SKU: BR.PB-4485

Frederic Chopin's Piano Concertos in e minor op. 11 and f minor op. 21 were written when the composer had just barely entered his twenties.

EB 3942 is printed in score form; two copies are needed for performance.Have a look. Solo concerto; Romantic. Full score. 68 pages. Duration 30'. Breitkopf and Haertel #PB 4485. Published by Breitkopf and Haertel (BR.PB-4485).

ISBN 9790004203910. 9 x 12 inches.

Frederic Chopin's Piano Concertos in e minor op. 11 and f minor op. 21 were written when the composer had just barely entered his twenties. Since he needed effective, virtuoso works for his major concert appearances with orchestral accompaniment, he decided to simply write them himself. Although it is clear that the piano part always holds center stage in these pieces, Chopin never degrades the orchestra by turning it into a stereotypical cue-giver. This is confirmed by the imaginatively orchestrated tutti transition in the first movement, the lengthy string tremolo in the middle movement and the col legno passage in the finale.The first performance of the f-minor concerto took place in Warsaw on 17 March 1830. The first edition of the score was published in 1879 by Breitkopf & Hartel in Leipzig. The present edition for two pianos by Ignaz Friedmann was first issued in 1913 in the framework of the 12-volume Chopin edition for which the Polish pianist undertook a careful evaluation of the sources.

Frederic Chopin's Piano Concertos in e minor op. 11 and f minor op. 21 were written when the composer had just barely entered his twenties.

SKU: BR.PB-5507

A repertoire work in an Urtext performing editionEB 8655 is printed in score form; two copies are needed for performance.

ISBN 9790004211663. 10 x 12.5 inches.

The music text is based on the volume of the Leipzig Mendelssohn Complete Edition, in which Christoph Hellmundt rightly pointed to the existence of a secondary version for piano and string orchestra as well as an arrangement for piano solo made by the composer. Nevertheless, Mendelssohn's op. 40 remains foremost a Concerto for piano and orchestra - a fact that is unequivocally underscored by the practical new edition.

A repertoire work in an Urtext performing edition.

SKU: BR.PB-15152

In Cooperation with G. Henle Verlag

ISBN 9790004215579. 10 x 12.5 inches.

The piano concerto in a minor stands out in Edvard Grieg's oeuvre. Besides this famous concerto, he composed only a few other large orchestral works. Because of its popularity even in Grieg's lifetime, it was often performed, not least by the composer himself. So it is not surprising that Grieg made many changes to the score up to 1907. But at the same time, the concerto's size, form and substance remained completely unaltered. Interventions in the piano part basically involved subtleties of nuance, and only a very few places in the music text were altered. The situation was different with the orchestration. Here Grieg was keen to experiment and kept filing away at the orchestra sound right up to the last. Melodies were moved to other instruments, accompanying string chords were reconstructed, and above all the list of scored instruments was changed. The main source of the Urtext edition by Ernst-Gunter Heinemann is the new edition of the score originally published in 1907 by C. F. Peters, thus several years after the first edition of 1872. Taken into account in the present edition are the changes that Grieg made up to the time of his death. Piano reduction and fingering by Einar Steen-Nokleberg.

SKU: HL.14030961

ISBN 9788759857458. English.

Score of the Danish Composer's Concerto for Piano and Orchestra written in 1996. Bent Sorensen writes: 'The title of this piano concerto came, as usual, very early to me, when my thoughts about the work had started to circulate, but before 'real' music was written down. I held on to the Italian title, even though its association with Vivaldi had no influence on my music, and even when German, French, English, and Danish titles covering almost the same content -'Nachtmusik', 'Nocturne', 'By Night', 'Om Natten', were just about to get the upper hand. The piano concerto has, then, in my opinion, something to do with night, but to describe this further is at least as difficult to me as it is to defend the final Italian title against those which were rejected. The Piano Concerto is in two movements. The first, swarming, is perhaps the mystery of the night, and the second perhaps the dreams of the night; with this, however, I have already given the concerto a more programmatic content than I can defend. Each movement ends with a cadenza and perhaps the last of those - the ending of the work that is - is inspired by a sequence from Bruce Chatwin's wonderful book 'The Viceroy of Ouidah': Or the Amazons howling. 'No, No, No. It was not the leopard that killed him. Not the buffalo that killed him. It was night. Night that killed him!'.

SKU: BR.PB-4960

ISBN 9790004207451. 10 x 12.5 inches.

The roller coaster of opinions - worthless, absolutely unplayable (claims Nikolaj Rubinstein, basically Tchaikovsky's desired pianist for his Concerto in B flat minor); brilliant, magnificent (Hans von Bulow, then first performer and dedicatee of the work) - demonstrates the work's initially ambivalent reception. Tchaikovsky's Piano Concerto No.1 is one of the most powerful and popular compositions of the classical music repertoire altogether; and it is also quite unconventional and runs counter to the norms of the time. Though it may seem strange to us today, let us recall that during his lifetime, Tchaikovsky was regarded disputable abroad (and especially in Germany), was considered an ultra-modern Russian composer, and was even accused of being a musical nihilist and primitivist. But one glance at the score of the piano concerto suffices to reveal its truly amazing character ...