Performed by Bill Evans. Arranged by Pascal Wetzel. Artist Transcriptions (Authentic note-for-note transcriptions). Softcover. Size 9x12 inches. 40 pages. Published by TRO - The Richmond Organization.

Composers in the Baroque period (1600-1750) produced some of the greatest and most exciting keyboard music ever. This captivating DVD looks at conventions and knowledge that help the performer create a more historically informed performance. Organized as a practical aid to today's performers and teachers, basic touches, articulations, dynamics and ornamentation are discussed in detail. Also on this DVD is a lecture on the history of Baroque dance and the relationship between dance movements and the performance of keyboard music. The dances are broken down into component steps for learning by the viewer. Nine of the most popular court dances (minuet, sarabande, gigue, allemande, bourree, polonaise, courante, gavotte and rigaudon) are performed to Dr. Hinson's keyboard accompaniment by dancers in Baroque costume. Approx. 107 minutes.

Transcription from Partita No. 1 in D Minor BWV1004 Piano Solo. Composed by Martin Stadtfeld. Piano Solo. Classical. Softcover. 24 pages. Schott Music #ED23299. Published by Schott Music

Piano (Piano)

SKU: HL.48186438

Composed by Patrick Burgan. Leduc. Post-1900. Softcover. Alphonse Leduc #AL30670. Published by Alphonse Leduc (HL.48186438).

UPC: 888680830243. 9.0x12.0x0.146 inches.

Published in 2014, the Chrysalides for piano by Patrick Burgan (born in 1960) are the product of a commission by the Epinal International Piano Competition, which included the ten-minute piece in the programme of its March 2015 edition. The initially somewhat enigmatic tagline of these Chrysalides, which translates as ?imaginal variations for piano? is, in fact, an organistic metaphor, the chrysalid being the intermediary stage between the caterpillar and the butterfly?s final form, the imago. Following the path of this metamorphosis, Burgan?s imaginal variations start with chaos (pre-birth) and undergo all the evolutionary stages, which gradually clarify the image of the theme ? the imago, whose calm, appeased and completed form we only discover at the very end. The listener perceives an inversed theme and variations in terms of structure, but is also faced with the poetical evocation of a birth. Revealing the secrets of the metamorphosis through a musical language highly charged with sensuality, this piece is a celebration of life..

20 Intermediate to Early Advanced Pieces with Practice and Performance Tips. Composed by Various. Edited by Immanuela Gruenberg. Classical, Classical Instruction. Softcover. Published by Hal Leonard

Piano (Voice and Piano) - Grade 4

SKU: HL.14019063

By Macario Santiago Kastner. By Francisco Correa de Arauxo. Edited by Macario Santiago Kastner. Music Sales America. Classical. Book [Softcover]. 210 pages. Music Sales #UMP21938. Published by Music Sales (HL.14019063).

ISBN 9780711995918. UPC: 884088456283. 8.25x11.0x0.472 inches.

Libro de tientos y discursos de musica practica, y theorica de organo intitulado facultad organica.

By ABRSM. For piano. Published by ABRSM (Associated Board of the Royal Schools of Music).

Piano

SKU: BT.PB106

Composed by Spiers. Studies & Exercises. Book Only. 46 pages. Paul Beuscher #PB106. Published by Paul Beuscher (BT.PB106).

French.

By Franck. For piano. Published by ABRSM (Associated Board of the Royal Schools of Music).

Piano

SKU: HL.14002021

Composed by Francisco Correa de Arauxo. Music Sales America. Classical. Book [Softcover]. 242 pages. Music Sales #UMP19382. Published by Music Sales (HL.14002021).

ISBN 9780711976436. UPC: 884088433826. 9.5x12.0x0.803 inches. English-Spanish. Macario Santiago Kastner - Author.

Libro de tientos y discursos de musica practica, y theorica de organo intitulado facultad organica.

Piano

SKU: BO.B.3305

Composed by De Larrocha Granados. Published by Editorial de Musica Boileau (BO.B.3305).

ISBN 9788480206792.

Engl ish comments:
Given that Granados' creative periods continually overlap, in order to organize the works of Granados' Juvenilia this edition has grouped the works according to their chronological-biographica l order and/or to their style. The majority of the works in this section were composed between his student years in Paris (1887-1889) and the founding of the Academia Granados in 1901. Many of these works are quite similar to one another being sketches and brief compositions characterised by an unfocused formal structure, harmonic ambiguity and a tendency to place the final cadence on the dominant. The fact that many of these works were not highly developed would tend to suggest that they were never revised by the composer. Typical of a young composer focusing on his own personal inspirations, Granados concentrated on themes of nature, oriental motifs, exploration of emotions, frequently making use of the salonnier (salon) genre.

Comentarios del Espanol:
Para organizar la edicion de los apartados correspondientes a las obras juveniles de Granados se ha partido de los criterios cronologico - biograficos y de estilo dado que, aunque los periodos creativos del compositor se mezclan continuamente, la mayor parte de las obras de este apartado fueron escritas entre su etapa de estudiante en Paris y la fundacion de la Academia Granados en 1901 y, a pesar de presentar una gran heterogeneidad entre ellas, se trata de esbozos y breves composiciones caracterizadas por una estructura formal poco destacada, marcada por la ambiguedad armonica y por una tendencia a colocar la cadencia final en la dominante. La poca elaboracion de la mayor parte de estas obras delata que probablemente ni tan siquiera fueran revisadas posteriormente por el compositor. Todas ellas son propias de un compositor joven y responden a los temas propios del momento como son la naturaleza, los motivos orientales o la exaltacion de los sentimientos. El recurso al genero salonnier (obras de salon) y las dedicatorias a senoras y senoritas son tambien recursos propios de la epoca.

Composed by Carl Czerny (1791-1857). Book Only. Volonte e Co #VOLMB281. Published by Volonte e Co

Solo Piano

SKU: SU.00220514

For Solo Piano. Composed by Frederic Chopin. Keyboard, Piano/Harpsichord. CD (PDF Scores). CD Sheet Music #00220514. Published by CD Sheet Music (SU.00220514).

Thomas J. Parente is Associate Professor of Piano at Westminster Choir College of Rider University.He is a frequent clinician and has presented workshops and clinics at the Gina Bachauer Piano Festival, the Dalcroze International Summer School of Australia,the Conservatory of Puerto Rico, the National Piano Pedagogy Convention, the Delaware State Music Teachers Convention, Westminster Choir College’s Summer Session,Montclair State University, Towson State University, andfor many other organizations. Currently, he is working ona series of piano books that will provide teachers with lesson plans which utilize Dalcroze Eurhythmics for teaching standard piano repertoire. He is also the producer of a series of instructional videos entitled The Tom Parente In Home Piano Video Course.

Orchestra Piano

SKU: PR.11641861SP

Composed by William Kraft. Part. 35 pages. Duration 21 minutes. Theodore Presser Company #116-41861SP. Published by Theodore Presser Company (PR.11641861SP).

UPC: 680160685202.

What? ! - my composer colleagues said - A concerto for the piano? It's a 19th century instrument! Admittedly we are in an age when originally created timbres and/or musico-technological formulations are often the modus operandi of a piece. Actually, this Concerto began about two years ago when, during one of my creative jogs, the sound of the uppermost register of the piano mingled with wind chimes penetrated my inner ear. The challenge and fascination of exploring and developing this idea into an orchestral situation determined that some day soon I would be writing a work for piano and orchestra. So it was a very happy coincidence when Mona Golabek phoned to tell me she would like discuss the Ford Foundation commission. After covering areas of aesthetics and compositional styles, we found that we had a good working rapport, and she asked if I would accept the commission. The answer was obvious. Then began the intensive thought process on the stylistic essence and organization of the work. Along with this went a renewed study of idiomatic writing for the piano, of the kind Stravinsky undertook with the violin when he began his Violin Concerto. By a stroke of great fortune, the day in February 1972 that I received official notice from the Ford Foundation of the commission, I also received a letter from the Guggenheim Foundation informing me I had been awarded my second fellowship. With the good graces of Zubin Mehta and Ernest Fleischmann, masters of my destiny as a member of the Los Angeles Philharmonic, I was relieved of my orchestral duties during the Hollywood Bowl season. Thus I was able to go to Europe to work and to view the latest trends in music concentrating in London (the current musical melting pot and showcase par excellence), Oslo, Norway, for the Festival of Scandinavian Music called Nordic Days, and Warsaw, Poland, for its prestigious Autumn Festival. Over half the Concerto was completed in that summer and most of the rest during the 72-73 season with the final touches put on during a month as Resident Scholar at the Rockefeller Foundation's Villa Serbelloni in Bellagio, Italy. So much for the external and environmental influences, except perhaps to mention the birds of Sussex in the first movement, the bells of Arhus (Denmark) in the second movement and the bells of Bellagio at the end of the Concerto. Primary in the conception was the personality of Miss Golabek: she is a wonderfully vital and dynamic person and a real virtuoso. Therefore, the soloist in the Concerto is truly the protagonist; it is she (for once we can do away with the generic he) who unfolds the character and intent of the piece. The first section is constructed in the manner of a recitative - completely unmeasured - with letters and numbers by which the conductor signals the orchestra for its participation. This allows the soloist the freedom to interpret the patterns and control the flow and development of the music. The Concerto is actually in one continuous movement but with three large divisions of sufficiently contrasting character to be called movements in themselves. The first 'movement' is based on a few timbral elements: 1) a cluster of very low pitches which at the beginning are practically inaudibly depressed, and sustained silently by the sostenuto pedal, which causes sympathetic vibrating pitches to ring when strong notes are struck; 2) a single powerful note indicated by a black note-head with a line through it indicating the strongest possible sforzando; 3) short figures of various colors sometimes ominous, sometimes as splashes of light or as elements of transition; 4) trills and tremolos which are the actual controlling organic thread starting as single axial tremolos and gradually expanding to trills of increasingly larger and more powerful scope. The 'movement' begins in quiescent repose but unceasingly grows in energy and tension as the stretching of a string or rubber band. When it can no longer be restrained, it bursts into the next section. The second 'movement,' propelled by the released tension, is a brilliant virtuosic display, which begins with a long solo of wispy percussion, later joined in duet with the piano. Not to be ignored, the orchestra takes over shooting the material throughout all its sections like a small agile bird deftly maneuvering through nothing but air, while the piano counterposes moments of lyricism. The orchestra reaches a climax, thrusting us into the third 'movement' which begins with a cadenza-like section for the piano. This moves gently into an expressive section (expressive is not a negative term to me) in which duets are formed with various instruments. There are fleeting glimpses of remembrances past, as a fragmented recapitulation. One glimpse is hazily expressed by strings and percussion in a moment of simultaneous contrasting levels of activity, a technique of which I have been fond and have utilized in various fixed-free relationships, particularly in my Percussion Concerto, Contextures and Games: Collage No. 1. The second half of the third 'movement; is a large coda - akin to those in Beethoven - which brings about another display of virtuosity, this time gutsy and driving, raising the Concerto to a final climax, the soloist completing the fragmented recapitulation concept as well as the work with the single-note sforzando and low cluster from the very opening of the first movement.

SKU: HL.346528

For Piano. Composed by Olivier Messiaen. Edited by Roger Muraro. Piano. Softcover. Alphonse Leduc #AL30829. Published by Alphonse Leduc (HL.346528).

ISBN 9781540094223. UPC: 840126924565.

Aroun d 1960, Olivier Messiaen began a large-scale concerto based on the birds of the Herault region (Oiseaux de l'Herault) for piano, various soloists and orchestra. Although the project remained unfinished, the solo piano part was quite developed. The Olivier Messiaen Foundation entrusted Roger Muraro, a renowned interpreter of Messiaen's piano works, with organizing the sketches and manuscripts found in the composer's archives. This new publication emerged from Muraro's research. The study that opens the volume describes his methods in detail, discussing, among other issues, the relationship of this work to the later Sept Haikai. Richly illustrated with a number of facsimiles, musical examples and photographs, Muraro's introduction retraces the origins and historic context of the work, invites the reader to enter the composer's workshop, and offers suggestions for performance. Fauvettes de l'Herault - Concert des garrigues for solo piano is a concerto without orchestra that blends reference to Claude Debussy, a thinly veiled homage to Yvonne Loriod, new birdsong from the Herault region, and the vast palette of rhythm, timbre, and colour that are typical of Olivier Messiaen's musical universe.

Chamber Music Piano

SKU: PR.110418370

Composed by Charles Ives. Arranged by Danny Holt. Performance Score. 20 pages. Duration 8 minutes. Theodore Presser Company #110-41837. Published by Theodore Presser Company (PR.110418370).

ISBN 9781491135075. UPC: 680160686247.

Compo sed 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.

(Effective Strategies for Teaching Piano). By Joanne Haroutounian. For piano. Book and CD-ROM. 236 pages. Published by Neil A. Kjos Music Company

Solo Piano

SKU: SU.27040220

For Solo Piano. Composed by Gregory J. Hutter. Keyboard, Piano/Harpsichord. Score. Subito Music Corporation #27040220. Published by Subito Music Corporation (SU.27040220).

The Variations for Piano Solo combines elements from traditional sectional variations, as well as the passacaglia and chaconne. The work is organically conceived: its sole thematic material is derived from a three-note cell, which is composed-out both melodically and harmonically.Solo Piano Duration: 6' Composed: 2004 Published by: Hutter Music.

By Dennis Alexander, Gayle Kowalchyk, E. L. Lancaster, Victoria McArthur, and Martha Mier. Edited by Morton Manus. For Piano. Piano Method. Premier Piano Course. 0. Level: 1A-6. Book. 80 pages. Published by Alfred Publishing.

(How Students, Parents, and Teachers Can Make Practicing More Effective). For Piano/Keyboard. Educational Piano Library. Softcover. 112 pages. Published by Hal Leonard

Piano

SKU: ST.Y229

Composed by Morgan Hayes. 5 minutes. Score. Stainer & Bell Ltd. #Y229. Published by Stainer & Bell Ltd. (ST.Y229).

ISBN 9790220221729.

Morg an Hayes is a noted young British composer of piano music, whose work has been programmed by leading contemporary pianists including Andrew Ball, Stephen Gutman, Rolf Hind, Sarah Nicolls and Ian Pace. For friends and fellow performers he often writes short, celebratory bagatelles entitled Strides, and three of them are collected here in the first book of an ongoing series. Fugitive visions that include 'Wisps of Melody', a bright fanfare and a disjointed march, they are within the range of younger pianists possessing a confident technique of around Grade 5 or above, and pianists of any age with an appetite for bold new repertoire.