Chamber Music Piano SKU: PR.110418370 Composed by Charles Ives. Arranged ...(+)
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
“shockingâ€
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.
By Ralph Federer. 1 piano, 4-hands. For Piano 4-Hands. Duets of Distinction. Cla...(+)
By Ralph Federer. 1
piano, 4-hands. For Piano
4-Hands. Duets of
Distinction. Classical.
Level: advanced. Part. 11
pages. Published by
Theodore Presser Company.
Guitar - Beginning SKU: MB.31103M Third Edition. Bluegrass, Wire b...(+)
Guitar - Beginning
SKU: MB.31103M
Third Edition.
Bluegrass, Wire bound.
World. Book and online
audio. 236 pages. Mel Bay
Publications, Inc
#31103M. Published by Mel
Bay Publications, Inc
(MB.31103M).
ISBN
9781513468792. 8.75x11.75
inches.
Adam Granger
self-published the first
edition of
Grangerâ??s Fiddle
Tunes for Guitar in
1979. A second edition
was published in 1994.
Now Mel Bay Publications
presents the third
edition of the
book.
This 236-page book
is the most extensive and
best-documented
collection of fiddle
tunes for the flatpicking
guitar player in
existence, and includes
reels, hoedowns,
hornpipes, rags,
breakdowns, jigs and
slip-jigs, presented in
Southern, Northern,
Irish, Canadian, Texas
and Old-time
styles.
There are 508
fiddle tunes referenced
under 2500 titles and
alternate titles. The
titles are fully indexed,
making the book doubly
valuable as a reference
book and a source
book.
In this new
edition, all tunes are
typeset, instead of being
handwritten as they were
in the previous editions,
making the tabs easier to
read.
The tunes in
Grangerâ??s Fiddle
Tunes for Guitar are
presented in Easytab, a
streamlined tablature
notation system designed
by Adam specifically for
fiddle
tunes.
The book comes
with a link which gives
access to mp3 recordings
by Adam of all 508 tunes,
each played once at a
moderate tempo, with
rhythm on one channel and
lead on the
other.
Also included in
Grangerâ??s Fiddle
Tunes for Guitar are
instructions for reading
Easytab, descriptions of
tune types presented in
the book, and primers on
traditional flatpicking
and rhythm guitar.
Additionally, there are
sections on timing,
ornamentation, technique,
and fingering, as well as
information on tune
sources and a history of
the
collection.
Mel Bay also
offers The Granger
Collection, by Bill
Nicholson, the same 508
tunes in standard music
notation.
Piano seul [Partition] - Intermédiaire EBR Editions Bourges
Performed by Gonzales. By Gonzales. Arranged by Gonzales. For piano. This editio...(+)
Performed by Gonzales. By
Gonzales. Arranged by
Gonzales. For piano. This
edition: Editions Bourges
R. Recueil 1.
Instrumental. Songbook.
36 pages. Published by
Editions Bourges (French
import).
Domine tu jurasti Chorale SAATB A Cappella [Vocal Score] Notre Dame Choir Editions
By William Byrd. Edited by Ralph W. Buxton. For SAATB a cappella. Text: Latin. S...(+)
By William Byrd. Edited
by Ralph W. Buxton. For
SAATB a cappella. Text:
Latin. Sacred Choral
Works. Duration ca. 5
minutes. Published by
Notre Dame Choir
Editions.
Composed by Camille
Saint-Saens. Edited by
Michael Stegemann. This
edition: Edition of
selected works, Urtext
edition. Linen.
Saint-Saens, Camille.
Oevres instrumentales
completes I/3. Edition of
selected works, Score.
Opus 78. Duration 39
minutes. Baerenreiter
Verlag #BA10303_01.
Published by Baerenreiter
Verlag (BA.BA10303-01).
ISBN 9790006559503. 33
x 26 cm inches. Key: C
minor. Preface: Michael
Stegemann.
The
third symphony by Camille
Saint-Saens, known as the
Organ Symphony, is the
first publication in a
complete
historical-critical
edition of the French
composer's instrumental
works.
I gave
everything I was able to
give in this work. [...]
What I have done here I
will never be able to do
again.Camille Saint-Saens
was rightly proud of his
third Symphony in C minor
Op.78, dedicated to the
memory of Franz Liszt.
Called theOrgan
Symphonybecause of its
novel scoring, the work
was a commission from the
Philharmonic Society in
London, as was
Beethoven's Ninth, and
was premiered there on 19
May 1886. The first
performance in Paris
followed on 9 January
1887 and confirmed the
composer's reputation
asprobably the most
significant, and
certainly the most
independent French
symphonistof his time, as
Ludwig Finscher wrote in
MGG. In fact the work
remains the only one in
the history of that genre
in France to the present
day, composed a good half
century after the
Symphonie fantastique by
Hector Berlioz and a good
half century before
Olivier Messiaen's
Turangalila
Symphonie.
You
would think that such a
famous, much-performed
and much recorded opus
could not hold any more
secrets, but far from it:
in the first
historical-critical
edition of the Symphony,
numerous inconsistencies
and mistakes in the
Durand edition in general
use until now, have been
uncovered and corrected.
An examination and
evaluation of the sources
ranged from two early
sketches, now preserved
in Paris and Washington
(in which the Symphony
was still in B minor!)
via the autograph
manuscript and a set of
proofs corrected by
Saint-Saens himself, to
the first and subsequent
editions of the full
score and parts. The
versions for piano duet
(by Leon Roques) and for
two pianos (by the
composer himself) were
also consulted. Further
crucial information was
finally found in his
extensive correspondence,
encompassing thousands of
previously unpublished
letters. The discoveries
made in producing this
edition include the fact
that at its London
premiere, the Symphony
probably looked quite
different from its
present appearance
...
No less
exciting than the work
itself is the history of
its composition and
reception, which are
described in an extensive
foreword. With his
Symphony, Saint-Saens
entered right into the
dispute which divided
French musical life into
pro and contra Wagner in
the 1880s and 1890s. At
the same time, the work
succeeded in preserving
the balance between
tradition and modernism
in masterly fashion, as a
contemporary critic
stated:The C minor
Symphony by Saint-Saens
creates a bridge from the
past into the future,
from immortal richness to
progress, from ideas to
their
implementation.
On
19 March 1886 Saint-Saens
wrote to the London
Philharmonic Society,
which commissioned the
work:
Work on the
symphony is in full
swing. But I warn you, it
will be terrible. Here is
the precise
instrumentation: 3 flutes
/ 2 oboes / 1 cor anglais
/ 2 clarinets / 1 bass
clarinet / 2 bassoons / 1
contrabassoon / 2 natural
horns / [3 trumpets /
Saint-Saens had forgotten
these in his listing.] 2
chromatic horns / 3
trombones / 1 tuba / 3
timpani / organ / 1 piano
duet and the strings, of
course. Fortunately,
there are no harps.
Unfortunately it will be
difficult. I am doing
what I can to mitigate
the
difficulties.
As
in my 4th Concerto [for
piano] and my [1st]
Violin Sonata [in D minor
Op.75] at first glance
there appear to be just
two parts: the first
Allegro and the Adagio,
the Scherzo and the
Finale, each attacca.
This fiendish symphony
has crept up by a
semitone; it did not want
to stay in B minor, and
is now in C
minor.
It would be
a pleasure for me to
conduct this symphony.
Whether it would be a
pleasure for others to
hear it? That is the
question. It is you who
wanted it, I wash my
hands of it. I will bring
the orchestral parts
carefully corrected with
me, and if anyone wants
to give me a nice
rehearsal for the
symphony after the full
rehearsal, everything
will be fine.
When
Saint-Saens hit upon the
idea of adding an organ
and a piano to the usual
orchestral scoring is not
known. The idea of adding
an organ part to a
secular orchestral work
intended for the concert
hall was thoroughly novel
- and not without
controversy. On the other
hand, Franz Liszt, whose
music Saint-Saens'
Symphony is so close to,
had already demonstrated
that the organ could
easily be an orchestral
instrument in his
symphonic poem
Hunnenschlacht (1856/57).
There was also a model
for the piano duet part
which Saint-Saens knew
and may possibly have
used quite consciously as
an exemplar: theFantaisie
sur la Tempetefrom the
lyrical monodrama Lelio,
ou le retour a la Vie op.
14bis (1831) by Berlioz.
The name of the organist
at the premiere ist
unknown, as,
incidentally, was also
the case with many of the
later performances; the
organ part is indeed not
soloistic, but should be
understood as part of the
orchestral
texture.
In fact
the subsequent success of
the symphony seems to
have represented a kind
of breakthrough for the
composer, who was then
over 50 years of age.My
dear composer of a famous
symphony, wrote
Saint-Saens' friend and
pupil Gabriel Faure:You
will never be able to
imagine what a pleasure I
had last Sunday [at the
second performance on 16
January 1887]! And I had
the score and did not
miss a single note of
this Symphony, which will
endure much longer than
we two, even if we were
to join together our two
lifespans!
About
Barenreiter
Urtext
What can I
expect from a Barenreiter
Urtext
edition?<
/p>
MUSICOLOGICA
LLY SOUND - A
reliable musical text
based on all available
sources - A
description of the
sources -
Information on the
genesis and history of
the work - Valuable
notes on performance
practice - Includes
an introduction with
critical commentary
explaining source
discrepancies and
editorial decisions
... AND
PRACTICAL -
Page-turns, fold-out
pages, and cues where you
need them - A
well-presented layout and
a user-friendly
format - Excellent
print quality -
Superior paper and
binding
Composed by Franz Schubert (1797-1828), edited by Willi Kahl. For piano duet. Pa...(+)
Composed by Franz
Schubert (1797-1828),
edited by Willi Kahl. For
piano duet. Paper bound.
Format: piano duet book.
With standard notation
and introductory text.
Romantic period. Series:
Urtext Editions. 143
pages. 9x12 inches.
Published by G. Henle.
Selections by Brahms, Elgar, Grieg, Handel, Haydn, Mozart, and Purcell Arranged ...(+)
Selections by Brahms,
Elgar, Grieg, Handel,
Haydn, Mozart, and
Purcell Arranged for
Intermediate Piano.
Arranged by Virginia
Speiden Carper. For
Piano. This edition: 2
copies included. Piano
Quartet (2 Pianos, 8
Hands). Alfred's Classic
Editions. Level:
Intermediate. 116 pages.
Published by Alfred
Publishing.
Werke fur Klavier zu vier Handen - Band II by Franz Schubert (1797-1828). Edited...(+)
Werke fur Klavier zu vier
Handen - Band II by Franz
Schubert (1797-1828).
Edited by Willi Kahl. For
piano duet (1 piano,
4-hands). Piano, 4-hands,
Piano Duets. Urtext
Editions. Pages: 255.
Classical Period. SMP
Level 10 (Advanced).
Piano duet book. Standard
notation and introductory
text. 255 pages. G. Henle
#HN97. Published by G.
Henle
Werke fur Klavier zu vier Handen - Band I by Franz Schubert (1797-1828). Edited ...(+)
Werke fur Klavier zu vier
Handen - Band I by Franz
Schubert (1797-1828).
Edited by Willi Kahl. For
Piano Duet, 1 Piano, 4
Hands. Piano, 4-hands,
Piano Duets. Urtext
Editions. Pages: 211.
Classical Period. SMP
Level 10 (Advanced).
Piano duet book. Standard
notation and introductory
text. 211 pages. G. Henle
#HN95. Published by G.
Henle
By Franz Schubert (1797-1828), edited by Willi Kahl. Piano duet book for piano d...(+)
By Franz Schubert
(1797-1828), edited by
Willi Kahl. Piano duet
book for piano duet (1
piano, 4-hands). Paper
bound. Series: Urtext
Editions. 255 pages.
Published by G. Henle.
Composed by Franz Schubert (1797-1828), edited by Willi Kahl. For piano duet. Pa...(+)
Composed by Franz
Schubert (1797-1828),
edited by Willi Kahl. For
piano duet. Paper bound.
Format: piano duet book.
With standard notation
and introductory text.
Romantic period. Series:
Urtext Editions. 211
pages. 9x12 inches.
Published by G. Henle.
By Alan Hovhaness. For piano, 4 hands. This edition: Photoprint Edition. Photopr...(+)
By Alan Hovhaness. For
piano, 4 hands. This
edition: Photoprint
Edition. Photoprint
editions are made to
order. Printed on high
quality paper and cover
stock, they are made on a
Canon digital printer
from clean digital
masters. Most of the
photoprint editions are
saddle stitched, but
larger books have wire
spiral binding. Duration
1'. Published by C.F.
Peters.
By Sergei Rachmaninoff. For Piano. Piano Duet (One Piano, Four Hands). Alfred's ...(+)
By Sergei Rachmaninoff.
For Piano. Piano Duet
(One Piano, Four Hands).
Alfred's Classic
Editions. 0. Masterwork.
Level: Late Intermediate
/ Advanced. Book. 96
pages. Published by
Alfred Publishing.
Richard II Orchestre [Conducteur] Promethean Editions
Incidental music for a radio production of William Shakespeare\'s play....(+)
Incidental music for a
radio
production of William
Shakespeare\'s play.
Composed
by Ralph Vaughan Williams
(1872-1958). Full score.
Promethean Editions
#PME16S.
Published by Promethean
Editions
(1 Piano 4 Hands). By Camille Saint-Saens (1835-1921), Camille Saint-SaÌÇns, a...(+)
(1 Piano 4 Hands). By
Camille Saint-Saens
(1835-1921), Camille
Saint-SaÌÇns, and
Camille Saint-Sa. For 1
Piano, 4 Hands. Editions
Durand. 6 pages. Editions
Durand #DF0402300.
Published by Editions
Durand
By Emmanuel Berrut / Jean-Francois Pailler. By Divers. Arranged by Jean-Francois...(+)
By Emmanuel Berrut /
Jean-Francois Pailler. By
Divers. Arranged by
Jean-Francois Pailler.
For piano, 4-hands. This
edition: French Edition.
Classique. Anacrouse
Collection. Score (with
biography, performance
notes and CD). Score and
2 CDs. 122 pages
2 Pianos, 4 mains [Partition] - Intermédiaire Alfred Publishing
Selections by George and Ira Gershwin, Thomas "Fats" Waller, Scott Joplin, Irvin...(+)
Selections by George and
Ira Gershwin, Thomas
"Fats" Waller, Scott
Joplin, Irving Berlin,
Jerome Kern and more. By
Various. For Piano. This
edition: 2 copies
required. Piano Duo (2
Pianos, 4 Hands).
Alfred's Classic
Editions. Masterwork.
Level: Intermediate /
Late Intermediate. Book.
128 pages. Published by
Alfred Publishing.
"Canon in D," "Eine kleine Nachtmusik," "Peer Gynt" and more. Arranged by Richar...(+)
"Canon in D," "Eine
kleine Nachtmusik," "Peer
Gynt" and more. Arranged
by Richard Simm. For
Piano. This edition: 2
copies required. Piano
Duo (2 Pianos, 4 Hands).
Alfred's Classic
Editions. Masterwork.
Level: Intermediate /
Late Intermediate. Book.
140 pages. Published by
Alfred Publishing.
Score and Critical
Report Weber Clothbound
Score and Critical
Rep. Composed by Carl
Maria von Weber. Edited
by Gerhard Allroggen,
Joachim Veit, Markus
Bandur, and Salome Obert.
Edition Schott.
Classical. Hardcover. 248
pages. Schott Music
#WGA1072. Published by
Schott Music
(HL.49042463).
Volume VII/2 of
Weber's Complete Works
contains all of Carl
Maria von Weber's extant,
independent sets of
variations for solo
piano.Weber's piano
variations were
considered by
contemporary music
critics to be amongst the
most successful
compositions in this
field. A review of the
time states: His themes
are interesting and
idiosyncratically formed.
They stand before us with
a definite personality,
showing us in each
variation a new side to
their character, a new
characteristic situation
from their life. 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.