Par RACHMANINOV SERGEI / WARENBERG ALEXANDER (Arr.). What if the probably most popular symphony by Sergei Rachmaninoff were rewritten as a piece for piano and orchestra? This was the idea behind the 'adaptation' of Rachmaninoff's Symphony No. 2 into his Piano Concerto No. 5. All the while, the Russian pianist-composer Alexander Warenberg kept true to Rachmaninoff's style. However, the four movements of the symphony had to be adapted to the common three-movement form of the piano concerto by combining the second and third movements into one 'Adagio'. Warenberg's arrangement has meanwhile been performed many times. A recording with Wolfram Schmitt-Leonardy (piano) is available on Brilliant Classics. / Niveau : difficile / Date parution : 2023-05-06/ Répertoire / 2 Pianos

Compositeur de l'époque baroque, Johann Sebastian Bach a été un acteur majeur et influent dans le développement de la musique occidentale. Il a inspiré les plus grands. C'est ainsi que vous retrouverez tout son génie à travers cette partition Concerto for Violin and Orchestra a minor BWV 1041 qui a été écrite pourViolon Et Piano. Les éditions Henle qui ont éditées cette oeuvre l'ont répertoriée sour la référence 671. / Violon Et Piano / Partition

Riduzione Per 2 Pf 4 Mani-Composed in 1936 for Piano and Orchestra the Piano Concerto is one of the few works that Khachaturian is famed for in the West. It is arranged here for Piano with a second Piano which is a reduction of the original Orchestral score.

Concerto for Piano and Orchestra. Par MOZART WOLFGANG AMADEUS. Urtext Der Neuen Mozart-Ausgabe/ Répertoire / Piano et Orchestre

Poema Per Pianoforte E Orchestra. Par CASELLA ALFREDO. / oeuvre solo et Orchestre / Date parution : 1905-06-30/ Répertoire / Piano et Orchestre

Fassung in drei Sätzen-Delius' Piano Concerto in C minor is an inspiring and attractive work yet seldom performed. The work was greatly influenced by Grieg's Piano Concerto which is noticeable in the first movement.Available here is a score for two pianos - solo piano and orchestral reduction - as arranged by Julius Buths and edited by Robert Threlfall.

Edited by Frank MerrickThis is neglected repertoire by an important figure of the early Romantic movement who was a significant influence on Chopin. The contents include Piano Concertos in E flat A flat and E flat scored for strings timps and double woodwind horns and trumpets.First published in 1961.

for the Left Hand for Piano and Orchestra Piano reduction and solo part-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 the work’s evolutionfrom 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 pagesPiano reduction with separate Urtext solo part enclosedFull score & parts (BA7881) and two-Piano reduction (BA7881-90) available for sale

for Piano and Orchestra-The seven years that the Spanish composer Falla spent in Paris (from 1907 to 1914) marked a turning point in his compositions. His encounter with contemporary French Impressionist music made a big impact on him. From then on itwas to leave its mark on his oeuvre which was otherwise inspired by Spanish folk music. It was thanks to the advice of the pianist Ricardo Viñes and the composer Isaac Albéniz that Falla decided to expand his ?Nocturnes? for solopiano of 1909 into a three-part symphonic suite for piano and orchestra. He finally completed it in 1915 and named it ?Noches en los jardines de España? (?Nights in the gardens of Spain?). Yuja Wang kindly provided fingerings forthe solo piano part of de Falla?s enchanting musical evocation of his Andalusian homeland.

for Pianoforte and Orchestra op. 37-Urtext edition reflecting the latest musicological research.With many corrections in the solo part and Orchestral parts.Piano reduction for 2 Pianos with a separate solo Piano part.A must for Pianists Orchestras and Beethoven scholars.Beethoven’s Piano Concerto No.3 is the only concerto where no authentic manuscript exists for the solo part. The autograph of the score is available whereby the articulation dynamics and pedal markings are for the most part absent. However Beethoven oversaw the first printed edition of the solo part (1804) with great diligence. Plate corrections bear witness to the care with which Beethovenplaced slurs and pedal markings in order to be consistent and unambiguous. By means of a thorough examination of the sources this new Urtext edition presents many corrections in terms of articulation dynamics and notes. In particular the orchestral parts have been corrected for the first time since Beethoven’s lifetime.

Piano Concerto No. 2 for Piano and Orchestra (2009) by Poul Ruders. Piano Solo and Orchestral Reduction.Dedicated Becky Starobin. Written for Vassily Primakov. Commissioned by The Norwegian Radio Orchestra and Jerome Lowenthal. Programme Note In this day and age when faced with the challenge of writing a 'Piano Concerto' e.g. a piece for symphony orchestra and an all-dominating and virtuosic solo Piano part one has two options: either: DO or do NOT go for it wholesale exploiting and enjoying the conrnucopia of sonoroustreasures offered by the combination of the orchestra and the 'Grand Piano'. I have opted to go for it. When writing for one of our great young international Piano stars it would be absurd and a waste to do anything less and only 'nibble at the goodies'.However the piece is not a big clunky 'machine'. Rather it is a transparently orchestrated neo-classic (for the lack of a better work) composition in three movements lastign approximately 25 minutes.The piece begins with a moderately paced opening in which the Piano gradually gathers momentum and strength beginning with the most gentle of motifs. In this movement the soloist and orchestra fo not always agree and the vigilant listener will observe the disparity between the two. Following a swift up-beat coda the movement stops almost in mid-breath on one of the gentle Piano chords taken from the very opening.The extreme simplicity of the second movement 'Semplice' (the opening Piano solo bears the marking: 'slightly hesitant - like a child practicing') is after having been joined by the Vibraphone Harp and solo Violin suddenly violated with unprecedented brutality by the rest of the orchestra which virtually 'lies in wait - panting to pounce'. But eventually calm and order is restored.The finale is a crazy rondo of sorts.

Left Alone for Piano (left hand) and Orchestra was composed by Hans Abrahamsen in 2014-15. Commissioned by Westdeutscher Rundfunk and co-commissioned by City of Birmingham Symphony Orchestra Danish National Symphony Orchestra and Rotterdam Philharmonic Orchestra. Premiered by the WDR Sinfonieorchester and Alexandre Tharaud (piano) concducted by Ilan Volkov on January 29 2016 Cologne. Programme Note: I was born with a right hand that is not fully functional and though it never prevented me from loving playing the piano as well as I could with this physical limitation it hasobviously given me an alternative focus on the whole piano literature and has given me a close relationship with the works written for the left hand by Ravel and others. This repertoire has been with me since my youth. My very first public performance of one of my own works was in autumn 1969. The piece was called October and I played the piano with my left hand and the horn my principal instrument (the only instrument that can be played with only the left hand). Part of the piece requires the performer to play natural harmonics of the horn directly into the open strings of the grand piano to create resonance. The pedal was kept down by an assistant lying on the floor. Through decades the idea of writing a larger work for piano left hand has been in my mind. This new work is not written for a pianist with only one hand but rather by a composer who can only play with the left hand. The title Left alone contains all kinds of references not only to the obvious fact that the left hand is playing alone. Left alone is divided into two large parts each consisting of three smaller movements – in effect six in total. The work was commissioned by Westdeutscher Rundfunk and co-commissioned by City of Birmingham Symphony Orchestra Danish National Symphony Orchestra and Rotterdam Philharmonic and written for Alexandre Tharaud. Hans