| Masterwork Classics Duets, Level 8 1 Piano, 4 hands - Intermediate/advanced Alfred Publishing
(A Graded Collection of Piano Duets by Master Composers). Edited by Gayle ...(+)
(A Graded Collection of
Piano Duets by Master
Composers). Edited by Gayle
Kowalchyk, E. L. Lancaster,
and Jane Magrath. For Piano.
Book; Duet or Duo; Graded
Standard Repertoire;
Masterworks; Piano Duet (1
Piano, 4 Hands). Alfred
Masterwork Edition:
Masterwork Classics Duets.
Masterwork. Early Advanced;
Late Intermediate. 80 pages.
Published by Alfred Music
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| Chants du Rhin for Trombone and Piano Trombone and Piano - Advanced Cherry Classics
Trombone and Piano - advanced SKU: CY.CC2718 Composed by Georges Bizet. A...(+)
Trombone and Piano - advanced SKU: CY.CC2718 Composed by Georges Bizet. Arranged by Ralph Sauer. 19th Century French. Solo part and Piano accompaniment. Published by Cherry Classics (CY.CC2718). The Chants du Rhin (Songs of the Rhine), a cycle of six pieces, based on poems by Joseph Mery, were written in 1865, and Bizet performed two of them on 16 April 1866 at a soiree of the Beaujolais Philharmonic Society. The songs are grouped symmetrically around La bohemienne as the central piece, framed by two meditatively yearning pieces (in E and D flat major) and two vividly exuberant ones (similarly in E and D flat major), with L'aurore serving as an introduction.
In this cycle Bizet takes up the theme of the gypsy girl which had already entered European music in the operas The Bohemian Girl by the Irish composer Michael William Balfe and Verdi's Il trovatore, as well as in Franz Liszt's Hungarian Rhapsodies for piano. Bizet will return to it one year later in La jolie fille de Perth and ten years later in Carmen. The fourth piece Les confidences shows similarities in tonality, structure and motifs to the middle part of the third movement of Chopin's Sonata in B minor. $27.50 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Chants du Rhin for Euphonium and Piano Euphonium, Piano (duet) - Advanced Cherry Classics
Euphonium and Piano - advanced SKU: CY.CC2722 Composed by Georges Bizet. ...(+)
Euphonium and Piano - advanced SKU: CY.CC2722 Composed by Georges Bizet. Arranged by Ralph Sauer. 19th Century French. Solo part and Piano accompaniment. Published by Cherry Classics (CY.CC2722). The Chants du Rhin (Songs of the Rhine), a cycle of six pieces, based on poems by Joseph Mery, were written in 1865, and Bizet performed two of them on 16 April 1866 at a soiree of the Beaujolais Philharmonic Society. The songs are grouped symmetrically around La bohemienne as the central piece, framed by two meditatively yearning pieces (in E and D flat major) and two vividly exuberant ones (similarly in E and D flat major), with L'aurore serving as an introduction.
In this cycle Bizet takes up the theme of the gypsy girl which had already entered European music in the operas The Bohemian Girl by the Irish composer Michael William Balfe and Verdi's Il trovatore, as well as in Franz Liszt's Hungarian Rhapsodies for piano. Bizet will return to it one year later in La jolie fille de Perth and ten years later in Carmen. The fourth piece Les confidences shows similarities in tonality, structure and motifs to the middle part of the third movement of Chopin's Sonata in B minor.
This version includes parts in B-flat treble clef as well as bass clef. $27.50 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Sonata in B minor Piano solo EMB (Editio Musica Budapest)
Piano (Piano Solo) SKU: HL.50488108 Fur Klavier. Composed by Franz...(+)
Piano (Piano Solo) SKU: HL.50488108 Fur Klavier. Composed by Franz Liszt. Romantic. EMB. Book Only. Editio Musica Budapest #Z40115. Published by Editio Musica Budapest (HL.50488108). ISBN 9790080401156. A/5 (14,2x20) inches. Antal Boronkay. $3.45 - See more - Buy online | | |
| Sonata Piano solo Durand
Piano SKU: HL.50564757 Piano. By S. Riera. By Franz Liszt. Edited ...(+)
Piano SKU: HL.50564757 Piano. By S. Riera. By Franz Liszt. Edited by Riera. Editions Durand. Classical. Score Only. Composed 2001. Editions Durand #DC00976500. Published by Editions Durand (HL.50564757). $18.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Album, Volume 1 Piano solo [Sheet music] Kalmus
By Franz Liszt (1811-1886). For Piano. Masterworks; Piano Collection. Kalmus Edi...(+)
By Franz Liszt (1811-1886). For Piano. Masterworks; Piano Collection. Kalmus Edition. Masterwork; Romantic. Book. 96 pages
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| Sonata in b minor Piano solo Peters
By Franz Liszt (1811-1886). Edited by Leslie Howard. For Piano. This edition: Ur...(+)
By Franz Liszt (1811-1886). Edited by Leslie Howard. For Piano. This edition: Urtext. Sheet Music. 52 pages. Published by Edition Peters
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| Sonata di Si min. Piano solo Curci
Piano SKU: CU.EC5426 Composed by Franz Liszt. Published by Edizioni Curci...(+)
Piano SKU: CU.EC5426 Composed by Franz Liszt. Published by Edizioni Curci (CU.EC5426). ISBN 9790215908949. $17.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Consolations, Grand Solo De Concert (earlier Versions) And Other Works Piano solo EMB (Editio Musica Budapest)
SKU: HL.50610018 Liszt, Works for Piano Solo, Supplementary vol. 10(+)
SKU: HL.50610018 Liszt, Works for Piano Solo, Supplementary vol. 10. Composed by Franz Liszt. EMB. Hardcover. 208 pages. Editio Musica Budapest #Z14505. Published by Editio Musica Budapest (HL.50610018). Of the early versions of works included in this volume the first versions of the notably popular Consolations cycle and Grand solo de concert (published in 1850) are of particular interest. In the first version of Consolations the third movement was a style hongrois piece whose thematic material was later used by Liszt in his Hungarian Rhapsody No. 1 (published in 1851). The first version of Grand solo de concert shows that the work did not originally include a slow middle section to be recapitulated towards the end as seen in the final version. This is a characteristically Lisztian feature that would reappear a few years later in his Sonata in B minor. A detailed preface in Hungarian, English, and German, including new research results, numerous manuscript facsimiles, and critical notes, makes this volume of the New Liszt Edition an important publication of immense scholarly value. Along with the cloth-bound Complete Edition, a paperback version for practical use has also been published. This edition's contents are identical to those of the hardcover edition with the exception that the critical notes are not included. $59.00 - See more - Buy online | | |
| Sonate h-Moll Piano solo EMB (Editio Musica Budapest)
Piano SKU: BT.EMBZ12900 Composed by Franz Liszt. EMB Liszt Works. Book On...(+)
Piano SKU: BT.EMBZ12900 Composed by Franz Liszt. EMB Liszt Works. Book Only. Composed 2016. 48 pages. Editio Musica Budapest #EMBZ12900. Published by Editio Musica Budapest (BT.EMBZ12900). English-German. Liszt s Piano Sonata in B minor, first drafted in 1849, is one of his most innovative piano works. The handwritten, final version was completed on 2 February 1853, and was first published in April 1854. Liszt dedicated the work to Robert Schumann as a response to Schumann previously dedicating his C Major Fantasy to Liszt. The Sonata in B Minor was premiered on 22 January 22 1857, by the Liszt s youngest daughter s husband, Hans von Bülow, who was a renowned pianist and conductor.This publication contains not only musical scores of excellent quality, but also a detailed foreword in English and German as well as critical notes in English. $15.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Collected Works Piano solo CD Sheet Music
Piano [2 CDR Set] SKU: SU.00220529 For Piano [2 CDR Set]. Composed...(+)
Piano [2 CDR Set] SKU: SU.00220529 For Piano [2 CDR Set]. Composed by Franz Liszt. Keyboard, Piano/Harpsichord. CD (PDF Scores). CD Sheet Music #00220529. Published by CD Sheet Music (SU.00220529). This CD Sheet Musicâ?¢ collection brings together over 400 piano works by the prolific virtuoso pianist and composer Franz Liszt. Includes original compositions as well as Liszt's many arrangements and transcriptions for solo piano. Works Include: Années de Pèlerinage, Ballades, Consolations, Grandes Ã?tudes de Paganini, Harmonies Poétiques et Religieuses, Hungarian Rhapsodies, Liebestraum (Nos. 1-3), Mephisto Waltz, Piano Concertos Nos. 1and2, Sonata in B minor, Sonetti del Petrarca, Réminiscences de Don Juan, Transcendental Etudes, Transcendental Etudes after Paganini, Valse Mélancolique, and more Also includes composer biographies and relevant articles from the 1911 edition of Groveâ??s Dictionary of Music and Musicians 3700 pages [2 CDR Set] Please note, customers using Macintosh computers running macOS Catalina (version 10.5) have reported hardware compatibility issues with this product. If you encounter these issues, we recommend copying the entire contents of the disk to a contained folder on a thumb drive or other storage device for use on your Mac. $30.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Sonata in B Minor Violin Carl Fischer
(Revised Edition). By Franz Liszt (1811-1886). For Solo Violin. 32 pages. Publis...(+)
(Revised Edition). By Franz Liszt (1811-1886). For Solo Violin. 32 pages. Published by Carl Fischer
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| 2e Ballade Piano solo EMB (Editio Musica Budapest)
Piano SKU: BT.EMBZ12699 Composed by Franz Liszt. EMB Liszt Works. Book On...(+)
Piano SKU: BT.EMBZ12699 Composed by Franz Liszt. EMB Liszt Works. Book Only. Composed 1984. 60 pages. Editio Musica Budapest #EMBZ12699. Published by Editio Musica Budapest (BT.EMBZ12699). English-German. After touring Europe from Lisbon to St. Petersburg in the 1840s, Ferenc Liszt settled in Weimar. He abandoned his position as a celebrated virtuoso and took up the post of court Kapellmeister there. Ballade No. 2 is also from the output of this period. Composed together with the Sonata in B Minor and in the same key, to the discerning listener this work reveals the influence of Schubert and Chopin. Intriguingly, the work seems to have progressed along the same path as the composer himself: initially, it concluded with a sensational and thunderous finale, while the definitive version ends with quiet lyricism. This duality can easily be studied in this edition, which includes bothversions. This revised (2018) edition is raised to the level of academic thoroughness by a new editor s preface, a facsimile, and full critical notes. $18.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Sonata in B minor Organ Schott
Organ - difficult SKU: HL.49045976 After the Piano Sonata Arranged for...(+)
Organ - difficult SKU: HL.49045976 After the Piano Sonata Arranged for Organ. Composed by Franz Liszt. Arranged by Andreas Rothkopf. This edition: Saddle stitching. Sheet music. Organ Collection. Classical. Softcover. 76 pages. Schott Music #ED22509. Published by Schott Music (HL.49045976). ISBN 9790001163453. UPC: 841886030190. 9x12 inches. The Sonata in B minor undoubtedly is the most important piano composition by Franz Liszt and a pinnacle of piano literature. The creation of the work around 1850 coincides with the period in which Liszt concentrated on the organ and its possibilities of sound and expression as well as on the music by Johann Sebastian Bach. Liszt composed several works for organ himself and arranged both some of his own works and works by other composers for this versatile instrument.
While working on the arrangement, Andreas Rothkopf acted on the maxim to stay close to the original work with its finely nuanced texture and find his own tonal language appropriate for the organ on the basis of Liszt. For a better understanding of the arrangement, the interpreter may want to have a profound knowledge of the original piano text. $33.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Sonata for Piano B minor [performance score] Barenreiter
Composed by Franz Liszt (1811-1886). Edited by Michael Kube. For piano. This edi...(+)
Composed by Franz Liszt (1811-1886). Edited by Michael Kube. For piano. This edition: Urtext edition. Stapled. Level 5. Performance score. Text Language: German/English. Published by Baerenreiter Verlag
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| Apres une lecture de Dante - Fantasia quasi Sonata Organ - Advanced Schott
Organ - advanced SKU: HL.49018415 Organ. Composed by Franz Liszt. ...(+)
Organ - advanced SKU: HL.49018415 Organ. Composed by Franz Liszt. Arranged by Helmut Deutsch. This edition: Saddle stitching. Sheet music. Edition Schott. Classical. Softcover. 56 pages. Duration 20'. Schott Music #ED21091. Published by Schott Music (HL.49018415). ISBN 9790001176583. UPC: 884088592240. 9.0x12.0x0.169 inches. An advanced arrangement of the piano fantasia. $25.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| 3e Symphonie en ut mineur, op. 78 - Advanced Barenreiter
Orchestra, Organ (Fl1, Fl2 , Fl3(Fl-picc), 2 Ob, EnglHn, 2 clarinet, clarinet-B,...(+)
Orchestra, Organ (Fl1, Fl2 , Fl3(Fl-picc), 2 Ob, EnglHn, 2 clarinet, clarinet-B, 2 bassoon, bassoon-Co, Hn1, Hn2 , Hn3(chrom.), Hn4(chrom.), 3Trp, 3trombone, timpani, Tr-Gr, Tri, Be, Org, piano-4ms, 2 Violin, Viola, Cello, Double Bass) - Level 5 SKU: BA.BA10303-01 Composed by Camille Saint-Saens. Edited by Michael Stegemann. This edition: Edition of selected works, Urtext edition. Linen. Saint-Saens, Camille. Oevres instrumentales completes I/3. Edition of selected works, Score. Opus 78. Duration 39 minutes. Baerenreiter Verlag #BA10303_01. Published by Baerenreiter Verlag (BA.BA10303-01). ISBN 9790006559503. 33 x 26 cm inches. Key: C minor. Preface: Michael Stegemann. The third symphony by Camille Saint-Saens, known as the Organ Symphony, is the first publication in a complete historical-critical edition of the French composer's instrumental works.
I gave everything I was able to give in this work. [...] What I have done here I will never be able to do again.Camille Saint-Saens was rightly proud of his third Symphony in C minor Op.78, dedicated to the memory of Franz Liszt. Called theOrgan Symphonybecause of its novel scoring, the work was a commission from the Philharmonic Society in London, as was Beethoven's Ninth, and was premiered there on 19 May 1886. The first performance in Paris followed on 9 January 1887 and confirmed the composer's reputation asprobably the most significant, and certainly the most independent French symphonistof his time, as Ludwig Finscher wrote in MGG. In fact the work remains the only one in the history of that genre in France to the present day, composed a good half century after the Symphonie fantastique by Hector Berlioz and a good half century before Olivier Messiaen's Turangalila Symphonie.
You would think that such a famous, much-performed and much recorded opus could not hold any more secrets, but far from it: in the first historical-critical edition of the Symphony, numerous inconsistencies and mistakes in the Durand edition in general use until now, have been uncovered and corrected. An examination and evaluation of the sources ranged from two early sketches, now preserved in Paris and Washington (in which the Symphony was still in B minor!) via the autograph manuscript and a set of proofs corrected by Saint-Saens himself, to the first and subsequent editions of the full score and parts. The versions for piano duet (by Leon Roques) and for two pianos (by the composer himself) were also consulted. Further crucial information was finally found in his extensive correspondence, encompassing thousands of previously unpublished letters. The discoveries made in producing this edition include the fact that at its London premiere, the Symphony probably looked quite different from its present appearance ...
No less exciting than the work itself is the history of its composition and reception, which are described in an extensive foreword. With his Symphony, Saint-Saens entered right into the dispute which divided French musical life into pro and contra Wagner in the 1880s and 1890s. At the same time, the work succeeded in preserving the balance between tradition and modernism in masterly fashion, as a contemporary critic stated:The C minor Symphony by Saint-Saens creates a bridge from the past into the future, from immortal richness to progress, from ideas to their implementation.
On 19 March 1886 Saint-Saens wrote to the London Philharmonic Society, which commissioned the work:
Work on the symphony is in full swing. But I warn you, it will be terrible. Here is the precise instrumentation: 3 flutes / 2 oboes / 1 cor anglais / 2 clarinets / 1 bass clarinet / 2 bassoons / 1 contrabassoon / 2 natural horns / [3 trumpets / Saint-Saens had forgotten these in his listing.] 2 chromatic horns / 3 trombones / 1 tuba / 3 timpani / organ / 1 piano duet and the strings, of course. Fortunately, there are no harps. Unfortunately it will be difficult. I am doing what I can to mitigate the difficulties.
As in my 4th Concerto [for piano] and my [1st] Violin Sonata [in D minor Op.75] at first glance there appear to be just two parts: the first Allegro and the Adagio, the Scherzo and the Finale, each attacca. This fiendish symphony has crept up by a semitone; it did not want to stay in B minor, and is now in C minor.
It would be a pleasure for me to conduct this symphony. Whether it would be a pleasure for others to hear it? That is the question. It is you who wanted it, I wash my hands of it. I will bring the orchestral parts carefully corrected with me, and if anyone wants to give me a nice rehearsal for the symphony after the full rehearsal, everything will be fine.
When Saint-Saens hit upon the idea of adding an organ and a piano to the usual orchestral scoring is not known. The idea of adding an organ part to a secular orchestral work intended for the concert hall was thoroughly novel - and not without controversy. On the other hand, Franz Liszt, whose music Saint-Saens' Symphony is so close to, had already demonstrated that the organ could easily be an orchestral instrument in his symphonic poem Hunnenschlacht (1856/57). There was also a model for the piano duet part which Saint-Saens knew and may possibly have used quite consciously as an exemplar: theFantaisie sur la Tempetefrom the lyrical monodrama Lelio, ou le retour a la Vie op. 14bis (1831) by Berlioz. The name of the organist at the premiere ist unknown, as, incidentally, was also the case with many of the later performances; the organ part is indeed not soloistic, but should be understood as part of the orchestral texture.
In fact the subsequent success of the symphony seems to have represented a kind of breakthrough for the composer, who was then over 50 years of age.My dear composer of a famous symphony, wrote Saint-Saens' friend and pupil Gabriel Faure:You will never be able to imagine what a pleasure I had last Sunday [at the second performance on 16 January 1887]! And I had the score and did not miss a single note of this Symphony, which will endure much longer than we two, even if we were to join together our two lifespans!
About Barenreiter Urtext What can I expect from a Barenreiter Urtext edition? MUSICOLOGICALLY SOUND - A reliable musical text based on all available sources - A description of the sources - Information on the genesis and history of the work - Valuable notes on performance practice - Includes an introduction with critical commentary explaining source discrepancies and editorial decisions ... AND PRACTICAL - Page-turns, fold-out pages, and cues where you need them - A well-presented layout and a user-friendly format - Excellent print quality - Superior paper and binding
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| Jan Ladislav Dussek (1760-1812). A Bohemian Composer ‘en voyage’ through Europe Ut Orpheus
Books and Journals SKU: UT.QC-4 Edited by Roberto Illiano and Rohan H. St...(+)
Books and Journals SKU: UT.QC-4 Edited by Roberto Illiano and Rohan H. Stewart-MacDonald. Paperback (Soft Cover). Quaderni Clementiani. Essays by Jean-Pierre Bartoli, Alan Davison, Therese Ellsworth, Erik Entwistle, Jeremy Eskenazy, Michaela Freemanova, Stephan D. Lindeman, Rudolf Rasch, Renato Ricco, Jeanne Roudet, David Rowland, Massimiliano Sala, Laure Schnapper, Rohan H. Stewart-MacDo. Classical. Books and Journals. 568 pages. Ut Orpheus #QC 4. Published by Ut Orpheus (UT.QC-4). ISBN 9788881094783. 6.5 x 9.5 inches. Saggi di Jean-Pierre Bartoli, Alan Davison, Therese Ellsworth, Erik Entwistle, Jeremy Eskenazy, Michaela Freemanová, Stephan D. Lindeman, Rudolf Rasch, Renato Ricco, Jeanne Roudet, David Rowland, Massimiliano Sala, Laure Schnapper, Rohan H. Stewart-MacDonald, Marie Sumner Lott
The career of Jan Ladislav Dussek (1760-1812) was notable for its peripateticism. Starting out in his native Bohemia Dussek spent periods of time in Germany and the Netherlands, settling in London for about ten years in the 1790s, progressing to Hamburg and ending his days in Paris. Although his activities centred on the piano, like so many musicians of his day Dussek branched out from performing and composing to encompass teaching, publishing and instrument retail, with varying success. A plethora of reviews and biographical accounts attest to Dussek’s renown throughout Europe as a pianist and composer, particularly when it came to sensitive and cantabile playing; and he interacted with some of the most eminent musicians, artists and political figures of his time. Dussek’s reputation declined sharply in the nineteenth century, however, and with the exception of isolated revivals of his work, for instance in London in the mid-nineteenth century, he has remained on the verge of obscurity in the minds of many musicians and music-lovers until the present day: even his well-known innovation of placing the piano sideways-on to the audience to display his striking profile is often mistakenly attributed to Franz Liszt. Although Dussek has provided the subject of a number of student dissertations over the years, in the published literature he has largely been restricted to cameo appearances or brief entries in historical surveys. The bicentennial anniversary of Dussek’s death provides a fitting occasion for bringing together scholars from all parts of the world to produce the first multi-author, multi-lingual study of the composer. Several chapters deal with aspects of Dussek’s biography and iconography that receive only sparse treatment elsewhere; others survey the different branches of his output, including the piano sonatas, the piano concertos, the chamber music with and without harp and the three String Quartets, Op. 60, which are currently enjoying a revival via recordings and a new edition. This book has two fundamental aims. One is to stimulate renewed interest in, and debate about, a less than celebrated – one might say unjustly neglected – figure. The other aim is to approach Dussek’s multi-facetted, geographically diverse career as an interface between ourselves and the music business at the beginning of the nineteenth century, whose complexity and vicissitudes emanated from the sociological dynamics and political events with which Dussek was, to an almost unique degree, inextricably associated. The highs and lows of Dussek’s career, the surviving contemporary accounts of Dussek the performer and composer, and the letters he exchanged with colleagues in several nations vividly portray the struggles of a worldly, ambitious, versatile and extremely perspicacious musician striving to carve out a place of eminence and material security for himself. This meant negotiating the complex progression, underway at this point in history, from the patronage system to the emergence of the artist as a socially and financially autonomous entity.
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