for Piano and Orchestra Full Score. Par LECUONA ERNESTO. Rapsodia Argentina is based on traditional older Argentinian tangos, the most famous being_x001A_Buenos Aires,_x001A_which is heard at the outset. The whole piece is a kind of huge rondo and is divided into several sections, most of which recur during the course of the composition. One of them is a milonga, a native peasant dance of Argentina (and Bolivia) that is a variation of the tango. Rapsodia Argentina is probably the least known of the three rapsodias for piano and orchestra by Lecuona. For sale is the solo piano part. It is not a 2-piano version or a piano reduction. The solo part matches the available orchestration as arranged and recorded by Thomas Tirino. / Date parution : 2023-06-01/ Répertoire / Piano et Orchestre

For The Left Het For Piano et Orchestra. Par RAVEL MAURICE. In 1929 Paul Wittgenstein, a pianist and war veteran who lost his right arm in the Great War, commissioned Maurice Ravel to write a concerto for him to perform. The result was one of Ravel's most thrilling compositions and, for Wittgenstein, the most important of the many works he commissioned over the course of his career. This scholarly-critical edition of Ravel's Concerto for the Left Hand is based on previously inaccessible and unknown sources. The editor, Douglas Woodfull-Harris, was able to consult manuscripts in the private library of the Paul Wittgenstein Estate which allowed him to retrace the work's evolution from Ravel's autograph working copy to the first printededition. The piano reduction in our edition contains both Ravel's and Wittgenstein's fingerings. Also included is a solo part without fingering, thereby giving pianists the opportunity to enter their own fingering after having studied those of Ravel and Wittgenstein. In 1929 Paul Wittgenstein, a pianist and war veteran who lost his right arm in the Great War, commissioned Maurice Ravel to write a concerto for him to perform. The result was one of Ravel 's most thrilling compositions and, for Wittgenstein, the most important of the many works he commissioned over the course of his career. This scholarly-critical edition of Ravel 's Piano Concerto For The Left Hand is based on previously inaccessible and unknown sources. The editor, Douglas Woodfull-Harris, was able to consult manuscripts in the private library of the Paul Wittgenstein Estate which allowed him to retrace thework's evolution from Ravel 's autograph working copy to the first printed edition. A source of key importance to our new edition is a handwritten French copy of Ravel 's own Piano reduction (the autograph is inaccessible) that he gave to Wittgenstein to facilitate rehearsing the work. This copy is the sole source reflecting Wittgenstein's own interpretation and containing his changes to the final cadenza. It also helps us to understand omissions in the first edition of the score as well as the Piano reduction, and enabled the editor, amongst other things, to correct a great many notes which could be found in previous editions, including the solo Piano part. The Piano reduction in our edition contains both Ravel 's and Wittgenstein's fingering. Also included is a solo part without fingering, thereby giving pianists the opportunity to enter their own fingering after having studied those of Ravel and Wittgenstein. Score and orchestral parts in large format (25. 5 x 32. 5 cm) Includes source descriptions and a Critical Commentary with alternative readings (Eng) Informative Introduction on the work's history and genesis (Ger/Eng/Fr) With facsimile pages Piano reduction with separate Urtext solo part enclosed Full score & parts (BA7881) and two-Piano reduction (BA7881-90) available for sale./ Répertoire / Piano et Orchestre

Beethoven's fifth and final piano concerto is at the same time the culmination of his efforts in this genre and a reflection of all his artistic skill and expertise. The surviving manuscripts provide a clear insight into his working methods and his intentions regarding the work's performance.The editor, Jonathan Del Mar, has closely scrutinised the autograph solo piano part and reproduced Beethoven's sophisticated performance instructions for the first time in a modern edition. Among other things, this has special repercussions for the left-hand figured bass line of the piano part during the tutti passages.As with the Piano Concertos Nos. 1 to 4, the piano reduction appears with a separate solo part containing all the information needed by the soloist to conduct the ensemble from the piano.- Many wholly new corrections in the solo and orchestral parts- Piano reduction with a separate solo part, as was customary in Beethoven's day- With Beethoven's continuo figures for the first time in a modern edition / Alto

Beethoven's fifth and final piano concerto is at the same time the culmination of his efforts in this genre and a reflection of all his artistic skill and expertise. The surviving manuscripts provide a clear insight into his working methods and his intentions regarding the work's performance.The editor, Jonathan Del Mar, has closely scrutinised the autograph solo piano part and reproduced Beethoven's sophisticated performance instructions for the first time in a modern edition. Among other things, this has special repercussions for the left-hand figured bass line of the piano part during the tutti passages.As with the Piano Concertos Nos. 1 to 4, the piano reduction appears with a separate solo part containing all the information needed by the soloist to conduct the ensemble from the piano.- Many wholly new corrections in the solo and orchestral parts- Piano reduction with a separate solo part, as was customary in Beethoven's day- With Beethoven's continuo figures for the first time in a modern edition / Violon 1

(Solo Piano Part). Par HAWES PATRICK. ?It?s very direct, it?s very honest, it?s very melodic and it?s very beautiful.? Peter Jablonski, pianist. A three-movement work for piano and orchestra written for Peter Jablonski the concerto is a journey of excitement and ? above all ? majesty, through the pain of loss and bereavement, through to victory and the fulfilment of hope. / Date parution : 2022-10-12/ Répertoire / Piano

Fryderyk Chopin Concerto in F minor Op. 21 for piano and orchestra, WN concert version, score Piano concertos combine two elements: pure playing and full poetic expression. Virtuosity and romance. Pianistic brilliance, educated in the works in the stile brillant, brought to perfection, but at the same time ? a farewell. Both are forms of direct expression of the personality of the composer, which showed itself in them for the first time with so much strength and is manifested in a group of characteristics of forming Chopin's individual style. Piano Concerto in F minor In terms of size, substantially smaller than the E minor concerto and also a different kind of expression: more lyrical, drawn in delicate pastel colours. Especially famous is the second movement, the Larghetto, which Chopin wrote under the inspiration of his first love. Critical source-edition edited by Jan Ekier and Pawe? Kami?ski based on manuscripts, copies approved by Chopin himself, and first editions. Its purpose is to present the works of Chopin in authentic form. Editor: Jan Ekier, Pawe? Kami?ski Source commentary by: Jan Ekier, Pawe? Kami?ski Performance commentary by: Jan Ekier, Pawe? Kami?ski

for Piano and Orchestra Instrument : Piano and Orchestra Type : study score Nombre de Pages : 140 Content : Vivace molto ritmico e preciso - II Lento e deserto - III Vivace cantabile - IV Allegro risoluto, molto ritmico - V Presto luminoso

Rhapsody in F Sharp for Piano and Orchestra was commissioned by the BBC Proms and first performed in the Royal Albert Hall on August 19th, 1943. Written with the wartime audience in mind, it is unashamedly popular in style, with its flashy virtuosity making it immediately accessible and entertaining. There is argument among scholars as to whether it should be referred to in the Major or Minor key, as it makes almost equal use of both, starting in one and finishing in the other. Ernest J Moeran (1894-1950) was an English composer, who followed the tradition of R. Vaughan Williams and John Ireland by collecting, preserving, and using many folk songs, mainly from Norfolk, Suffolk, and Ireland. / Piano Et Orchestre