By russian. For Piano. (Piano Solo). CD Sheet Music (Version 2.0). PDF file on CD. 4000 pages. Published by Subito Music.

By David Karp. For Piano. Composers In Focus. Book 2 contains plenty of rhythmic bounce; Winter Rag; Autumn Rag; Peasant Dance; and Cool Beat Blues; set against some more lyrical selections: January Song; May Afternoon; Swan on a Lake; and several others, some with unusual time signatures, all written in Karp's unique style. Also includes: Lullaby; Blue Tune. Level: Early Intermediate/Intermediate . Book. Published by The FJH Music Company Inc.

(Piano Solo). By Peter Ilyich Tchaikovsky (1840-1893). Edited by Polina Vajdman. For piano solo. This edition: HN616. Piano (Harpsichord), 2-hands. Henle Music Folios. Pages: VII and 66. SMP Level 10 (Advanced). Urtext edition-paper bound. 74 pages. Published by G. Henle Verlag

Piano

SKU: HL.14032607

Composed by Joby Talbot. Music Sales America. 20th Century. Book [Softcover]. Composed 2005. 72 pages. Chester Music #CH69718. Published by Chester Music (HL.14032607).

ISBN 9781846091599. 9.0x12.0x0.285 inches.

A collection of solo Piano arrangements of the pieces from Once Around The Sun, Joby Talbot's musical journey through one year. Jointly commissioned by Classic FM and The PRS Foundation For New Music, this exquisite set of mood pieces was inspired by the personal changes and experiences across the year, creating something of a diary of the composer's creativity.

Edited and recorded by Alexandre Dossin. By Alexandre Dossin. By Peter Ilyich Tchaikovsky (1840-1893). Edited by Alexandre Dossin. Schirmer Performance Editions. Classical. Softcover Audio Online. 72 pages. Published by G. Schirmer

Piano

SKU: BR.EB-9253

Composed by Helmut Lachenmann. Solo instruments; stapled. Edition Breitkopf.

World premiere of the orchestral version: Stuttgart, January 1, 2018World premiere of the piano version: Mito, June 17, 2017

Have a look into EB 9283.

New music (post-2000). Score. Composed 2016/17/20. 12 pages. Duration 8'. Breitkopf and Haertel #EB 9253. Published by Breitkopf and Haertel (BR.EB-9253).

ISBN 9790004185537. 9 x 12 inches.

Marche fatale is an incautiously daring escapade that may annoy the fans of my compositions more than my earlier works, many of which have prevailed only after scandals at their world premieres. My Marche fatale has, though, little stylistically to do with my previous compositional path; it presents itself without restraint, if not as a regression, then still as a recourse to those empty phrases to which modern civilization still clings in its daily utility music, whereas music in the 20th and 21st centuries has long since advanced to new, unfamiliar soundscapes and expressive possibilities. The key term is banality. As creators we despise it, we try to avoid it - though we are not safe from the cheap banal even within new aesthetic achievements.Many composers have incidentally accepted the banal. Mozart wrote Ein musikalischer Spass [A Musical Jape], a deliberately amateurishly miscarried sextet. Beethoven's Bagatellen op. 119 were rejected by the publisher on the grounds that few will believe that this minor work is by the famous Beethoven. Mauricio Kagel wrote, tongue in cheek, so to speak, Marsche, um den Sieg zu verfehlen [Marches for being Unvictorious], Ligeti wrote Hungarian Rock; in his Circus Polka Stravinsky quoted and distorted the famous, all too popular Schubert military march, composed at the time for piano duet. I myself do not know, though, whether I ought to rank my Marche fatale alongside these examples: I accept the humor in daily life, the more so as this daily life for some of us is not otherwise to be borne. In music, I mistrust it, considering myself all the closer to the profounder idea of cheerfulness having little to do with humor. However: Isn't a march with its compelling claim to a collectively martial or festive mood absurd, a priori? Is it even music at all? Can one march and at the same time listen? Eventually, I resolved to take the absurd seriously - perhaps bitterly seriously - as a debunking emblem of our civilization that is standing on the brink. The way - seemingly unstoppable - into the black hole of all debilitating demons: that can become serene. My old request of myself and my music-creating surroundings is to write a non-music, whence the familiar concept of music is repeatedly re-defined anew and differently, so that derailed here - perhaps? - in a treacherous way, the concert hall becomes the place of mind-opening adventures instead of a refuge in illusory security. How could that happen? The rest is - thinking.(Helmut Lachenmann, 2017)CD (Version for Piano):Nicolas Hodges CD Wergo WER 7393 2 Bibliography:Ich bin nicht ,,pietistisch verformt. Ein Gesprach [von Jan Brachmann] mit dem Komponisten Helmut Lachenmann, in: FAZ vom 7. Juni 2018, p. 15.

World premiere of the piano version: Mito/Japan, June 17, 2017, World premiere of the orchestral version: Stuttgart, January 1, 2018, World premiere of the ensemble version: Frankfurt, December 9, 2020.

Piano

SKU: HL.14025816

By Arthur D. Walker. By Richard Wagner. Music Sales America. Opera or Operetta. Book [Softcover]. Music Sales #NOV100205. Published by Music Sales (HL.14025816).

Richard Wagner's Polonaise for Piano, edited by Arthur D. Walker.

Editorial note:

This Polonaise and Trio in D major for Piano solo was probably written as an excercise when Wagner was studying under Theodor Weinlig in 1830.

Wagner described to Edward Dannreuther much later in his life the teaching methods of Weinlig (Grove I, iv, 347; Musical Times, January 1973, Page 26) The pencil corrections on the autograph, part of which is reproduced in the above-mentioned issue of The Musical Times, may be in Weinlig's hand. The Polonaise was rejected by Wagner, the Trio transformed into a Piano duet, and a new Polonaise for Piano duetwas composed.

Piano

SKU: HL.51481223

Composed by Ludwig van Beethoven. Edited by Murray Perahia and Norbert Gertsch. Henle Music Folios. Classical. Softcover. 34 pages. G. Henle #HN1223. Published by G. Henle (HL.51481223).

UPC: 888680991654. 9.0x12.0x0.12 inches.

“The farewell / Vienna, May 4, 1809 / on the departure of his Imperial Highness the revered Archduke Rudolph” – Beethoven added this inscription to the manuscript of this sonata. It is today know by its French title les Adieux and numbers amongst the composer's best-loved piano works. The first movement of the sonata was presumably written directly before the archduke hurriedly left Vienna. Rudolph and other members of the imperial family fled to Hungary to avoid having to endure the French troops' siege and conquest. On his return in January 1810, Beethoven was able to present him with the complete sonata, having written not only the “farewell,” but also “absence” and “return.”.

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