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Piano and Orchestra
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Hans Abrahamsen: Concerto For Piano And Orchestra: Piano: Score
Piano and Orchestra
Wilhelm Hansen
Hans Abrahamsen's Concerto For Piano And Orchestra was composed in 1999 by comm...
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Hans Abrahamsen's Concerto For Piano And Orchestra was composed in 1999 by commission for the BIT-20 Ensemble. A complex and multi-layered work opening with highly minimal material and very slowly building to an ecstatic frenzy across the four movements. As the piece progresses Abrahamsen has also included some significant nods towards composers Gyorgy Ligeti (a former teacher of the composer) and Gustav Mahler.The work was premiered at the Ultima Festival in Oslo in 2000 with Anne Marie Abildskov as soloist. I Allegro Volante e nervoso II Adagio innocente e semplice III Tempo de grandegioia IV Fluente ma tranquillo Programmenote: ???The piano concerto starts entirely as I usually start with this filigree in the piano and many simultaneous layers ??? Hans Abrahamsen has explained ???The beginning is music that could continue almost minimalistically ad infinitum. But it doesn???t. Instead it has a seizure after just thirty seconds. It literally comes to a halt!???There is no programmatic structure behind the four-movement course of the concerto but a romantically minded listener may be tempted to interpret the development from a quick stalling of the familiar through the introduction (by the lyrical second movement) of something much more ???innocent and simple??? as it says - something feminine one feels like adding - to the third movement???s flashing firework display of a scherzo which draws the curtain aside for a liberating rush of joy as life after the advent of love. However the undersigned assumes full responsibility for this interpretation.The piano soloist is the undisputed main character in the concerto and plays almost constantly in the first three movements. It is only in the fourth movement that she takes a break and listens. ???The piano stirs up an anthill??? is Hans Abrahamsen???s own description ???and it becomes almost operatic! It is as if the music is about to fall right out over the edge of the abyss at the drastic general
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Frédéric Chopin: Concerto In E Minor Op. 11: Piano: Score
Piano and Orchestra
PWM (Polskie Wydawnictwo Muzyczne)
Historical Version-Characterised by an extensive in terms of Chopin's concert p...
(+)
Historical Version-Characterised by an extensive in terms of Chopin's concert pieces orchestral part. The melody here is less ornamented and more fluid the sketch of the cantilena very noble and clear the highly virtuosic element is exposed but not to the extent of overwhelming the logic of the design. 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. The present score is composed of parts from the first edition. The concert version of the score recreated by taking into consideration also other sources which present Chopin`s intention constitutes volume 33 B VIIIa. The Concerto in an authentic arrangement for one piano makes up volume 13 A XIIIa. The version with the second piano containing the reduction of the orchestra part forms volume 30 B VIa. The historical scores are purer with regard to editorial interference yet contaminated by the involvement in the sources of foreign hands. The historical scores show that which for various reasons Chopin agreed to have published.
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Konzertante Werke Op. 32 Wev N.15
Piano and Orchestra
Schott
Carl Maria von Weber's fame rests mainly on ?Der Freischütz'. The unprecedented...
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Carl Maria von Weber's fame rests mainly on ?Der Freischütz'. The unprecedented success of this opera overshadowed all his other works and contributed to their increasing fall into oblivion. Certain works such as ?Preciosa', ?Oberon', and ?Euryanthe', the overtures, solo concertos and piano sonatas, the lieder and chamber works enjoyed great popularity and were widely known in Germany and abroad as late as the second half of the 19th century. However, any chance of a revival of Weber's influential and substantial oeuvre was wasted in the 1920s, when a complete edition - begun by Hans Joachim Moser and with potential contributors including Wilhelm Kempff, Hans Pfitzner, Max von Schillings, Fritz Stein and Richard Strauss - failed after the third volume.Ever since there have been numerous attempts to restart a complete edition of Weber's works, but as this kind of project would have required the co-operation of scholars from both sides of the inter-German border, the political situation after 1945 was not conducive to any such enterprise. Careful negotiations led to the first tangible steps in the 1980s. The intention, right from the beginning, was to place Weber's work in context, and not to separate his musical output from his influential work as a writer, critic and organiser in the musical field, but to publish his compositions together with his letters, diaries and other literary output as the best way to document the cross-fertilisation between his musical, literary and practical activities.Since the German re-unification both working-parties concerned - at the Staatsbibliothek zu Berlin, and at the Musikwissenschaftliches Seminar, Detmold/Paderborn - have co-operated on the complete edition of the musical works (c. 45 volumes in 10 series: sacred music - cantatas, odes and other occasional works - stage works - lieder and vocal works - orchestral works - chamber music - music for piano - piano reductions - miscellanea, arrangements and orchestrations - works of doubtful attribution). The diaries (6-8 vols.) are edited in Berlin and the letters (8-10 vols.) and other writings (2 vols.) in Detmold. This complete edition aims to be a reliable basis of scholarly debate as well as for the authentic performance practice of Carl Maria von Weber's music. Conforming to the standards of recent historico-critical editions, the textual material will be based on all available authentic sources, accompanied by a detailed documentation of the genesis and a list of variants for each work. The musicological importance of the works will be evaluated by placing them in their historical context, the presentation of their genesis, history and Critical Commentaries. The letters, writings and diaries will be treated as inter-related and relevant to each other in the commentaries, therefore readers should benefit from a wealth of concise information and cross-references. / Piano Et Orchestre
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Modest Mussorgsky: A Night On Bald Mountain: Piano: Score
Piano and Orchestra
[Score]
Dover Publications
Widely considered the most important of the Russian nationalist composers Mouss...
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Widely considered the most important of the Russian nationalist composers Moussorgsky finished relatively few works in the course of his tragically short life. His unorthodox techniques made a considerable impression on later composers. A Night On Bald Mountain is a brilliant example of Moussorgsky's unique sense of theatrical effect and was completed and orchestrated by Rimsky-Korsakov after the composer's death. This work is a staple part of the orchestral repertoire.
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