Piano seul [Partition + Accès audio] - Intermédiaire Faber Piano Adventures
Developing Artist Original Keyboard Classics. Edited by Nancy Faber and Randall ...(+)
Developing Artist
Original Keyboard
Classics. Edited by Nancy
Faber and Randall Faber.
Faber Piano Adventures.
Classical, Supplementary.
Softcover Audio Online.
128 pages. Faber Piano
Adventures #FF1282.
Published by Faber Piano
Adventure
44 All Time Classical Songs Arranged for Easy Piano. Arranged by Franco Conc...(+)
44 All Time Classical
Songs
Arranged for Easy Piano.
Arranged by Franco
Concino.
Masterworks; Piano - Easy
Piano Collection.
Classical;
Masterwork Arrangement.
Book.
Alfred Music #99-MB397.
Published by Alfred Music
(Easy Piano). For Piano. This edition: Easy Piano. Book; Masterworks; Piano - Ea...(+)
(Easy Piano). For Piano.
This edition: Easy Piano.
Book; Masterworks; Piano
- Easy Piano Collection.
The Giant Book of Sheet
Music. Masterwork
Arrangement; Recital.
Easy Piano. 296 pages.
Published by Alfred Music
Eulenburg Audio Score Series. By Ludwig van Beethoven. This edition: EAS127. Eul...(+)
Eulenburg Audio Score
Series. By Ludwig van
Beethoven. This edition:
EAS127. Eulenburg Audio
Score (Pocket Scores
CD). Study score and CD.
124 pages. Published by
Eulenburg.
Piano - easy SKU: HL.49045386 50 Popular Classics in Easy Arrangements...(+)
Piano - easy
SKU:
HL.49045386
50
Popular Classics in Easy
Arrangements.
Composed by Various.
Arranged by Barrie Carson
Turner. This edition:
Saddle stitching. Sheet
music. Piano. Diese neue
Sammlung prasentiert die
50 beliebtesten
klassischen Stucke in
leichten Bearbeitungen
fur Klavier. Classical.
Softcover. 88 pages.
Schott Music #ED13860.
Published by Schott Music
(HL.49045386).
ISBN
9781847614193. UPC:
888680671457.
9.0x12.0x0.25 inches.
English.
The 50
most popular classical
pieces in easy
arrangements. This new
collection presents 50
popular classical pieces
in easy arrangements for
piano. Taking the concept
of the 'playlist' from
the world of digital
music streaming this book
presents a carefully
chosen collection of the
world's favorite
classical pieces for
today's student and
amateur musicians.
Featuring many of the
most popular works from
the classical repertoire,
this offers hours of
enjoyable music making.
Contents: Adagietto, from
Symphony No. 5 (Mahler)
• Air, BWV 1068
(Bach) • Piano
Concerto No. 23, Andante
(Mozart) • The Blue
Danube (J Strauss II)
• Canon (Pachelbel)
• Clair de Lune
(Debussy) • Chanson
de Matin (Elgar) •
Chorus of the Hebrew
Slaves (Verdi) •
The Dance of the Little
Swans (Tchaikovsky)
• Dance of the
Blessed Spirits (Gluck)
• Danse Macabre
(Saint-Saens) • The
Pearl Fishers' Duet
(Bizet) • Emperor
Concerto, 2nd mvt.
(Beethoven) •
Flower Duet (Delibes)
• Gavotte (Grieg)
• Gymnopedie No. 1
(Satie) • Habanera
(Bizet) • Halleluja
Chorus (Handel) •
Hornpipe, Water Music
(Handel) •
Impromptu, Op. 90, No. 3
(Schubert) •
Intermezzo (Mascagni)
• Jerusalem (Parry)
• Jupiter (Holst)
• Intermezzo
(Sibelius) •
Liebestraume No. 3
(Liszt) • Menuet
(Ravel) • Menuetto,
Symphony No. 104 (Haydn)
• Meditation
(Massenet) •
Morning (Grieg) •
Ode to Joy (Beethoven)
• Nessun Dorma
(Puccini) • Nimrod
(Elgar) • Nocturne,
Op. 9, No. 2 (Chopin)
• Non piu andrai
(Mozart) • O Mio
Babbino Caro (Puccini)
• Dance of the
Sugar Plum Fairy
(Tchaikovsky) •
Prelude to the Afternoon
of a Faun (Debussy)
• Ride of the
Valkyries (Wagner)
• Spring, from the
Four Seasons (Vivaldi)
• Symphony No. 1,
4th mvt. (Brahms) •
The Old Castle
(Mussorgsky) • The
Swan (Saint-Saens)
• The Trout
(Schubert) •
Traumerei (Schumann)
• Toreador Song
(Bizet) • Violin
Concerto, Andante
(Mendelssohn) •
Vltava (Smetana) •
Waltz from Coppelia
(Delibes) • When I
Am Laid in Earth
(Purcell) • Waltz
in A-flat, Op. 39, No. 15
(Brahms).
Piano - Easy-Intermediate SKU: YM.GTP01098166 Keyboard. Arranged Classic....(+)
Piano - Easy-Intermediate
SKU:
YM.GTP01098166
Keyboard. Arranged
Classic. Score. Yamaha
Music Media #GTP01098166.
Published by Yamaha Music
Media (YM.GTP01098166).
ISBN
9784636981667.
Ther
e are many music sheet
books available for
children, but not many
for adults who have just
started playing the
piano. The Otona Piano
series is designed for
those adults who are
beginner piano players.
Here is a great
piano collection for
those who want to take
their piano playing to
the next level! It is
also a great selection
for live
performances!
Orchestra Piano SKU: PR.11641861SP Composed by William Kraft. Part. 35 pa...(+)
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.
Composed by Ludwig van Beethoven (1770-1827). Masterworks; Piano Collection. Kal...(+)
Composed by Ludwig van
Beethoven (1770-1827).
Masterworks; Piano
Collection. Kalmus
Edition. Form: Concerto.
Classical; Masterwork;
Romantic. Book. 40 pages.
Kalmus Classic Edition
#00-K03195. Published by
Kalmus Classic Edition
12 favourite works from the Classical era, with authentic orchestral backing tra...(+)
12 favourite works from
the Classical era, with
authentic orchestral
backing tracks. Arranged
by Artem Vassiliev. This
edition: Saddle
stitching. Sheet music
with CD. Instrumental
Play-Along. Play Along.
Edition with CD. 28
pages. Schott Music #ED
13166. Published by
Schott Music
Piano SKU: PE.EP2894CC Simplified and Abridged. Composed by Ludwig...(+)
Piano
SKU:
PE.EP2894CC
Simplified and
Abridged. Composed by
Ludwig van Beethoven.
Piano (Solo). Edition
Peters. Score. 20 pages.
Edition Peters
#98-EP2894CC. Published
by Edition Peters
(PE.EP2894CC).
ISBN
9790014134921.
German.
Concerto
No.3 in C minor Op. 37 by
Beethoven. It is arranged
for Piano Solo,
simplified and abridged
by Noel Fisher. This
edition suitable for
intermediate
pianists.
This
product is Printed on
Demand and may take
several weeks to fulfill.
Please order from your
favorite retailer.
CLASSIC IN DUO 1 Piano, 4 mains - Intermédiaire/avancé Yamaha
10 Classical Music Arrangements for 2 Advanced Pianists. Composed by Various. ...(+)
10 Classical Music
Arrangements for 2
Advanced
Pianists. Composed by
Various.
Arranged by Various. IN
DUO.
Arranged Classical Music.
Book. Yamaha Music Media
#GTP01100824. Published
by
Yamaha Music Media
Piano Solo Piano/Keyboard SKU: HL.1189843 Composed by Various. Piano. Cla...(+)
Piano Solo Piano/Keyboard
SKU: HL.1189843
Composed by Various.
Piano. Classical.
Softcover. Published by
Hal Leonard (HL.1189843).
ISBN 9781705192412.
UPC: 196288131489.
9.0x12.0x0.236
inches.
Sometimes
you just need some
soothing piano music to
relax, unwind, and let
go. This collection
gathers nearly 40
beautiful classical
favorites for the
intermediate-level
player. Works include:
Air (from Water Music)
(Händel) �
Arietta, Op. 12, No. 1
(Grieg) â?¢ Bagatelle
in G Major, Op. 126, No.
5 (Beethoven) â?¢ Canon
in D (Pachelbel) â?¢
Clair De Lune (Debussy)
â?¢ Gymnopedie No. 1
(Satie) â?¢ Lullaby
(Cradle Song) (Brahms)
â?¢ La Pastorale
(Burgmüller) �
Piano Sonata No. 8
â??Pathetiqueâ?
(Beethoven) â?¢ Prelude
in A Major, Op. 28, No. 4
(Chopin) â?¢ Prelude in
C Major (Bach)â?¢
Reverie (Debussy) â?¢
Slumber Song (Gurlitt)
â?¢ The Swan (Le Cygne)
(Saint-Säens) �
Waltz in A-Flat Major,
Op. 39, No. 15 (Brahms)
â?¢ and more.
Arranged by David Dutkanicz. For Piano. Book; Masterworks; Piano Collectio...(+)
Arranged by David
Dutkanicz.
For Piano. Book;
Masterworks; Piano
Collection; Piano
Supplemental; Technique
Musicianship. Dover
Edition.
Masterwork Arrangement.
Beginner. Published by
Alfred Music
Hardcover Boxed Set. Composed by Various Artists. Legendary Series. Classical. B...(+)
Hardcover Boxed Set.
Composed by Various
Artists. Legendary
Series. Classical. Book
Only. 255 pages. Wise
Publications
#MUSAM1003530. Published
by Wise Publications
Violin-solo, piano (Violin solo, Piano) SKU: BA.BA09099-92 First Versi...(+)
Violin-solo, piano
(Violin solo, Piano)
SKU: BA.BA09099-92
First Version
1844. Composed by
Felix Bartholdy
Mendelssohn. Edited by R.
Larry Todd. This edition:
urtext edition. Stapled.
Barenreiter Urtext. Early
version 1844. Piano
reduction, Part. Opus 64.
Duration 12 hours.
Baerenreiter Verlag
#BA09099_92. Published by
Baerenreiter Verlag
(BA.BA09099-92).
ISBN
9790006565733. 31 x 24.3
cm inches. Key: E minor.
Preface: Larry R.
Todd.
Mendelssohn's
Violin Concerto op. 64,
is a key work of the 19th
century, adhering to the
classical style of
Beethoven while pointing
the way to the romantic
ethos of Brahms. It has
long been known that
Mendelssohn performed the
work with three soloists
in succession: Ferdinand
David, who worked closely
with the composer during
its composition and
played it at the
premiere; the 'child
prodigy' Joseph Joachim;
and Hubert Leonard, a
young Belgian virtuoso
about whom little is
known.
As proof
sheets for the Violin
Concerto in E minor were
long considered lost, it
could be described as
somewhat of a sensation
when proofs for the solo
violin part resurfaced
together with a letter
from Mendelssohn to
Leonard.
The
letter informs us that
the composer invited
Leonard to his home in
Frankfurt in order to
make his acquaintance. It
was already known that
Mendelssohn had given
proof sheets to David;
now we know that he also
gave some to
Leonard.
The
recently discovered
proofs reveal how Leonard
played the concerto with
Mendelssohn on that
memorable evening in
February 1845. Besides
containing bowing marks
and fingering, they also
show how Leonard executed
shifts of position and
where he employed open
strings. Furthermore
modifications made to
dynamic markings and
additional legato bowing
are shown.
It is
safe to assume that all
of this was done with
Mendelssohn's approval.
That the young violinist
made a positive
impression on the
composer is confirmed in
the latter's
correspondence following
their joint performance.
Mendelssohn is full of
praise for Leonard's
playing and offers to
lend his support in
finding employment in
Germany.
This
revised edition of the
Mendelssohn Violin
Concerto (only the
orchestral parts remain
unchanged) includes a
separate booklet on
performance practice.
The editor, Clive
Brown, is an acknowledged
expert on Romantic
performance
practice.
- New
source situation owing to
recently rediscovered
proofs - Revised
Urtext edition - With
a separate booklet on
performance practice
(Eng/Ger).
About
Barenreiter Urtext
Orchestral
Parts
Why musicians
love to play from
B�¤renreiter Urtext
Orchestral
Parts
- Urtext
editions as close as
possible to the
composer�s
intentions - With
alternate versions in
full score and parts
- Orchestral parts in an
enlarged format of 25.5cm
x 32.5cm - With
cues, rehearsal letters,
and page turns where
players need them -
Clearly presented divisi
passages so that players
know exactly what they
have to play -
High-quality paper with a
slight yellow tinge which
does not glare under
lights and is thick
enough that reverse pages
do not shine
through
Viola and Piano - Grade 3.5 SKU: AP.36-52720469 Composed by Lynne Latham....(+)
Viola and Piano - Grade
3.5
SKU:
AP.36-52720469
Composed by Lynne Latham.
Method/Instruction;
Reference Textbooks; Solo
Small Ensembles. Ludwig
Masters. Wedding. Book.
Latham Music Enterprises
#36-52720469. Published
by Latham Music
Enterprises
(AP.36-52720469).
ISBN
9781628763874. UPC:
746241220448.
English.
A best
seller for over ten
years! Everything the
working soloist needs to
play a wedding prelude
and service, without
being technically taxing.
All 22 selections from
the original album have
been rescored to include
introductions for solo
performance. Air on the G
String (Bach); Arioso
(Bach); Jesu, Joy of
Man's Desiring (Bach);
Sheep May Safely Graze
(Bach); Wachet auf
(Bach); Ave Maria
(Bach/Gounod); Ave Maria
(Schubert); Ode to Joy
(Beethoven); Canon
(Pachelbel); La
Rejouissance (Handel);
Queen of Sheba (Handel);
Water Music Selections
(Handel);
"Largo" from
Winter (Vivaldi); Bridal
Chorus (Wagner); Wedding
March (Mendelssohn);
Alleluja (Mozart); Piano
Concerto No. 21 (Mozart);
Panis Angelicus (Franck);
Prelude (Charpentier);
Rondeau (Mouret); Trumpet
Tune (Purcell); Trumpet
Voluntary (Clarke).
These products
are currently being
prepared by a new
publisher. While many
items are ready and will
ship on time, some others
may see delays of several
months.
Piano - Easy SKU: YM.GTP01096648 Piano Educational. Piano Literature. She...(+)
Piano - Easy
SKU:
YM.GTP01096648
Piano
Educational. Piano
Literature. Sheet music.
Yamaha Music Media
#GTP01096648. Published
by Yamaha Music Media
(YM.GTP01096648).
ISBN
9784636966480.
15
famous melorides by
composers in first
Viennese school 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 Zhu Ming Zuo
Pin Zhuan Wei Shao Er
Bian Pei Ban Ben . 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
.
Haydn: 1. Piano
Sonata Op.30/1 - 1st
movement; 2. Serenade
from String Quartet
Op.3/5 - 2nd movement; 3.
Symphony Surprise - 2nd
movement; 4. Symphony
Clock - 2nd movement; 5.
Trumpet Concerto No.1 -
3rd movement Mozart: 6.
Turkish March; 7. Piano
Concert KV 488 - 2nd
movement; 8-9. Eine
kleine Nachtmusic - 1st
and 2nd movements; 10.
Overture to The Magic
Flute Beethoven: 11.
Piano Sonata Moonlight
Op.27/2 - 2nd movement;
12. Piano Sonata
Appaccionata Op.57 - 1st
movement; Symphony No.5
Op.67 - 1st movement;
Symphony No.6 Op.68 - 1st
movement; Symphony No.9
Op.125 - 4th
movement.
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
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Superior paper and
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Wedding Album 2 - Piano Trio Piano Trio: piano, violon, violoncelle [Conducteur] - Intermédiaire Latham Music Enterprises
Piano Trio - Grade 3.5 SKU: AP.36-52783161 Composed by Lynne Latham. Perf...(+)
Piano Trio - Grade 3.5
SKU:
AP.36-52783161
Composed by Lynne Latham.
Performance Music
Ensemble; Piano Trio;
Trio. Ludwig Masters.
Wedding. Score. Latham
Music Enterprises
#36-52783161. Published
by Latham Music
Enterprises
(AP.36-52783161).
ISBN
9781621568599. UPC:
679360694169.
English.
Included:
J.S. Bach, Wachet auf,
Arioso, and Sheep may
Safely Graze; Schumann,
Traumeri; Beethoven, Ode
to Joy; Franck, Panis
Angelicus; Mozart,
Alleluja from Exultate
Jubilate and Andante from
Piano Concerto #21;
Tchaikovsky, Sleeping
Beauty Waltz.
These products
are currently being
prepared by a new
publisher. While many
items are ready and will
ship on time, some others
may see delays of several
months.