SKU: AP.36-M301391

UPC: 660355090905. English.

Clara Schumann (1819-1896), then Clara Wieck, wrote this collection of six Soirées musicales in 1835-1836, when she 16 or 17 years old. Reflecting the influence of Mendelssohn and Chopin, each melodic piece shows her clear understanding of the formal and harmonic tendencies of those two master composers. Her later husband Robert Schumann would say of Clara's Soirées musicales as boasting a wealth of unconventional resources, an ability to entangle the secret, more deeply twisting threads and then to unravel them. Movements: 1. Toccatina, 2. Notturno, 3. Mazurka in G minor, 4. Ballade, 5. Mazurka in G major, 6. Polonaise.

These products are currently being prepared by a new publisher. While many items are ready and will ship on time, some others may see delays of several months.

SKU: AP.36-M390091

UPC: 660355086731. English.

Written in 1840 shortly after Clara Schumann's (1819-1896) marriage to Robert Schumann, Quatre pièces fugitives (Four Fugitive Pieces) are short character works, each with its own distinct mood. Called fugitive, Schumann makes clear that this introspective music is freer, with fewer conventional restrictions found in earlier eras. Movements: I. Larghetto, II. Un poco agitato, III. Andante espressivo, and IV. Scherzo.

These products are currently being prepared by a new publisher. While many items are ready and will ship on time, some others may see delays of several months.

SKU: HL.51481614

UPC: 196288206934. 9.0x12.0x0.16 inches.

The Five Piano Pieces op. 23 are a transitional work in which Schönberg made the decisive step from free atonal music to composition based on tone rows, which however did not yet necessarily have to contain all twelve chromatic tones. Begun in 1920 as a contribution to a memorial album for Debussy, the cycle was completed – now as an independent work – only in 1923. The most famous piece in it is certainly no. 5, “Waltz”, an ironic playing with genre traditions that at the same time is a swift-moving piece of music! Our editor, Ulrich Krämer, is one of the most distinguished Schönberg scholars, while the fingerings are provided by specialist Shai Wosner. The clear and neatly set score is an ideal basis on which to explore this fascinating piano universe.

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• error-free, reliable musical texts based on meticulous musicological research - fingerings and bowings by famous artists and pedagogues
• preface in 3 languages with information on the genesis and history of the work 
• Critical Commentary in 1 – 3 languages with a description and evaluation of the sources and explaining all source discrepancies and editorial decisions 
• most beautiful music engraving 
• page-turns, fold-out pages, and cues where you need them 
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SKU: FP.FHC19

ISBN 979-0-57050-134-2.

Himself the master of writing the progressive yet playable study, Cuthburt Harris was the ideal judge when compiling this masterful series of graded studies by the great masters including Czerny, Chopin, Bertini, Heller and Lemoine. Includes exercises targeting all areas of phrasing, style, touch, agility and independence of the fingers, as well as scales and chords.

SKU: FP.FHC20

ISBN 979-0-57050-135-9.

Himself the master of writing the progressive yet playable study, Cuthburt Harris was the ideal judge when compiling this masterful series of graded studies by the great masters including Czerny, Chopin, Bertini, Heller and Lemoine. Includes exercises targeting all areas of phrasing, style, touch, agility and independence of the fingers, as well as scales and chords.

SKU: HL.48186449

UPC: 888680827908. 9x12.25 inches.

“Allain Gaussin, a pupil of Olivier Messiaen at the CNSM in Paris, and a veritable alchemist of sound, created a sensual and sparkling work that aims to induce in listeners the sort of 'internal awakening' that the Japanese refer to as Satori ' the title given to a piece for solo clarinet he wrote in 1998. Composed a decade later, Tokyo-City for solo Piano draws on the same inspiration, fuelled by several stays in Japan. Gaussin sets out to reproduce the various sensations he experienced during his walks around the Japanese megalopolis: a fear of being swallowed up by its vastness gives way to a bedazzlement in the face of a buzzing universe awash with harmonies and colours. The work follows a dual symmetrical structure (in terms of register and tempo): after an enigmatic start entrusted to the low notes of the piano, a musical figure gradually emerges from 'floating polyphonies', producing a veritable toccata which is slowly deformed, like an anaEmorphosis. Then, only a glimmering of crystal-clear harmonies remains, and the work ends sparsely on the highest notes of the piano.&rdquo.