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You've Selected:
There There
Piano and Orchestra
INSTRUMENTS
INSTRUMENTS
ACCORDION
AUTOHARP
BAGPIPE
BANJO
BASS
BASSOON
BOOKS
BOUZOUKI
BUGLE
CHORAL - VOCAL - CHOIR
CLARINET
CORNET
DIDGERIDOO
DJ GEAR
DRUM
DULCIMER
EUPHONIUM
FLUTE
FRENCH HORN
GUITAR
HANDBELLS
HARMONICA
HARP
HARPSICHORD
LAP STEEL GUITAR
LUTE
MANDOLIN
MARCHING BAND
MARIMBA
MUSIC COURSE
OBOE
OCARINA
ORCHESTRA - BAND
ORGAN
PANPIPES
PERCUSSION
PIANO
RECORDER
SAXOPHONE
SYNTHESIZER KEYBOARD
TROMBONE
TRUMPET
TUBA
UKULELE
VIBRAPHONE
VIOLA
VIOLIN - FIDDLE
VIOLONCELLO - CELLO
XYLOPHONE
ZITHER
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Wolfgang Amadeus Mozart: Piano Concerto No. 20 in D minor K. 466: Piano:
Piano and Orchestra
Barenreiter
for Piano and Orchestra-Mozart perfected the form of the modern piano concerto ...
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for Piano and Orchestra-Mozart perfected the form of the modern piano concerto which from about 1750 begins to show its affinity with sonata form in his 21 concertos for solo piano and orchestra. The D minor piano concerto K.466 is one of the few concertos which remained in concert repertoire in the years following Mozart’s death. After the resuscitation of the other concertos it remained the most popular of all Mozart’s works in this genre and there can scarcely be a pianist who has not studied it or played it in a concert.Urtext of the New Mozart EditionFull score performance material (BA4873) two-piano reduction (BA4873-90) and study score format 22.5 x 16.5cm (TP147)available for sale
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Wolfgang Amadeus Mozart: Piano Concerto No.22 In E-Flat K.482: Chamber Ensemble:
Piano and Orchestra
Barenreiter
for Piano and Orchestra-Concerto For Piano And Orchestra No.22 E-flat major K. 4...
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for Piano and Orchestra-Concerto For Piano And Orchestra No.22 E-flat major K. 482.Piano Solo Flute Clarinet (in B-flat) (2) Bassoon (2) Horn (2) Clarin trumpet (2) Kettledrum Violin (2) Viola (2) Violoncello Double bass. The New Mozart Edition offers researchers a musicologically unimpeachable text based on all the available sources (first and foremost Mozart's autograph manuscripts). At the same time it also serves as an aid to authentic performances. BÄRENREITER URTEXT: In the international music world “Bärenreiter Urtext” is synonymous with performing editions in which the musical text has been preparedusing clearly formulated scholarly critical criteria. Editors which include prominent musicologists as well as musicians take all available sources into account thus guaranteeing an authentic musical text which represents the latest in musicological research. For Bärenreiter “Urtext” is more than just a label – it is also a pledge and a guarantee for sheet music performing editions that present the authentic text and the latest findings of scholarly research enabling musicians to get as close to the composer’s intentions as the surviving sources will allow. There are no arbitrary editorial additions and the quality of the musical text is matched by an appearance on the page that satisfies the most discerning eye.
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Wolfgang Amadeus Mozart: Piano Concerto No.22 In E-Flat K.482: Piano: Score
Piano and Orchestra
[Sheet music]
Barenreiter
Piano or Orchestra-Concerto For Piano And Orchestra No.22 E-flat major K. 482.Pi...
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Piano or Orchestra-Concerto For Piano And Orchestra No.22 E-flat major K. 482.Piano Solo Flute Clarinet (in B-flat) (2) Bassoon (2) Horn (2) Clarin trumpet (2) Kettledrum Violin (2) Viola (2) Violoncello Double bass.The New Mozart Edition offers researchers a musicologically unimpeachable text based on all the available sources (first and foremost Mozart's autograph manuscripts). At the same time it also serves as an aid to authentic performances.BÄRENREITER URTEXT:In the international music world ?Bärenreiter Urtext? is synonymous with performing editions in which the musical text has been prepared using clearly formulatedscholarly critical criteria. Editors which include prominent musicologists as well as musicians take all available sources into account thus guaranteeing an authentic musical text which represents the latest in musicological research.For Bärenreiter ?Urtext? is more than just a label it is also a pledge and a guarantee for sheet music performing editions that present the authentic text and the latest findings of scholarly research enabling musicians to get as close to the composer?s intentions as the surviving sources will allow. There are no arbitrary editorial additions and the quality of the musical text is matched by an appearance on the page that satisfies the most discerning eye.
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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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Maurice Ravel: Concerto: Piano: Score
Piano and Orchestra
Barenreiter
for the Left Hand for Piano and Orchestra-In 1929 Paul Wittgenstein a pianist a...
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for the Left Hand for Piano and Orchestra-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.
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Wolfgang Amadeus Mozart: Piano Concerto No.25 In C K.503: Piano: Score
Piano and Orchestra
[Sheet music]
Barenreiter
for Piano and Orchestra-Piano Concerto No.25 in C major K.503.Piano Solo Flute ...
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for Piano and Orchestra-Piano Concerto No.25 in C major K.503.Piano Solo Flute Oboe (2) Bassoon (2) Horn (2) Trumpet (2) Kettledrum Strings. The New Mozart Edition offers researchers a musicologically unimpeachable text based on all the available sources (first and foremost Mozart's autograph manuscripts). At the same time it also serves as an aid to authentic performances. BÄRENREITER URTEXT: In the international music world “Bärenreiter Urtext” is synonymous with performing editions in which the musical text has been prepared using clearly formulated scholarly critical criteria. Editors which includeprominent musicologists as well as musicians take all available sources into account thus guaranteeing an authentic musical text which represents the latest in musicological research. For Bärenreiter “Urtext” is more than just a label – it is also a pledge and a guarantee for sheet music performing editions that present the authentic text and the latest findings of scholarly research enabling musicians to get as close to the composer’s intentions as the surviving sources will allow. There are no arbitrary editorial additions and the quality of the musical text is matched by an appearance on the page that satisfies the most discerning eye.
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Wolfgang Amadeus Mozart: Piano Concerto No.9 In E-Flat K.271 - Jeunehomme:
Piano and Orchestra
[Sheet music]
Barenreiter
for Piano and Orchestra-Piano Concerto No.9 in E-Flat major K.271 - Jeunehomme.P...
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for Piano and Orchestra-Piano Concerto No.9 in E-Flat major K.271 - Jeunehomme.Piano Solo Oboe (2) Horn (2) Violin (2) Viola Violoncello Double bass.The New Mozart Edition offers researchers a musicologically unimpeachable text based on all the available sources (first and foremost Mozart's autograph manuscripts). At the same time it also serves as an aid to authentic performances.BÄRENREITER URTEXT:In the international music world ?Bärenreiter Urtext? is synonymous with performing editions in which the musical text has been prepared using clearly formulated scholarly critical criteria. Editors which include prominent musicologistsas well as musicians take all available sources into account thus guaranteeing an authentic musical text which represents the latest in musicological research.For Bärenreiter ?Urtext? is more than just a label it is also a pledge and a guarantee for sheet music performing editions that present the authentic text and the latest findings of scholarly research enabling musicians to get as close to the composer?s intentions as the surviving sources will allow. There are no arbitrary editorial additions and the quality of the musical text is matched by an appearance on the page that satisfies the most discerning eye.
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Wolfgang Amadeus Mozart: Piano Concerto No.22 In E-Flat K.482: Piano: Parts
Piano and Orchestra
Barenreiter
Concerto For Piano And Orchestra No.22 E-flat major K. 482.Piano Solo Flute Cl...
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Concerto For Piano And Orchestra No.22 E-flat major K. 482.Piano Solo Flute Clarinet (in B-flat) (2) Bassoon (2) Horn (2) Clarin trumpet (2) Kettledrum Violin (2) Viola (2) Violoncello Double bass.The New Mozart Edition offers researchers a musicologically unimpeachable text based on all the available sources (first and foremost Mozart's autograph manuscripts). At the same time it also serves as an aid to authentic performances.BÄRENREITER URTEXT:In the international music world ?Bärenreiter Urtext? is synonymous with performing editions in which the musical text has been prepared using clearly formulatedscholarly critical criteria. Editors which include prominent musicologists as well as musicians take all available sources into account thus guaranteeing an authentic musical text which represents the latest in musicological research.For Bärenreiter ?Urtext? is more than just a label it is also a pledge and a guarantee for sheet music performing editions that present the authentic text and the latest findings of scholarly research enabling musicians to get as close to the composer?s intentions as the surviving sources will allow. There are no arbitrary editorial additions and the quality of the musical text is matched by an appearance on the page that satisfies the most discerning eye.
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Wolfgang Amadeus Mozart: Piano Concerto No.22 In E-Flat K.482: Piano: Part
Piano and Orchestra
Barenreiter
Violoncello or Contrabass-Concerto For Piano And Orchestra No.22 E-flat major K....
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Violoncello or Contrabass-Concerto For Piano And Orchestra No.22 E-flat major K. 482.Piano Solo Flute Clarinet (in B-flat) (2) Bassoon (2) Horn (2) Clarin trumpet (2) Kettledrum Violin (2) Viola (2) Violoncello Double bass.The New Mozart Edition offers researchers a musicologically unimpeachable text based on all the available sources (first and foremost Mozart's autograph manuscripts). At the same time it also serves as an aid to authentic performances.BÄRENREITER URTEXT:In the international music world ?Bärenreiter Urtext? is synonymous with performing editions in which the musical text has been prepared using clearly formulated scholarlycritical criteria. Editors which include prominent musicologists as well as musicians take all available sources into account thus guaranteeing an authentic musical text which represents the latest in musicological research.For Bärenreiter ?Urtext? is more than just a label it is also a pledge and a guarantee for sheet music performing editions that present the authentic text and the latest findings of scholarly research enabling musicians to get as close to the composer?s intentions as the surviving sources will allow. There are no arbitrary editorial additions and the quality of the musical text is matched by an appearance on the page that satisfies the most discerning eye.
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Wolfgang Amadeus Mozart: Piano Concerto No.22 In E-Flat K.482: Piano: Part
Piano and Orchestra
Barenreiter
Concerto For Piano And Orchestra No.22 E-flat major K. 482.Piano Solo Flute Cl...
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Concerto For Piano And Orchestra No.22 E-flat major K. 482.Piano Solo Flute Clarinet (in B-flat) (2) Bassoon (2) Horn (2) Clarin trumpet (2) Kettledrum Violin (2) Viola (2) Violoncello Double bass.The New Mozart Edition offers researchers a musicologically unimpeachable text based on all the available sources (first and foremost Mozart's autograph manuscripts). At the same time it also serves as an aid to authentic performances.BÄRENREITER URTEXT:In the international music world ?Bärenreiter Urtext? is synonymous with performing editions in which the musical text has been prepared using clearly formulated scholarlycritical criteria. Editors which include prominent musicologists as well as musicians take all available sources into account thus guaranteeing an authentic musical text which represents the latest in musicological research.For Bärenreiter ?Urtext? is more than just a label it is also a pledge and a guarantee for sheet music performing editions that present the authentic text and the latest findings of scholarly research enabling musicians to get as close to the composer?s intentions as the surviving sources will allow. There are no arbitrary editorial additions and the quality of the musical text is matched by an appearance on the page that satisfies the most discerning eye.
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Wolfgang Amadeus Mozart: Piano Concerto No.22 In E-Flat K.482: Piano: Part
Piano and Orchestra
Barenreiter
Concerto For Piano And Orchestra No.22 E-flat major K. 482.Piano Solo Flute Cl...
(+)
Concerto For Piano And Orchestra No.22 E-flat major K. 482.Piano Solo Flute Clarinet (in B-flat) (2) Bassoon (2) Horn (2) Clarin trumpet (2) Kettledrum Violin (2) Viola (2) Violoncello Double bass.The New Mozart Edition offers researchers a musicologically unimpeachable text based on all the available sources (first and foremost Mozart's autograph manuscripts). At the same time it also serves as an aid to authentic performances.BÄRENREITER URTEXT:In the international music world ?Bärenreiter Urtext? is synonymous with performing editions in which the musical text has been prepared using clearly formulated scholarlycritical criteria. Editors which include prominent musicologists as well as musicians take all available sources into account thus guaranteeing an authentic musical text which represents the latest in musicological research.For Bärenreiter ?Urtext? is more than just a label it is also a pledge and a guarantee for sheet music performing editions that present the authentic text and the latest findings of scholarly research enabling musicians to get as close to the composer?s intentions as the surviving sources will allow. There are no arbitrary editorial additions and the quality of the musical text is matched by an appearance on the page that satisfies the most discerning eye.
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Ludwig van Beethoven: Piano Concerto No.4 In G Op.58: Piano: Score
Piano and Orchestra
Barenreiter
For Pianoforte And Orchestra-With numerous corrections.Piano reduction with a se...
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For Pianoforte And Orchestra-With numerous corrections.Piano reduction with a separate solo Piano part.The autograph to Beethoven?s Piano Concerto No. 4 is lost. For every new edition which has appeared during the course of time there have been only two authentic sources to draw upon; the copyist?s manuscript of the score with Beethoven?s own corrections and the first edition in parts from 1808 which was published in Vienna and which contains a few revisions dated after the aforementioned manuscript.Though no new sources have been available for this new edition numerous editorial emendations which have prevailed in all previous editions (evenUrtext editions) have now been corrected.Thus this new Bärenreiter Urtext edition presents Beethoven?s famous work in the clarity which it deserves.
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E.J. Moeran: Rhapsody In F Sharp (Miniature Score): Piano: Instrumental Work
Piano and Orchestra
Chester
Rhapsody in F Sharp for Piano and Orchestra was commissioned by the BBC Proms an...
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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 unashamedlypopular 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 ofboth 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 manyfolk songs mainly from Norfolk Suffolk and Ireland.
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Carsten Dahl: Piano Concerto: Piano: Score
Piano and Orchestra
-
Intermediate/advanced
Wilhelm Hansen
Piano Concerto by Carsten Dahl for Piano and Orchestra (2013). Carsten Dahl is s...
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Piano Concerto by Carsten Dahl for Piano and Orchestra (2013). Carsten Dahl is said to have no desire to tie himself to any form or genre and there is literarily no musical expression he hasn’t tried. Carsten Dahl is known for his work as jazz oriented pianist but he is a musician and composer that moves unimpeded from the bebop tradition via completely free improvisation to classical music.
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Carl Czerny: Easy Studies Vol. 1 for Piano and Orchestra: Piano: Study
Piano and Orchestra
Dowani
Practicing studies is a very important part of the training of every music stude...
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Practicing studies is a very important part of the training of every music student learner amateur and professional. These newly arranged orchestral accompaniments to well-known studies give rise to miniature piano concertos thereby turning thepractising of studies into an entirely new experience and a source of enjoyment especially for beginners. The Czerny studies in our volume have been taken from various opuses. 1-4 Etüde 100 Erh. Nr. 72 in G-Dur5-8 Etüde op. 481 Nr. 8 in A-Dur9-12 Etüde op. 453 No. 19 in C-Dur13-16 Etüde 100 Erh. Nr. 53 in G-Dur17-20 Etüde op. 599 Nr. 24 in D-Dur21-24 Etüde op. 777 Nr. 18 in D-Dur25-28 Etüde op. 777 Nr. 10 in G-Dur29-32 Etüde op. 599 Nr. 40 in F-Dur33-36 Etüde op. 777 Nr. 12 in G-Dur37-40 Etüde op. 817 Nr. 4 in D-Dur41-44 Etüde op. 817 Nr. 12 in B-Dur45-48 Etüde 100 Erh. Nr. 43 in C-Dur49-52 Etüde op. 599 Nr. 71 in F-Dur
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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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Sergei Prokofiev: Piano Concerto No.2 In G Minor Op.16: Piano: Study Score
Piano and Orchestra
Boosey and Hawkes
Interestingly there are two different versions of Prokofiev’s second pian...
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Interestingly there are two different versions of Prokofiev’s second piano concerto the first written between 1912 and 1913 the second written in 1923. However during the Russian Civil War the original manuscript of the Concerto was destroyed in a fire in Prokofiev’s apartment in St. Petersburg. In 1923 he recreated the score from memory effectively composing the second edition of the work which was very different. Prokofiev wrote to a friend: I have so completely rewritten the second concerto that it might be considered the fourth (his third piano concerto having been written in the meantime).At the time of composition the concerto's wild temperamentleft some exalted whereas others were horrified by the jarring and at the time futuristic sound. Today however it is generally recognised as a masterpiece and is one of the most virtuosic works in the piano concerto repertoire.Available here is the Hawkes Pocket Score edition (No.877) of Prokoviev’s virtuosic Piano Concerto No.2 in G minor Op.16 and is ideal for study and perusal usage.
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