SKU: KU.EKB-9A

ISBN 9790206204593. Key: D major.

Symphonie Concertante in D Major - Violin, Viola, Piano - Karl (also known as Carl and Charles) Stamitz was bapized Karel Stamic on May 8th, 1745, in Mannheim, Germany. He played in the famous Mannheim orchestra from 1762 until 1770, when he moved to Paris and became known as a violinist and served as court composer to the Duc de Noailles. In 1779 or 1780 he moved to The Hague, where he worked as a violist at the court of William V, of Orange. The last years of his life were spent in Jena, Germany, where he was Kapellmeister and a teacher at the University. Stamitz died in Jena on November 9th, 1801.

SKU: SU.00220559

This CD Sheet Music™ collection brings together over 150 works comprising the great 19th century French organ repertoire. Dupré (Prelude & Fugue, Op 7, Les Vêpres de la Vierge); Franck (Grand Pièce Symphonique, Pièce Heroïque, Prélude, Fugue et Variation, L'Organiste: 59 Pieces for Harmonium); Gigout (Gregorian Album, Ten Pieces for Organ, Grand Choeur Dialogué); Guillmant (Sonatas Nos. 1-5, Christmas Carols, Op. 60, Organiste Liturgiste, Op. 65); Honegger (Fugue, Chorale); Ropartz (Rhapsodie sur Deux Noëls Populaires); Saint-Saëns (Trois Rhapsodies sur des Cantiques Bretons, Marche Religieuse, Sept Improvisations, Op. 150); Satie (Messe des Pauvres); Tournemire (Sortie, Pièce Symphonique, Variae Precis, Op. 21, Triple Choral, Op. 41); Vierne (Symphonie Nos. 1-4, Messe Basse, 24 Pieces in Free Style); Widor (Symphony Nos. 1-8, Symphonie Gothique, Symphonie Romane) Also includes biographies and relevant articles from the 1911 edition of Grove's Dictionary of Music and Musicians 1800+ pages

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.

SKU: HL.244904

8.25x12.0x0.508 inches.

Quilting, co-commissioned by the BBC Symphony Orchestra and the Los Angeles Philharmonic, is my first stand alone work for orchestraand is loosely inspired by the American tradition of quilt making. I composed Quilting while living most of last year in Paris.During my time there, I thought a lot about what it means to compose symphonic music as a young American in the 21st century, when so many of the many masterworks which are programmed year in and out by orchestras across the country are European. I considered which artistic traditions defined the American 19th-century. I began to think of the American crafts-tradition of quilting as a foilto the high-art tradition of European orchestral composition. As the score for my new work began to take shape, I started thinking about the manuscript itself as an object, its vertical and horizontal planes create a kind of patterned geometry of their own. Visually the way a musical score is woven together like patchwork brought to mind quilts and the great American tradition of quilting. I imagined about how conducting an orchestra can feellike stitching a piece together, or sewing together a large number of musical ideas and musicians into a coherent and transcendent whole. Quilting was an integral part of American vernacular in the 18th and 19th centuries, the African-American quilting tradition is especially fascinating, and the quilts tell the stories of the women and communities who made them. The names of the quilt patterns themselves can have their own sense of narrative: 'jacobs ladder', 'drunkards path', 'solomon's puzzle', and (my favorite for its relevance to this piece) 'the road to California. - Bryce Dessner.

SKU: BT.MUSAM34851

ISBN 9780711904347. English.

The only piano course based throughout on today's popular songs and famous light classics. Easy to follow text and clear demonstration diagrams. Book Four introduces you to the piano pedals which add colour to yourplaying,syncopation, left hand fills, plus songs in the style of Boogie-Woogie, Modern Blues and Rock 'n' Roll. You will also learn to play in several new keys.

SKU: HL.14014802

ISBN 9780711992764. 9.75x13.75x0.285 inches.

Composer's Notes: This piece, written during the winter months of 2000-2001, consists of one movement, Allegro con fuoco, in which an old score is revisited, raided and ravished by its composer. The earlier music had been written in the mid-fifties for a stage work Maratona di Danza and for its maker, the director Luchino Visconti. Elements from the older piece reappear on and off like shadows under the surface of new ones, like more or less vague memories, images of young people suffering pain and despair in their struggle for survival in a barbaric, pitiless modern world. My new composition is a kind of concerto for very large symphony orchestra, an etude on constant and often rapid musical changes of mood and colours, built on a variety of rhythmic figures, incessantly and brutally pushing the music ahead. Sometimes, it is as though voices are weeping, sometimes crying out loud with pain, with anxiety, under the cold hearted pressure of an overwhelming violence. Hans Werner Henze Commissioned on the occasion of the 50th anniversary of das neue werk, Hamburg. Premiered on 29th June 2001. Duration 15 minutes.

SKU: SU.00220525

This CD Sheet Musicâ?¢ collection brings together over 140 works for solo piano, piano duo, and piano four-hands by both familiar and lesser-known French composers active in the 19th and early 20th centuries. Works include: Alkan (Saltarelle, Symphony, from 12 Ã?tudes; Concerto, from 12 Ã?tudes, Le Festin d'Ã?sope, Theme and Variations); Bizet (Variations Chromatiques de Concert, Jeux d'Enfants Parts 1and2); Chabrier (Pièces Pittoresques, Bourrée Fantasque, 3 Valses Romantique); Chaminade (Air de Ballet, Scarf Dance, Scène de Ballet); D'Indy (Poème de Montagne, Sonata in E); Dukas (Variations, Interlude et Finale,sur un thème de Rameau) Franck (Danse Lente, Prélude, Aria et Final, Short Pieces (originally for Harmonium), Variations Symphoniques); Ibert (Histoires I-X, Matin sur l'Eau); Koechlin (Paysages et Marines I-XII); Massenet (10 Pièces de Genres, Toccata); Milhaud (Saudades Dos Brasil); Poulenc (3 Movements Perpétuels, Cinque Impromptus); Ravel (Gaspard de la Nuit, Miroirs, Ma Mère l'Oye (arr for solo piano), Sonatine, Le Tombeau de Couperin, Valses nobles et sentimentals); Roussel (Des Heures Passant..., Rustiques, Sonatine); Saint-Saëns (Danse Macabre, Romance without Words, 3 Mazurkas, Ã?tudes Books IandII, Variations sur un Thème de Beethoven); Satie (3 Gymnopédies, 3 Gnossiennes, Embryons Desséchés, Descriptions Automatiques, Embroyons Desséchés, Sports et Divertissements, Morceaux en forme de Poire); Schmitt (Musiques Intimes, Books IandII); Vierne (Suite Bourguignonne), and more Also includes composer biographies and relevant articles from the 1911 edition of Groveâ??s Dictionary of Music and Musicians 2300 pages

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.

SKU: HL.14036341

ISBN 9780711955080.

Commissioned by the BBC and premiered by the Chilingirian String Quartet. Quoting Wood: In my Second and Third Quartets I attempted sectional, agglutinative forms: in my Fourth I return to the conventional four movement form of my First Quartet of 1962. Both works build up (as in the 19th century symphony) to the Finale, thus making it the most substantial movement, which provides a climax to the work. The First Movement has, in both works, only the status of an Introduction. But there the consciously willed resemblances end. This Introduction follows the Second Quartet to a certain extent, in that it provides a sort of 'cauldron', from which elements to be used later can all be plucked. Its opening will reappear at various points throughout the work, most completely at a climatic point of the Finale (bar 110). Subsequent material will be more fully worked out in the second movement, a large Scherzo. The Introduction concludes with an unusually placed violin cadenza (itself a rare feature in a string quartet, the idea lifted from Elliott Carter's First Quartet) of which the opening is to reappear halfway through the Finale. The Scherzo (which follows attacca) does not have at its centre a discretely characterized Trio: a figure in double-stops like a distant fanfare supplies the necessary contrast of a second idea. The Slow Movement has a secondary idea first heard on the cello and marked appassionato: an agitato middle section recalls the opening of the work, but in a formulation which will be found closely to anticipate its reappearance in the Finale. The Finale is planned on a broad scale. Only after a fully worked exposition of both primary and secondary material does the opening of the whole work return, now in a greatly extended form. Then, at bar 140, the tune of the violin cadenza is first harmonized in fanfare style on the upper instruments, then presented as a chorale on the lower ones, with a rushing semiquaver accompaniment above. This climatic activity mounts to the very end. The work is dedicated to the Chilingirian Quartet, old friends over many years. Score available separately: SOS04044.

SKU: PR.110418370

ISBN 9781491135075. UPC: 680160686247.

Composed as an organ solo by the 17-year-old Ives for his own performance purposes, the beloved Variations on America is a treat for any occasion, whether a holiday concert, a serious recital, or other special event. Danny Holt’s transcription for Piano, Four Hands adds a dazzling new option to play at home or on stage, taking best advantage of Ives’ tremendous contrasts in color, dynamics, and texture.
Composed when Charles Ives was a teenager, Variations on “America” is both a convenient introduction to Ives’ body of work, and an early example of his iconoclastic musical voice and creative genius. Just a few years after composing this piece, Ives would leave home to study music at Yale. But until then he had been taught by his father, George (who had been a bandmaster in the Civil War). George subjected the young Ives to experiments such as singing a song in one key while being accompanied in another, or arranging for two marching bands to converge on a town center, with the resulting cacophony that ensued.The Variations exemplifies an early period of experimentation in Ives’ work, spurred on by the unusual pedagogy of his father. The piece is particularly notable for its use of bitonality in the two interludes, subtly foreshadowing more well-known examples by Stravinsky, Bartók, and others by approximately two decades.The bitonal interludes were so ahead of their time, in fact, they were omitted from the first copy that was submitted to a publisher in 1892. (Alas, the piece was rejected even despite these “shocking” elements having been left out, and it wasn’t published until more than five decades later.) There is some ambiguity about when exactly Ives added the interludes into his manuscript copy, though ample evidence suggests he had performed the piece with the interludes around the time he notated the piece in 1891-92. In any case, in light of this piece and his other polytonal explorations from the last decade of the 19th century, it seems fair to give Ives credit for being a pioneer in this area!This arrangement for Piano, Four Hands, closely follows Ives’ original version for organ, setting aside William Schuman’s popular adaptation for symphony orchestra and William Rhoads’ band transcription of the Schuman orchestration. Pianists will find that the piece translates well to the instrument. Ideally, the choreography and logistics of elbow-to-elbow four-hands playing approximates the wild joy one gets from watching an organist play the piece (e.g., the elaborate pedal part in the final variation).In preparing this publication, attention was paid to details in the dual Critical Editions (Presser 443-41003) of both Ives’ manuscript edition and the 1949 publication edited by organist E. Power Biggs (who is credited with discovering what had been a long-lost, forgotten work.) But as with much of Ives’ output, attempting to create a true ‘urtext’ score is a futile endeavor, and especially with a piece such as this one – in which Ives incorporated improvisation in live performance – seems unnecessary anyhow. True die-hards are of course encouraged to consult the critical editions and even find inspiration in the orchestrated version. Generally, performers are advised to be wild, have fun, and not to be too rigid in their interpretive choices.Dynamics in this arrangement mostly follow the organ score closely. Pianists will use good judgment about pedaling throughout, which should be straightforward and intuitive. Courtesy accidentals have been provided frequently – without parentheses – balancing the need for extra clarity in the context of Ives’ murky musical language, and a desire to avoid unnecessary clutter.A few notes that might inform interpretive decisions:mm. 15-16: There are inconsistencies here between Ives’ original manuscript and the 1949 Biggs edition, regarding the top voice in m. 15, beat 3 (C# vs. Cn) and m. 16 (D Major vs. D Minor).mm. 76-84 & 143-146: In both Interludes, Ives emphatically notates extreme dynamic contrast, in order to highlight the bitonality. Although it may seem counterintuitive (or even a misprint, as has apparently been misconstrued by some), performers are urged to follow the composer’s marking!m. 109: Two-note slurs have been added here for clarity and consistency with other similar passages, though they do not appear in either the original manuscript or Biggs.m. 112: The last two eighth notes of Primo appear as 16ths in the original manuscript.mm. 183-186: The original manuscript has a slightly different bass line.mm. 184 & 186: Primo gestures have been re-written to be slightly more idiomatic for Piano, Four Hands.m. 186: The breath mark at the end of this bar does not appear in either the manuscript or Biggs, but is an editorial suggestion – aside from being appropriately dramatic, it will indeed be necessary in a reverberant hall!I would like to thank Steven Vanhauwaert, the other half of my piano duo, 4handsLA, for his input on early drafts of this arrangement.— Danny Holt, April 2022.

SKU: YM.GTP01096650

ISBN 9784636966503.

15 famous melorides by Composers from the end of 19th to eary 20th century arranged for children. The purpuse of this book is NOT to study piano technique, but to touch the sound of each era through the historical masterpieces.
15Shou Lai Zi 19Shi Ji Mo 20Shi Ji Chu De Zhu Ming Xuan Lu . Ben Shu De Mu De Bing Fei Gang Qin Ji Qiao Jiao Xue . Er Shi Yong Er Duo Qu Qin Shen Gan Shou Mei Ge Shi Qi Yin Le De Te Dian .

Debussy: 1. La fille aux cheveux de lin; 2. Cortege from Petit Suite; 3. Arabesque No.1; 4. Reverie; Clair de lune from Suite bergamasque Rachmaninoff: Prelude Op.3/2; 6. Piano Concerto No.2 Op.11 - 1st movement; 7. Symphony NNo.2 Op.27 - 3rd movement; 9. Vocalise Op.34/14; 10. 18th variation from Rapsodie sur un theme de Paganini O.43 Ravel: 11. Pavane pour une infant defunte; 12. Jeux d'eau; 13. Alborada del gracioso from Miroirs; 14. La Valse; 15. Bolero.

SKU: BR.EB-8118

ISBN 9790004175019. 9 x 12 inches.

Richard Wagner (1813-1883) is rightly considered as the 19th-century music dramatist whose formal and harmonic originality, for example in Tristan and Isolde, provided a significant impetus to the development of 20th-century music. Despite Wagner's fame, his reuvre for piano remains practically unknown. Tobe sure, these primarily early works and occasional compositions hardly even hint at the outstanding characteristics of the later works such as leit-motifs, flowing transitions or original forms. Nonetheless, whoever is acquainted with Wagner's later music dramas will undoubtedly not fail to be impressed by the individual melodic and harmonic traits of his piano works. The Sonata in B-flat Major Op. 1 is of special interest to us today since it is Wagner's first published work, composed in 1831 and printed in 1832 by Breitkopf & Hartel. At that time, Wagner was studying counterpoint with Theodor Weinlig, the choral master and music director of the Thomasschule in Leipzig. Weinlig, however, only agreed to give Wagner lessons if he promised to refrain from composing for half a year. In the course of his studies, Wagner was allowed to compose the piano sonata in B-flat Major as a kind of journeyman-work. His teacher Weinlig succeeded in having the work published by Breitkopf & Hartel. Hence the dedication of this piece to Weinlig is not surprising, since the 18-year-old Wagner would otherwise have had great difficulty finding a publisher. This Sonata in B-flat Major, which has long been out of print, is a reproduction of the first edition by Breitkopf & Hartel (plate number 10433). For this reprint, obvious typographical errors have been corrected (missing or wrong accidentals and dynamic indications). The work presents a four-movement classical sonata form and is stylistically reminiscent of Mozart and Beethoven. Shortly before composing this sonata, Wagner wrote a piano reduction of Beethoven's Ninth Symphony, which was easily playable and yet gratifying to hear. This helps explain the octave-doublings typical of piano reductions. Wiesbaden, Fall 1980

Respectfully dedicated to Theodor Weinlig, the choral master and music director of the Thomasschule in Leipzig.