SKU: HL.14009667
Composed in 1911, this work is dedicated to the memory of Edward VII who died in 1910. The symphony reflects the abrupt change of mood that took place throughout the country upon Edward's death. Here, it has been transcribed for piano.
SKU: YM.GTP01100090
ISBN 9784636100655. 8.5 x 12 inches.
Easy arrangements for adults to start playing the piano for the first time. Features large, easy-to-read music sheets.
SKU: HL.14021532
9.0x12.0x0.172 inches.
A collection of simplified versions of Mozart's original compositions arranged for solo piano. The succession of pieces do not correspond to an increasing technical level but offers the discovery of the author's musical repertoire. The accompanying CD (CD audio and CD-rom) allows the pianist to listen to each composition and hear the interpretation suggested. Suitable for pianists grades 3-5 standard. (CD-rom is compatible for PC and Mac).
SKU: HH.HH532-SOL
ISBN 9790708185444.
Mozart’s final three symphonies were composed, according to Mozart’s autograph Verzeichnüß, in the space of a few weeks, from late June to early August 1788. During that year the 11-year-old Hummel was a resident pupil of Mozart and would have been a daily witness to the creation of these foundational works of the Western musical canon. There is an almost total lack of documentary evidence concerning the circumstances of these works, however, which has led to considerable speculation as to their origins, early performances and reception. There are three plausible scenarios for the genesis of these symphonies: that they were written for a series of subscription concerts scheduled for autumn 1788; that Mozart wrote them with the (unfulfilled) intention of publication as an opus; that they may have been prepared in advance of Mozart’s projected visit to London with his British friends the Storace family, Thomas Attwood and Michael Kelly (again unfulfilled). A contemporaray review in The Harmonicum (1823) of Hummel’s piano arrangements of these works notes, approvingly, that they show his perfect knowledge of the instrument and his nice [= fastidious] discrimination in selecting the most effective parts from the score in those places where the whole could not be taken.
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