This is the first time that a version of Gustav Holst's The Planets for solo Piano has been published. In this glorious publication the emotional rollercoaster that is this seven-movement orchestralsuite can be played on a single Piano with those crashing chords and textural melodies sounding just fantastic on the solo keys. Originally scored for two pianos and four hands this epic orchestral workcontinues to astound and astonish audiences around the world even a century after Holst begun work on the first movement Mars the Bringer of War. This volume allows the solo pianist to emulate those gloriousmelodies wonderful harmonies and dynamic rhythms bringing the wonder of The Planets to the keys. This unique arrangement of The Planets reduces the entire orchestra tojust a solo Piano with some fingering hints throughout. The lovely engraving is an absolute pleasure to read from and the sound of those thunderous rhythms and sweet melodies sounds absolutely brilliant coming from the purityand clarity of a solo Piano. With all seven movements included in this The Planets sheet music you'll be able to learn Mars Venus Mercury Jupiter Saturn Uranus and Neptune in theentire work that's sometimes thunderous occasionally calm often bombastic but always beautiful. With the full-colour astrophotography of the cover the detailed accurate and clear engraving and theinherent uniqueness of such an arrangement befits the timeless and enduring achievement of a work like this. The compositional history and musical qualities of The Planets are fascinating and the lengthyintroduction details the rhythms the harmonies and the personality that Holst injected into his work so you can learn about this glorious work before delving into the stunning arrangement of each of the seven

Carl Maria von Weber's fame rests mainly on ?Der Freischütz'. The unprecedented success of this opera overshadowed all his other works and contributed to their increasing fall into oblivion. Certain works such as ?Preciosa', ?Oberon', and ?Euryanthe', the overtures, solo concertos and piano sonatas, the lieder and chamber works enjoyed great popularity and were widely known in Germany and abroad as late as the second half of the 19th century. However, any chance of a revival of Weber's influential and substantial oeuvre was wasted in the 1920s, when a complete edition - begun by Hans Joachim Moser and with potential contributors including Wilhelm Kempff, Hans Pfitzner, Max von Schillings, Fritz Stein and Richard Strauss - failed after the third volume.Ever since there have been numerous attempts to restart a complete edition of Weber's works, but as this kind of project would have required the co-operation of scholars from both sides of the inter-German border, the political situation after 1945 was not conducive to any such enterprise. Careful negotiations led to the first tangible steps in the 1980s. The intention, right from the beginning, was to place Weber's work in context, and not to separate his musical output from his influential work as a writer, critic and organiser in the musical field, but to publish his compositions together with his letters, diaries and other literary output as the best way to document the cross-fertilisation between his musical, literary and practical activities.Since the German re-unification both working-parties concerned - at the Staatsbibliothek zu Berlin, and at the Musikwissenschaftliches Seminar, Detmold/Paderborn - have co-operated on the complete edition of the musical works (c. 45 volumes in 10 series: sacred music - cantatas, odes and other occasional works - stage works - lieder and vocal works - orchestral works - chamber music - music for piano - piano reductions - miscellanea, arrangements and orchestrations - works of doubtful attribution). The diaries (6-8 vols.) are edited in Berlin and the letters (8-10 vols.) and other writings (2 vols.) in Detmold. This complete edition aims to be a reliable basis of scholarly debate as well as for the authentic performance practice of Carl Maria von Weber's music. Conforming to the standards of recent historico-critical editions, the textual material will be based on all available authentic sources, accompanied by a detailed documentation of the genesis and a list of variants for each work. The musicological importance of the works will be evaluated by placing them in their historical context, the presentation of their genesis, history and Critical Commentaries. The letters, writings and diaries will be treated as inter-related and relevant to each other in the commentaries, therefore readers should benefit from a wealth of concise information and cross-references. / Piano

This collection of Piano solos includes twelve classic hymns a variety of themes representative of the Christian faith's heritage. Unique arrangements are an addition to anyone's music library and can be used for manyoccasions.Examples include Amazing Grace  Abide with Me and an arrangement of A Mighty Fortress Is Our God with four key changes and an ending from Sigismond Thalberg's Les Huguenots Op.20.

Par GOUNOD CHARLES. The modal character of this piece, with some unexpected harmonic moments, underscores the sentiments of the beginning of Holy Week. Most of the choral writing is two part (ST/AB), breaking into four parts occasionally. Organ writing has nice independent moments, including the use of a solo reed stop, but also supports the choir./ Répertoire / Piano

- This is a reduction of a chamber work that Cage did for rehearsal and occasional performance with Cunningham Company. It was discovered by Walter Zimmerman in the Cage Collection at the New York Public Library. Zimmerman has edited. It is considered a major find.- For more on John Cage, please click on his name, above ... / Piano

These six lyrical waltzes are part of a whole series of dances for piano from the quill of the young Offenbach. It is quite likely that their creation was occasioned by various events before they were joined together into a collection for publication. Each piece is dedicated to a particular individual (or 'rose') from amongst the Parisian nobility: A pretty bouquet to which the only twenty-year-old composer was certainly not indifferent. For him, it was surely also a means of attaining a special place in the fashionable salons. / Piano

'Do you not know Jean Paul our great writer? I have learnt more counterpoint from him than from my music teacher'. Jean Paul's 'Vorschule der Ästhetik' with its extensive treatment of humour probably occasioned Schumann to thinkof giving a Piano work the title 'Humoreske' thus giving birth to a new musical genre. The 'romantic humour' is not however aimed at humour in a modern sense of the word but rather at a portrayal of the fragility andcontradictory nature of the human condition. As if in a kaleidoscope Schumann juxtaposes the most diverse elements of form and moods. Ernst Herttrich's revision reflects the latest scholarly findings for this unusual work.

Facsimile Hardback-The Mazurka in A flat major was written between the Mazurkas Opp. 17 and 24 (1833) and the Mazurkas Op. 30 (1835). It differs from those sets which in their dimensions texture harmony (including chromatism) elaborate ornamentation (e.g. in Op.17 No. 4) folk bourdons (Op. 17 No. 1) transferral of the melody to the left-hand part (Op. 24 No. 2) and differentation of compositional technique. The Mazurka in A flat major is not however a bridge between these opuses but an occasionalwork - a gift for a lady written into her album. It has a simple design and uncomplicated texture.

16 well-known original pieces in progressive order of difficulty with practical comments-Johann Sebastian Bach is more or less the alpha and omega of piano playing: there is hardly a piano pupil who did not start off with his little preludes or his inventions. And almost all pianists regard his Well-tempered Clavieras an unsurpassed highpoint in the history of piano music. Our volume follows these well-trodden paths but not without the occasional sideways glance at some less prominent pieces by the Master such as his picturesque ?Capriccioon the departure of a beloved brother?.

Primer Level-PreTime® Piano: Jazz & Blues contains ten entertaining pieces written especially for children at Primer Level on the Faber Piano Adventures® course.Imaginative lyrics convey the blues spirit of life's ups and downs to the early grade student. Pieces remain in middle C position with an occasional sharp or flat. No eighth notes or dotted rhythms are used. This songbook includes the pieces Penguin Blues Jazz Walk Hound Dog Blues Jazz Man So Many Toys (So Little Time to Play) A Fishy Story Dinosaur Stomp Cool Breeze Waltz and more.

In autumn 1891 Debussy’s early Piano piece Ballade slave was published by Choudens. When he had it re-engraved by Fromont in a slightly revised form in 1903 he deleted the word slave. Thus the titlepointed more markedly to the work’s narrative character. Yet one can detect a certain Russian influence stemming from the time he spent with Nadeshda von Meck Debussy was at times her house pianist. Even echoes ofBalakirev can be heard. The occasionally unconventional tonal approach already heralds the Debussy of the important cycle Pour le Piano published in 1901.

arranged for piano by Caroline Potter-Lili Boulanger's Marche Gaie arranged for Piano by Caroline Potter. 'In her all too brief career Lili Boulanger (1893-1918) composed a number of works whose existence is unquestioned for which there is proof they existed but which have now disappeared. One of these missing pieces Marche gaie resurfaced in short score form in 2011 in a private collection in North Carolina; the owners of the manuscript are the grandchildren of the work’s dedicatee Jeanne Leygues. As Marche gaie was registered with SACEM (the collecting Society for music in France) as a work for chamberorchestra in 1916 we can assume it was composed in that year. While the manuscript is in an unknown hand there is musical and circumstantial evidence combined with testimony from the family (whose Leygues ancestors knew the Boulanger family well) that shows beyond reasonable doubt that this is a missing work by Lili Boulanger. Jeanne Leygues daughter of the French politician Georges Leygues briefly Prime Minister in 1920-1 and a great supporter of the arts married an American Paul Rockwell who fought with his brother in the French Foreign Legion in World War I. We can assume that Marche gaie was commissioned for Jeanne’s wedding in December 1916 not least because the piece alludes to Mendelssohn’s famous Wedding March in bars 25-32 a gesture typical of Lili Boulanger who was fond of quotation and allusion. Marche gaie was originally paired with a Marche funèbre a work yet to resurface. It is a pleasure to bring this occasional piece to life. The author is very grateful to Paul Sholarand Vance Brown of Asheville North Carolina for their generous assistance in preparing Marche gaie for publication.' Caroline Potter

Scène rustique russe-Tchaikovsky composed the Russian rural scene 'Dumka' in just a few days in late February 1886. 'Dumka' is originally the name of an epic and historical South West Slavic folk song of a melancholy nature. In Tchaikovsky's Op. 59 the elegiac andante cantabile forms the framework of the fast middle section in which brief formulaic thoughts newly varied and increasing in virtuosic intensity display fireworks of pianistic brilliance. Being his only 'Morceau de Concert' this piece occupies a special place among the piano works of Tchaikovsky. As a pianist who rarely gave concerts and occasionally complained about the lack of interest from the keyboardtitans of his time (Franz Liszt Hans von Bülow and the brothers Anton and Nikolaj Rubinstein) in his music. Tchaikovsky certainly regarded the piece as a chance to make his music known outside of Russia. So the French subtitle of the piece may rather be understood as a concession to the French audience.