th, 1988, in the Vienna Konzerthaus with the same conductor and the same pianist. .

The orchestra consisted of the following: flute, oboe, clarinet, bassoon, horn, trumpet, tenor trombone, percussion and strings. The flautist also plays the piccoIo, the clarinetist, the alto ocarina. The percussion is made up of diverse instruments, which one musician-virtuoso can play. It is more practical, however, if two or three musicians share the instruments. Besides traditional instruments the percussion part calls also for two simple wind instruments: the swanee whistle and the harmonica. The string instrument parts (two violins, viola, cello and doubles bass) can be performed soloistic since they do not contain divisi. For balance, however, the ensemble playing is recommended, for example 6-8 first violins, 6-8 second, 4-6 violas, 4-6 cellos, 3-4 double basses. .

In the Piano Concerto I realized new concepts of harmony and rhythm. .

The first movement is entirely written in bimetry: simultaneously 12/8 and 4/4 (8/8). This relates to the known triplet on a doule relation and in itself is nothing new. Because, however, I articulate 12 triola and 8 duola pulses, an entangled, up till now unheard kind of polymetry is created. The rhythm is additionally complicated because of asymmetric groupings inside two speed layers, which means accents are asymmetrically distributed. These groups, as in the talea technique, have a fixed, continuously repeating rhythmic structures of varying lengths in speed layers of 12/8 and 4/4. This means that the repeating pattern in the 12/8 level and the pattern in the 4/4 level do not coincide and continuously give a kaleidoscope of renewing combinations. .

In our perception we quickly resign from following particular rhythmical successions and that what is going on in time appears for us as something static, resting. This music, if it is played properly, in the right tempo and with the right accents inside particular layers, after a certain time rises, as it were, as a plane after taking off: the rhythmic action, too complex to be able to follow in detail, begins flying. This diffusion of individual structures into a different global structure is one of my basic compositional concepts: from the end of the fifties, from the orchestral works Apparitions and Atmospheres I continuously have been looking for new ways of resolving this basic question. The harmony of the first movement is based on mixtures, hence on the parallel leading of voices. This technique is used here in a rather simple form. later in the fourth movement it will be considerably developed. .

The second movement (the only slow one amongst five movements) also has a talea type of structure, it is however much simpler rhythmically, because it contains only one speed layer. The melody is consisted in the development of a rigorous interval mode in which two minor seconds and one major second alternate therefore nine notes inside an octave. This mode is transposed into different degrees and it also determines the harmony of the movement. however, in closing episode in the piano part there is a combination of diatonics (white keys) and pentatonics (black keys) led in brilliant, sparkling quasimixtures, while the orchestra continues to play in the nine tone mode. .

In this movement I used isolated sounds and extreme registers (piccolo in a very low register, bassoon in a very high register, canons played by the swanee whistle, the alto ocarina and brass with a harmon-mute' damper, cutting sound combinations of the piccolo, clarinet and oboe in an extremely high register, also alternating of a whistle-siren and xylophone). The third movement also has one speed layer and because of this it appears as simpler than the first, but actually the rhythm is very complicated in a different way here. Above the uninterrupted, fast and regular basic pulse, thanks to the asymmetric distribution of accents, different types of hemiolas and inherent melodical patterns appear (the term was coined by Gerhard Kubik in relation to central African music). If this movement is played with the adequate speed and with very clear accentuation, illusory rhythmic-melodical figures appear. These figures are not played directly. they do not appear in the score, but exist only in our perception as a result of co-operation of different voices. .

Already earlier I had experimented with illusory rhythmics, namely in Poeme symphonique for 100 metronomes (1962), in Continuum for harpsichord (1968), in Monument for two pianos (1976), and especially in the first and sixth piano etude Desordre and Automne a Varsovie (1985). .

The third movement of the Piano Concerto is up to now the clearest example of illusory rhythmics and illusory melody. In intervallic and chordal structure this movement is based on alternation, and also inter-relation of various modal and quasi-equidistant harmony spaces. The tempered twelve-part division of the octave allows for diatonical and other modal interval successions, which are not equidistant, but are based on the alternation of major and minor seconds in different groups. The tempered system also allows for the use of the anhemitonic pentatonic scale (the black keys of the piano). From equidistant scales, therefore interval formations which are based on the division of an octave in equal distances, the twelve-tone tempered system allows only chromatics (only minor seconds) and the six-tone scale (the whole-tone: only major seconds). .

Moreover, the division of the octave into four parts only minor thirds) and three parts (three major thirds) is possible. In several music cultures different equidistant divisions of an octave are accepted, for example, in the Javanese slendro into five parts, in Melanesia into seven parts, popular also in southeastern Asia, and apart from this, in southern Africa. This does not mean an exact equidistance: there is a certain tolerance for the inaccurateness of the interval tuning. .

These exotic for us, Europeans, harmony and melody have attracted me for several years. However I did not want to re-tune the piano (microtone deviations appear in the concerto only in a few places in the horn and trombone parts led in natural tones). After the period of experimenting, I got to pseudo- or quasiequidistant intervals, which is neither whole-tone nor chromatic: in the twelve-tone system, two whole-tone scales are possible, shifted a minor second apart from each other. Therefore, I connect these two scales (or sound resources), and for example, places occur where the melodies and figurations in the piano part are created from both whole tone scales. in one band one six-tone sound resource is utilized, and in the other hand, the complementary. In this way whole-tonality and chromaticism mutually reduce themselves: a type of deformed equidistancism is formed, strangely brilliant and at the same time slanting. illusory harmony, indeed being created inside the tempered twelve-tone system, but in sound quality not belonging to it anymore. .

The appearance of such slantedequidistant harmony fields alternating with modal fields and based on chords built on fifths (mainly in the piano part), complemented with mixtures built on fifths in the orchestra, gives this movement an individual, soft-metallic colour (a metallic sound resulting from harmonics). .

The fourth movement was meant to be the central movement of the Concerto. Its melodc-rhythmic elements (embryos or fragments of motives) in themselves are simple. The movement also begins simply, with a succession of overlapping of these elements in the mixture type structures. Also here a kaleidoscope is created, due to a limited number of these elements - of these pebbles in the kaleidoscope - which continuously return in augmentations and diminutions. .

Step by step, however, so that in the beginning we cannot hear it, a compiled rhythmic organization of the talea type gradually comes into daylight, based on the simultaneity of two mutually shifted to each other speed layers (also triplet and duoles, however, with different asymmetric structures than in the first movement). While longer rests are gradually filled in with motive fragments, we slowly come to the conclusion that we have found ourselves inside a rhythmic-melodical whirl: without change in tempo, only through increasing the density of the musical events, a rotation is created in the stream of successive and compiled, augmented and diminished motive fragments, and increasing the density suggests acceleration. .

Thanks to the periodical structure of the composition, always new but however of the same (all the motivic cells are similar to earlier ones but none of them are exactly repeated. the general structure is therefore self-similar), an impression is created of a gigantic, indissoluble network. Also, rhythmic structures at first hidden gradually begin to emerge, two independent speed layers with their various internal accentuations. .

This great, self-similar whirl in a very indirect way relates to musical associations, which came to my mind while watching the graphic projection of the mathematical sets of Julia and of Mandelbrot made with the help of a computer. I saw these wonderful pictures of fractal creations, made by scientists from Brema, Peitgen and Richter, for the first time in 1984. From that time they have played a great role in my musical concepts. This does not mean, however, that composing the fourth movement I used mathematical methods or iterative calculus. indeed, I did use constructions which, however, are not based on mathematical thinking, but are rather craftman's constructions (in this respect, my attitude towards mathematics is similar to that of the graphic artist Maurits Escher). .I am concerned rather with intuitional, poetic, synesthetic correspondence, not on the scientific, but on the poetic level of thinking. .

The fifth, very short Presto movement is harmonically very simple, but all the more complicated in its rhythmic structure: it is based on the further development of ''inherent patterns of the third movement. The quasi-equidistance system dominates harmonically and melodically in this movement, as in the third, alternating with harmonic fields, which are based on the division of the chromatic whole into diatonics and anhemitonic pentatonics. Polyrhythms and harmonic mixtures reach their greatest density, and at the same time this movement is strikingly light, enlightened with very bright colours: at first it seems chaotic, but after listening to it for a few times it is easy to grasp its content: many autonomous but self-similar figures which crossing themselves. .

I present my artistic credo in the Piano Concerto: I demonstrate my independence from criteria of the traditional avantgarde, as well as the fashionable postmodernism. Musical illusions which I consider to be also so important are not a goal in itself for me, but a foundation for my aesthetical attitude. I prefer musical forms which have a more object-like than processual character. Music as frozen time, as an object in imaginary space evoked by music in our imagination, as a creation which really develops in time, but in imagination it exists simultaneously in all its moments. The spell of time, the enduring its passing by, closing it in a moment of the present is my main intention as a composer. .
(Gyorgy Ligeti)

English ? German.

To mark the 250th anniversary of Schott Music, these treasures have been uncovered from the archives, reedited and presented in these beautiful editions. This anthology is aimed at intermediate to advanced flautists looking for some interesting new discoveries away from the standard repertoire. Containing works largely from the Romantic era, these are virtuoso pièces de résistance and encores, expressive character pieces, gems of salon music and elaborate arrangements of well-known melodies and themes. Many of the original compositions and arrangements were written by major instrumentalists of the 19th century.

In this series, Schott presents demanding piano transcriptions of well-known works. The series comprises 14 editions, all volumes of which have been .compiled with great care and .given a special cover.
Volume 14 contains a delicate piano paraphrase by the famous pianist Cyprien Katsaris of Johann Sebastian Bach's 'Badinerie', a smash hit in music history. Every eight bars of Bach are followed by the virtuoso 'commentary' of the Paris-based Katsaris.
Ambitious pianists are certainly going to enjoy the virtuoso challenge of this effective arrangement.

ISBN 9781619116740.

Virtuoso Harmonica Solos presents outstanding solo material on classic compositions for the chromatic harmonica. The material showcases advanced techniques used by Jiayi He, and is written for experienced players. The solos include full versions of Bach's Violin Concerto, Chopin's Minute Waltz, Sarasate's Zigeurnerweisen and Carmen Fantasy, and more. Harmonica tablature is included, with a special section on all major and minor scales and arpeggios. Performances by He can be found at www.youtube.com/user/hharmonica, and online audio provides accompaniment in practice and performance scenarios. Includes access to online audio.

English ? German.

To mark the 250th anniversary of Schott Music, these treasures have been uncovered from the archives, reedited and presented in these beautiful editions. This anthology is aimed at intermediate to advanced violinists looking for some interesting new discoveries away from the standard repertoire. Containing works largely from the Romantic era, these are virtuoso pièces de résistance and encores, expressive character pieces, gems of salon music and elaborate arrangements of well-known melodies and themes. Many of the original compositions and arrangements were written by major instrumentalists of the 19th century.

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.

Summertime Variations is the third arrangement I have made of Gershwin's Summertime - and the first for solo piano. It begins and ends very quietly and cantabile with a meditation on the well-known opening motif. The complete melody then forms the basis for the swinging and extremely virtuoso Presto Variations of the central section.

The work was composed as a concert piece for my classical solo recitals, but I alos play Summertime Variations as an encore in my regular performances in jazz festivals such as in Montreux. (Fazil Say).

Matthias Weckmann, born in Niederdorla near Muhlhausen (Thuringia) in 1616 and died in Hamburg in 1674, was trained as a musician by Heinrich Schutz in Dresden among others. He worked as an organist in Dresden (Schlosskirche) and Hamburg (St. Jakobi). It is particularly for the Jakobi organ that he wrote his elaborate and virtuoso organ works. Our new edition in the renowned series 'Masters of the North German Organ School' faithfully transfers the works which survived in letter tablature, providing a reliably edited urtext. Volume 1 contains the cantus firmus-based works, 8 authentic verse cycles with 2-7 movements each in which chorale melodies such as 'Es ist das Heil uns kommen her', 'Gelobet seist du, Jesu Christ)' or the 'Magnificat' are varied, as well as a cycle on 'Ach wir armen Sunder' attributed to Weckmann. Volume 2 proves him to a master of concertante organ music, containing 3 works with pedal (Fantasia, Fuga and Praeambulum in D) as well as several moderately difficult works to be played on manuals only (6 toccatas, 5 canzonas). Reliable standard edition of the music by one of the great (North) German organ masters.

Raaf Hekkema's (*1968) arrangement of the famous work by Paganini was initiated by a commission of the Dutch Noord Nederlands Orkest which asked him to play Paganini's Violin Concerto No. 2 at a tour. Like its virtuoso counterpart, Capriccio No. 24, the famous last movement La Campanella which had inspired many other composers like Schumann and Liszt reflects, in the version for saxophone, the great wealth of 21st-century saxophone playing - a breathtaking piece full of saxophone acrobatics!
Already available are the famous 24 Capricci Op. 1 by Paganini for solo saxophone (ED 20559). For the CD release of this work, the virtuoso Dutch saxophonist was awarded the Echo Klassik Award in the category of 'Best Instrumentalist of the Year' in 2007.

Chopin is considered to have been the founder of what was a new style of sensitive virtuoso piano playing among the Romantics. Heinrich Heine made the telling comment about him that "He is not only a virtuoso, he is also a poet". This volume contains original piano compositions such as Preludes, Mazurkas , Waltzes and Polonaises, along with arrangements of the loveliest themes from his two Piano Concertos, three pieces of chamber music and a song.

Unlike the highly virtuoso Etudes d'execution transcendante by Franz Liszt,
these etudes by Wilhelm Killmayer are written 'in a deliberately anti-virtuoso
manner, without chroma, i.e. with seven tones and largely in two parts'. (Wilhelm Killmayer)

Each of the twelve pieces focusses on a single compositional or technical aspect. Diatonic scales, parallel thirds and major chords are combined with some technically very tricky passages.

Killmayer makes great demands on the pianist's concentration, subtly coloured performance and differentiated articulation. The seventh etude is given the title 'Im Schumann-Ton' - unforced heartfelt music, always somehow "absent" and unpredictable in its modulations.

German - English - French.

Emil Kronke (1865-1938), a composer of the German late Romantic era, has unjustly fallen into oblivion until today. As a pianist and piano teacher, he primarily composed works for his principal instrument. In addition, he wrote several works for flute which look back on a rich tradition in Dresden, his adopted home town and sphere of activity for many years. Apart from virtuoso salon music, he also composed easier pieces like Kolibris Op. 201 from 1931.
The six appealing miniatures with easy piano accompaniment are little didactic pieces which can be used even by young flutists of today to develop their technique and their style. Furthermore, they sound so beautiful as to certainly bring a good mood into the classroom, yet are also suitable for pupils' concerts and competitions. May the Kolibris continue to fly in the following generations and be played by young musicians with joy and imagination.
This edition is part of the new Schott Student Edition series which offers varied literature at five different levels of difficulty, from 1 (easy) to 5 (difficult), for instrumental lessons.

The Italian flute virtuoso Giuseppe Gariboldi (1833-1905) wrote numerous studies for the flute which are among today's standard teaching literature. Starting with easy melodic tonal studies, the 'First Exercises' gradually expand their range of tones, thus increasing the technical demands. Melodic and harmonic progression, dynamics, articulation and dexterity are developed in short, .exercises arranged in varying ways, starting from the basics.
The song-like, easily comprehensible melody in connection with elementary motivic work (repetitions of motifs, sequences and variations) trains the inner tonal image which is imperative for the beginner in particular. When a sense of melodic progression and phrasing is developed on this basis, the increasing technical elements added later are incorporated both unobtrusively and organically. This new volume in the well-known Schott series 'Essential Exercises' is complemented by teaching tips and an index of the technical and musical topics.

Alexander Rosenblatt, born in Moscow in 1956, completed his piano and composition studies at the renowned conservatoire of his home town. In his compositions, he combines classical elements with jazz elements to form an original blend of styles, a very characteristic musical language. He made himself a name as a pianist, especially in the piano duo with O. Sinking, a genre which then earned him great success as a creative artist as well: In 2001 he won a special award for his 'Modern Piano Duet' at the International Composition Competition in Tokyo.
In his 'Carmen Fantasy' Rosenblatt uses themes from Bizet's opera in a clever and witty manner, spicing them with jazzy rhythms and surprising harmonies - virtuoso fireworks for two pianos.