18 bearbeitete Klaviert0nze. By Franz Schubert. Edited by Pf!Ndl-Frittrang, Evma...(+)
18 bearbeitete
Klaviert0nze. By Franz
Schubert. Edited by
Pf!Ndl-Frittrang, Evmary.
Arranged by
Pf!Ndl-Frittrang, Evmary.
For Flute. A tre. Playing
Score. Published by
Baerenreiter-Ausgaben
(German import).
(An Inspiring Method to Playing the Drums, Guided by the Legends). By Rich Lacko...(+)
(An Inspiring Method to
Playing the Drums, Guided
by the Legends). By Rich
Lackowski. For Drumset.
Artist/Personality; Book;
CD; Method/Instruction;
Percussion - Drum Set
Method or Collection.
Beginner. 48 pages.
Published by Alfred Music
Publishing
The Most Popular Method for Learning How to Play. Composed by Morty Manus and Ro...(+)
The Most Popular Method
for Learning How to Play.
Composed by Morty Manus
and Ron Manus. Guitar
Method or Supplement;
Method/Instruction.
Alfred's Basic Guitar
Library. Book; Digital
Download. 48 pages.
Alfred Music #00-45308.
Published by Alfred Music
Accordion - very easy to easy SKU: HL.49045119 Book 1 - BK/CD. Com...(+)
Accordion - very easy to
easy
SKU:
HL.49045119
Book 1
- BK/CD. Composed by
Hans-Guenther Koelz and
Sabine Koelz. This
edition: Saddle
stitching. Sheet music
with CD. Woodwind Solo.
Zur zweibandigen Schule
Akkordeon spielen - mein
schonstes Hobby erscheint
nun das erste Spielbuch
mit vielen schonen und
beliebten Stucken fur den
Unterricht und das
gemeinsame Musizieren.
Classical. Softcover with
CD. 68 pages. Schott
Music #ED22316. Published
by Schott Music
(HL.49045119).
ISBN
9783795744472.
9.25x12.0x0.212
inches.
Akkordeon
spielen - mein schonstes
Hobby is a practical
method that aims at young
people and adults who
wish to get to know the
whole multifaceted world
of accordion music.
Suitable for beginners
and false beginners.After
Vol. 1 (ED 20951) and
Vol. 2 (ED 20952) of the
method, Schott now
publishes tune book No. 1
with many beautiful songs
and pieces for lessons,
ensemble playing at home
or auditions. The level
of difficulty of the
pieces has been adjusted
to the progression of the
volumes of the method.
Many songs come with an
accompanying part for the
teacher or other
accordion players. The
enclosed CD serves as an
acoustic learning aid and
shall motivate the
student to practise and
play.
(A Workbook for Examinations). By Paul Harris. This edition: Revised. Book; CD; ...(+)
(A Workbook for
Examinations). By Paul
Harris. This edition:
Revised. Book; CD;
Reference Textbooks;
Textbook - Instrumental.
Faber Edition: Improve
Your Aural!. Grade 3;
Grade 3.5; Late
Elementary. Published by
Faber Music
(The Grown-Up Approach to Playing Piano). By Karl Mueller. For Piano. Book; CD; ...(+)
(The Grown-Up Approach to
Playing Piano). By Karl
Mueller. For Piano. Book;
CD; Method/Instruction;
Piano Method. For Adults.
Beginner. 96 pages.
Published by Alfred Music
Publishing
By Felix Bartholdy Mendelssohn (1809-1847). Arranged by Tim McCarrick. Orchestra...(+)
By Felix Bartholdy
Mendelssohn (1809-1847).
Arranged by Tim
McCarrick. Orchestra.
Masterworks; SmartMusic;
String Orchestra. Belwin
Intermediate String
Orchestra. Masterwork
Arrangement; Romantic.
Grade 3.5. Conductor
Score and Parts. 72
pages. Published by
Belwin Publishing
Grade 2 SKU: CL.032-3958-01 Composed by P. Clark. Jazz Ensemble. Audio re...(+)
Grade 2
SKU:
CL.032-3958-01
Composed by P. Clark.
Jazz Ensemble. Audio
recording available
separately (item
CL.991-2010-01). Extra
full score. Composed
2010. Duration 3 minutes,
32 seconds. C.L.
Barnhouse #032-3958-01.
Published by C.L.
Barnhouse
(CL.032-3958-01).
An outstanding
ballad feature for either
trombone or tenor sax
that's filled with
melodic and harmonic
creativity. Bands at any
level will sound
impressive playing this
gorgeous and
sophisticated chart.
Ranges are very
reasonable and it's
playable with limited
instrumentation. Look up
beautiful in the
dictionary and you'll
find this chart!
Studio
Ghibli, Anime. Score.
Yamaha Music Media
#GTP01101983. Published
by Yamaha Music Media
(YM.GTP01101983).
ISBN
9784636116342. 12 x 9
inches.
This book
contains a total of 77
lead sheets of music from
Studio Ghibli films.
Melody lines and chord
symbols are provided for
all songs. It can be used
for playing on keyboard
instruments such as
pianos and keyboards, and
is also suitable for
other C-instruments with
a suitable range e.g.
Flutes, Violins. You can
also use this book very
conveniently as a base
for playing your own
arrangements of your
favorite songs! We hope
you will use this book in
a variety of creative
ways and enjoy plenty of
Studio Ghibli music.
Bugle - Beginning SKU: MB.93862 Composed by Nelson Knode. Saddle-stitched...(+)
Bugle - Beginning
SKU:
MB.93862
Composed by
Nelson Knode.
Saddle-stitched, American
Music, Trumpet and Bugle,
Children and Young
Beginner, Solos,
Trumpet/Bugle, Method.
All styles. Book - half
size. 68 pages. Mel Bay
Publications, Inc #93862.
Published by Mel Bay
Publications, Inc
(MB.93862).
ISBN
9781562222123. UPC:
796279004459. 8.75 x 5.75
inches.
This book
teaches fundamentals of
music and gradually
introduces new concepts
such as eighth notes and
double and triple
tonguing into the bugle
calls and studies.
Concepts taught include:
Basics of Bugle Playing,
Producing a Tone, Music
Theory, Note Values,
Double Tonguing, Triple
Tonguing, Note Studies
and 40 All-time Favorite
Bugle Calls. Its handy 8
3/4 by 5 3/4 size makes
it easy to carry
around.
Elephant Orchestre d'harmonie - Débutant Carl Fischer
Band concert band - Grade 1 SKU: CF.BPS127 Composed by Peter Sciaino. Fol...(+)
Band concert band - Grade
1
SKU: CF.BPS127
Composed by Peter
Sciaino. Folio. Bps. Set
of Score and Parts.
8+2+8+2+5+2+2+8+3+6+2+3+1
+1+2+2+12 pages. Duration
2 minutes, 39 seconds.
Carl Fischer Music
#BPS127. Published by
Carl Fischer Music
(CF.BPS127).
ISBN
9781491156209. UPC:
680160914746. 9 x 12
inches.
Program
Notes Elephant is, of
course, inspired by the
incredible mammals of the
same name. Their
column-like legs, long
trunks, and massive
presence will never cease
to amaze; however, it's
their trumpeting that
makes them stand out as
the instrumentalists of
the animal kingdom! In
this selection, an
elephant's slow gate and
general demeanor are
represented by a
methodical tempo and
lumbering texture.
Woodwinds will enjoy the
opportunity to perform
grace notes while
Elephant also offers
exposure to flams for
young percussionists.
At m. 33 the
trumpets and horns
recreate an elephant call
after slipping brown
paper bags, or lunch-bag
mutes, over their bells
(in their bells for horn
players). For the trumpet
players, the mutes can be
enhanced with an
additional balled-up
piece of paper placed at
the bottom of the bag
prior to slipping it over
the bell. Horns should
ball up the bag itself
and experiment with
placement to create the
most realistic tones
without stopping the
instrument. While
specific pitches are
noted, making the best
elephant sounds should
prioritized. Young
students always look
forward to experimenting
with mutes, and this
selection offers an
inexpensive and creative
way to do so at a young
age. Note to the
Conductor This piece can
be used to introduce or
reinforce the finer
points of staccato
playing. While many
students know to play
these notes short in
length, they may need
reminding that they
should also be played
lightly. This also may
allow for opportunities
in emphasizing
contrasting articulation
styles that are in this
piece. Younger students
will likely need a
reasonable amount of
practice in successfully
using the lunch-bag
mutes. Allowing
additional rehearsal time
for this is
recommended. Program
Notes Elephant is, of
course, inspired by the
incredible mammals of the
same name. Their
column-like legs, long
trunks, and massive
presence will never cease
to amaze; however, it's
their trumpeting that
makes them stand out as
the instrumentalists of
the animal kingdom! In
this selection, an
elephant's slow gait and
general demeanor are
represented by a
methodical tempo and
lumbering texture.
Woodwinds will enjoy the
opportunity to perform
grace notes while
Elephant also offers
exposure to flams for
young percussionists.
At m. 33 the
trumpets and horns
recreate an elephant call
after slipping brown
paper bags, or lunch-bag
mutes, over their bells
(in their bells for horn
players). For the trumpet
players, the mutes can be
enhanced with an
additional balled-up
piece of paper placed at
the bottom of the bag
prior to slipping it over
the bell. Horns should
ball up the bag itself
and experiment with
placement to create the
most realistic tones
without stopping the
instrument. While
specific pitches are
noted, making the best
elephant sounds should
prioritized. Young
students always look
forward to experimenting
with mutes, and this
selection offers an
inexpensive and creative
way to do so at a young
age. Note to the
Conductor This piece can
be used to introduce or
reinforce the finer
points of staccato
playing. While many
students know to play
these notes short in
length, they may need
reminding that they
should also be played
lightly. This also may
allow for opportunities
in emphasizing
contrasting articulation
styles that are in this
piece. Younger students
will likely need a
reasonable amount of
practice in successfully
using the lunch-bag
mutes. Allowing
additional rehearsal time
for this is
recommended. Program
NotesElephant is, of
course, inspired by the
incredible mammals of the
same name. Their
column-like legs, long
trunks, and massive
presence will never cease
to amaze; however,
it’s their
trumpeting that makes
them stand out as the
instrumentalists of the
animal kingdom! In this
selection, an
elephant’s slow
gait and general demeanor
are represented by a
methodical tempo and
lumbering texture.
Woodwinds will enjoy the
opportunity to perform
grace notes while
Elephant also offers
exposure to flams for
young
percussionists. At m.
33 the trumpets and horns
recreate an elephant call
after slipping brown
paper bags, or
“lunch-bag
mutes,†over their
bells (in their bells for
horn players). For the
trumpet players, the
mutes can be enhanced
with an additional
balled-up piece of paper
placed at the bottom of
the bag prior to slipping
it over the bell. Horns
should ball up the bag
itself and experiment
with placement to create
the most realistic tones
without stopping the
instrument. While
specific pitches are
noted, making the best
elephant sounds should
prioritized. Young
students always look
forward to experimenting
with mutes, and this
selection offers an
inexpensive and creative
way to do so at a young
age.Note to the
ConductorThis piece can
be used to introduce or
reinforce the finer
points of staccato
playing. While many
students know to play
these notes short in
length, they may need
reminding that they
should also be played
lightly. This also may
allow for opportunities
in emphasizing
contrasting articulation
styles that are in this
piece.Younger students
will likely need a
reasonable amount of
practice in successfully
using the
“lunch-bag
mutes.†Allowing
additional rehearsal time
for this is
recommended.
Book/Online Audio Piano/Keyboard SKU: HL.289752 A History of Keyboard ...(+)
Book/Online Audio
Piano/Keyboard
SKU:
HL.289752
A
History of Keyboard
Technique. Hinshaw
Music. Piano Reference,
Technique. Softcover
Audio Online. 456 pages.
Hinshaw Music #HMO194.
Published by Hinshaw
Music (HL.289752).
ISBN 9781934596135.
UPC: 888680916817.
9.0x12.0x1.047
inches.
This book
traces keyboard playing
from its beginnings to
the end of the 19th
century. It discusses all
the instruments –
organ, harpsichord,
clavichord, and piano,
including quotes from
letters, diaries,
reviews, and method
books. There are chapters
dedicated to Bach,
Beethoven, Chopin and
Liszt, and major sections
on such great performers
and composers as
Frescobaldi and Couperin
to Debussy and
Rachmaninoff. This book
belongs in the library of
every keyboard performer
and teacher.
Orchestra Full Orchestra, Solo Keyboard with Ensemble SKU: AP.36-A144902 ...(+)
Orchestra Full Orchestra,
Solo Keyboard with
Ensemble
SKU:
AP.36-A144902
Composed by Cesar Auguste
Franck. This edition:
Kalmus Orchestra Library.
Full Orchestra;
Performance Music
Ensemble; Single Titles.
Edwin F. Kalmus - Kalmus
Orchestra Library.
Masterwork. Score and
Part(s). LudwigMasters
Publications #36-A144902.
Published by
LudwigMasters
Publications
(AP.36-A144902).
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.
Orchestra Full Orchestra, Solo Keyboard with Ensemble SKU: AP.36-A144901 ...(+)
Orchestra Full Orchestra,
Solo Keyboard with
Ensemble
SKU:
AP.36-A144901
Composed by Cesar Auguste
Franck. This edition:
Kalmus Orchestra Library.
Full Orchestra;
Performance Music
Ensemble; Single Titles.
Edwin F. Kalmus - Kalmus
Orchestra Library. Score.
LudwigMasters
Publications #36-A144901.
Published by
LudwigMasters
Publications
(AP.36-A144901).
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.
Keyboard - very easy SKU: HL.49032451 Playing Keyboards the New Way(+)
Keyboard - very easy
SKU: HL.49032451
Playing Keyboards the
New Way. Composed by
Kurt Hessenberg. This
edition: Saddle
stitching. Sheet music.
Edition Schott. The
Keyboard method for all
one manual models with
automatic accompaniment
and rhythm facility an
introduction to playing
Keyboards for teaching
and private study.
Individual part. 4 pages.
Schott Music #ED 7712.
Published by Schott Music
(HL.49032451).
ISBN
9790001080316.
English.
Keyboard
Essentials is aimed at
all who want to learn to
play keyboards
successfully in
methodically thought-out
teaching units with the
aid of popular songs and
useful tips, though
tutoring or private
study. It is aimed at
beginners of all ages but
also, for example, wind
players, singers or
guitarists who want to
become musical 'insiders'
and who though playing
the keyboard see an
introduction to
improvidation,
composition, harmony,
etc. On the keyboard in
particular, with its
clearly arranged, regular
structure of keys,
scales, chords, and
harmonic relations are
presented more clearly
and systematically than
on any other instrument.
Musicians with previous
knowledge may join in at
volume 2 or 3.
Arab Dance Big band [Conducteur et Parties séparées] Jazz Lines Publications
By Claude Thornhill. Edited by Jeffrey Sultanof. Arranged by Gil Evans. For Big ...(+)
By Claude Thornhill.
Edited by Jeffrey
Sultanof. Arranged by Gil
Evans. For Big Band.
Swing. Advanced. Full
score and set of parts.
Published by Jazz Lines
Publications
Bass Guitar SKU: SP.73450 Composed by Bob Hartz. Instructional; Method. B...(+)
Bass Guitar
SKU:
SP.73450
Composed by
Bob Hartz. Instructional;
Method. Book and CD.
Santorella Publications
#73450. Published by
Santorella Publications
(SP.73450).
ISBN
9781585605057. UPC:
728941734500.
Teach
Yourself Bass Guitar by
Bob Hartz was written to
enable an inspired
individual to learn to
play this nucleus of
every ensemble. With
disciplined daily
practice, you will
quickly grasp the use of
standard and tablature
notation as well as the
notes in first position.
Once the importance of
time is understood,
scales are introduced in
assorted keys to develop
right hand finger style
technique. Teach Yourself
Bass Guitar exclusively
distributed by Santorella
Publications includes an
extremely helpful
instructional CD which
provides good basic
exposure to the bass
guitar. This Teach
Yourself title is a
logical step by step
approach to learning and
teaching yourself at your
own pace. Be sure to
follow this guide in
sequence since later
information builds upon
and utilizes facts
presented earlier.
Learning the bass has
never been easier, so
take your time, have some
fun and you'll be gigging
before you know it! Bass
Guitar Fingerboard Chart
- Parts of the Electric
Bass - Tuning - Holding
the Bass - Basic Notation
- Bar lines, Measures and
Time Signatures - Notes
on the First String G -
Exercises - Notes on the
Second String D -
Exercises - Rests and
Note Value Table -
Metronome - Notes on the
Third String A -
Exercises - Notes on the
Fourth String E - Sharps,
Flats and Naturals -
Dotted Notes - Major
Scales - Key Signatures -
Bringing Things Together
- Blues - Rock'n Roll -
Shuffle Rhythm - Playing
in 3/4 Time.
Piano SKU: HL.49045690 Zur Klavierschule Piano Kids Die richtigen Stuc...(+)
Piano
SKU:
HL.49045690
Zur
Klavierschule Piano Kids
Die richtigen Stucke fur
Konzert und Freizeit.
Composed by Hans-Gü
and nter Heumann. Piano.
Classical, German
Edition. Softcover. 56
pages. Schott Music
#ED22643. Published by
Schott Music
(HL.49045690).
For decades,
pupils (aged 6+) have
been learning the basics
of piano playing with
plenty of imagination and
creativity by using the
popular three-volume
piano method Piano Kids
by Hans-Gunter Heumann.
In 2014 the method was
revised and has since
been published in a
revised and expanded new
edition: New songs and
illustrations breathe new
life into the standard
work and adjust it to the
realityof life of today's
first-time piano players.
The educational concept
of Piano Kids, resulting
from the combination of
textbooks, additional
activity books as well as
the large number of
themed tune books, is now
completed by tune books
that are companions to
the textbooks.These new
tune books contain a wide
range of very easy pieces
for beginners which are
in line with the progress
of the textbooks
andprovide the young
pianists with
age-appropriate playing
literature from the very
first piano lesson.
Well-known folklore
melodies, upbeat
compositions in the style
of pop, rock and jazz
music as well as the
first little masterpieces
by Mozart, Beethoven
& Co. motivate and
stimulate the pupils and
add variety to the music
lessons. Volume 1 starts
with several pieces for
piano duet which will
easily motivate beginners
without demanding too
much. All pieces are
limited to the five-note
range while nevertheless
covering the whole
spectrum of styles: from
folk melodies via
classical pieces by
composers such as
Gurlitt, Turk or Bartok
to modern compositions
from the areas of pop,
rock and jazz music.
Alongside Vol. 2 of the
piano method, Volume 2
extends the pitch range
and heightens the
rhythmic demands. Apart
from the wide rangeof
songs from the areas of
folk, rock and pop music,
the young musicians get
to know the first easy
piano pieces by Mozart,
Beethoven & Co. Many
little 'treats' will have
a lasting motivating
effect on the pianists,
like e.g. the Baby
Elephant Walk by Henri
Mancini or The
Entertainer by Scott
Joplin. These pieces have
been arranged by
Hans-Gunter Heumann in
such a way that they do
not demand too much of
the children but motivate
them when playing these
famous melodies.
Chamber Music Piano SKU: CF.PL1056 Composed by Clara Wieck-Schumann, Fran...(+)
Chamber Music Piano
SKU: CF.PL1056
Composed by Clara
Wieck-Schumann, Franz
Schubert, and Robert
Schumann. Edited by
Nicholas Hopkins.
Collection. With Standard
notation. 128 pages. Carl
Fischer Music #PL1056.
Published by Carl Fischer
Music (CF.PL1056).
ISBN 9781491153390.
UPC: 680160910892.
Transcribed by Franz
Liszt.
Introduction
It is true that Schubert
himself is somewhat to
blame for the very
unsatisfactory manner in
which his admirable piano
pieces are treated. He
was too immoderately
productive, wrote
incessantly, mixing
insignificant with
important things, grand
things with mediocre
work, paid no heed to
criticism, and always
soared on his wings. Like
a bird in the air, he
lived in music and sang
in angelic fashion.
--Franz Liszt, letter to
Dr. S. Lebert (1868) Of
those compositions that
greatly interest me,
there are only Chopin's
and yours. --Franz Liszt,
letter to Robert Schumann
(1838) She [Clara
Schumann] was astounded
at hearing me. Her
compositions are really
very remarkable,
especially for a woman.
There is a hundred times
more creativity and real
feeling in them than in
all the past and present
fantasias by Thalberg.
--Franz Liszt, letter to
Marie d'Agoult (1838)
Chretien Urhan
(1790-1845) was a
Belgian-born violinist,
organist and composer who
flourished in the musical
life of Paris in the
early nineteenth century.
According to various
accounts, he was deeply
religious, harshly
ascetic and wildly
eccentric, though revered
by many important and
influential members of
the Parisian musical
community. Regrettably,
history has forgotten
Urhan's many musical
achievements, the most
important of which was
arguably his pioneering
work in promoting the
music of Franz Schubert.
He devoted much of his
energies to championing
Schubert's music, which
at the time was unknown
outside of Vienna.
Undoubtedly, Urhan was
responsible for
stimulating this
enthusiasm in Franz
Liszt; Liszt regularly
heard Urhan's organ
playing in the
St.-Vincent-de-Paul
church in Paris, and the
two became personal
acquaintances. At
eighteen years of age,
Liszt was on the verge of
establishing himself as
the foremost pianist in
Europe, and this
awakening to Schubert's
music would prove to be a
profound experience.
Liszt's first travels
outside of his native
provincial Hungary were
to Vienna in 1821-1823,
where his father enrolled
him in studies with Carl
Czerny (piano) and
Antonio Salieri (music
theory). Both men had
important involvements
with Schubert; Czerny
(like Urhan) as performer
and advocate of
Schubert's music and
Salieri as his theory and
composition teacher from
1813-1817. Curiously,
Liszt and Schubert never
met personally, despite
their geographical
proximity in Vienna
during these years.
Inevitably, legends later
arose that the two had
been personal
acquaintances, although
Liszt would dismiss these
as fallacious: I never
knew Schubert personally,
he was once quoted as
saying. Liszt's initial
exposure to Schubert's
music was the Lieder,
what Urhan prized most of
all. He accompanied the
tenor Benedict
Randhartinger in numerous
performances of
Schubert's Lieder and
then, perhaps realizing
that he could benefit the
composer more on his own
terms, transcribed a
number of the Lieder for
piano solo. Many of these
transcriptions he would
perform himself on
concert tour during the
so-called Glanzzeit, or
time of splendor from
1839-1847. This publicity
did much to promote
reception of Schubert's
music throughout Europe.
Once Liszt retired from
the concert stage and
settled in Weimar as a
conductor in the 1840s,
he continued to perform
Schubert's orchestral
music, his Symphony No. 9
being a particular
favorite, and is credited
with giving the world
premiere performance of
Schubert's opera Alfonso
und Estrella in 1854. At
this time, he
contemplated writing a
biography of the
composer, which
regrettably remained
uncompleted. Liszt's
devotion to Schubert
would never waver.
Liszt's relationship with
Robert and Clara Schumann
was far different and far
more complicated; by
contrast, they were all
personal acquaintances.
What began as a
relationship of mutual
respect and admiration
soon deteriorated into
one of jealousy and
hostility, particularly
on the Schumann's part.
Liszt's initial contact
with Robert's music
happened long before they
had met personally, when
Liszt published an
analysis of Schumann's
piano music for the
Gazette musicale in 1837,
a gesture that earned
Robert's deep
appreciation. In the
following year Clara met
Liszt during a concert
tour in Vienna and
presented him with more
of Schumann's piano
music. Clara and her
father Friedrich Wieck,
who accompanied Clara on
her concert tours, were
quite taken by Liszt: We
have heard Liszt. He can
be compared to no other
player...he arouses
fright and astonishment.
His appearance at the
piano is indescribable.
He is an original...he is
absorbed by the piano.
Liszt, too, was impressed
with Clara--at first the
energy, intelligence and
accuracy of her piano
playing and later her
compositions--to the
extent that he dedicated
to her the 1838 version
of his Etudes d'execution
transcendante d'apres
Paganini. Liszt had a
closer personal
relationship with Clara
than with Robert until
the two men finally met
in 1840. Schumann was
astounded by Liszt's
piano playing. He wrote
to Clara that Liszt had
played like a god and had
inspired indescribable
furor of applause. His
review of Liszt even
included a heroic
personification with
Napoleon. In Leipzig,
Schumann was deeply
impressed with Liszt's
interpretations of his
Noveletten, Op. 21 and
Fantasy in C Major, Op.
17 (dedicated to Liszt),
enthusiastically
observing that, I feel as
if I had known you twenty
years. Yet a variety of
events followed that
diminished Liszt's glory
in the eyes of the
Schumanns. They became
critical of the cult-like
atmosphere that arose
around his recitals, or
Lisztomania as it came to
be called; conceivably,
this could be attributed
to professional jealousy.
Clara, in particular,
came to loathe Liszt,
noting in a letter to
Joseph Joachim, I despise
Liszt from the depths of
my soul. She recorded a
stunning diary entry a
day after Liszt's death,
in which she noted, He
was an eminent keyboard
virtuoso, but a dangerous
example for the
young...As a composer he
was terrible. By
contrast, Liszt did not
share in these negative
sentiments; no evidence
suggests that he had any
ill-regard for the
Schumanns. In Weimar, he
did much to promote
Schumann's music,
conducting performances
of his Scenes from Faust
and Manfred, during a
time in which few
orchestras expressed
interest, and premiered
his opera Genoveva. He
later arranged a benefit
concert for Clara
following Robert's death,
featuring Clara as
soloist in Robert's Piano
Concerto, an event that
must have been
exhilarating to witness.
Regardless, her opinion
of him would never
change, despite his
repeated gestures of
courtesy and respect.
Liszt's relationship with
Schubert was a spiritual
one, with music being the
one and only link between
the two men. That with
the Schumanns was
personal, with music
influenced by a hero
worship that would
aggravate the
relationship over time.
Nonetheless, Liszt would
remain devoted to and
enthusiastic for the
music and achievements of
these composers. He would
be a vital force in
disseminating their music
to a wider audience, as
he would be with many
other composers
throughout his career.
His primary means for
accomplishing this was
the piano transcription.
Liszt and the
Transcription
Transcription versus
Paraphrase Transcription
and paraphrase were
popular terms in
nineteenth-century music,
although certainly not
unique to this period.
Musicians understood that
there were clear
distinctions between
these two terms, but as
is often the case these
distinctions could be
blurred. Transcription,
literally writing over,
entails reworking or
adapting a piece of music
for a performance medium
different from that of
its original; arrangement
is a possible synonym.
Adapting is a key part of
this process, for the
success of a
transcription relies on
the transcriber's ability
to adapt the piece to the
different medium. As a
result, the pre-existing
material is generally
kept intact, recognizable
and intelligible; it is
strict, literal,
objective. Contextual
meaning is maintained in
the process, as are
elements of style and
form. Paraphrase, by
contrast, implies
restating something in a
different manner, as in a
rewording of a document
for reasons of clarity.
In nineteenth-century
music, paraphrasing
indicated elaborating a
piece for purposes of
expressive virtuosity,
often as a vehicle for
showmanship. Variation is
an important element, for
the source material may
be varied as much as the
paraphraser's imagination
will allow; its purpose
is metamorphosis.
Transcription is adapting
and arranging;
paraphrasing is
transforming and
reworking. Transcription
preserves the style of
the original; paraphrase
absorbs the original into
a different style.
Transcription highlights
the original composer;
paraphrase highlights the
paraphraser.
Approximately half of
Liszt's compositional
output falls under the
category of transcription
and paraphrase; it is
noteworthy that he never
used the term
arrangement. Much of his
early compositional
activities were
transcriptions and
paraphrases of works of
other composers, such as
the symphonies of
Beethoven and Berlioz,
vocal music by Schubert,
and operas by Donizetti
and Bellini. It is
conceivable that he
focused so intently on
work of this nature early
in his career as a means
to perfect his
compositional technique,
although transcription
and paraphrase continued
well after the technique
had been mastered; this
might explain why he
drastically revised and
rewrote many of his
original compositions
from the 1830s (such as
the Transcendental Etudes
and Paganini Etudes) in
the 1850s. Charles Rosen,
a sympathetic interpreter
of Liszt's piano works,
observes, The new
revisions of the
Transcendental Etudes are
not revisions but concert
paraphrases of the old,
and their art lies in the
technique of
transformation. The
Paganini etudes are piano
transcriptions of violin
etudes, and the
Transcendental Etudes are
piano transcriptions of
piano etudes. The
principles are the same.
He concludes by noting,
Paraphrase has shaded off
into
composition...Composition
and paraphrase were not
identical for him, but
they were so closely
interwoven that
separation is impossible.
The significance of
transcription and
paraphrase for Liszt the
composer cannot be
overstated, and the
mutual influence of each
needs to be better
understood. Undoubtedly,
Liszt the composer as we
know him today would be
far different had he not
devoted so much of his
career to transcribing
and paraphrasing the
music of others. He was
perhaps one of the first
composers to contend that
transcription and
paraphrase could be
genuine art forms on
equal par with original
pieces; he even claimed
to be the first to use
these two terms to
describe these classes of
arrangements. Despite the
success that Liszt
achieved with this type
of work, others viewed it
with circumspection and
criticism. Robert
Schumann, although deeply
impressed with Liszt's
keyboard virtuosity, was
harsh in his criticisms
of the transcriptions.
Schumann interpreted them
as indicators that
Liszt's virtuosity had
hindered his
compositional development
and suggested that Liszt
transcribed the music of
others to compensate for
his own compositional
deficiencies.
Nonetheless, Liszt's
piano transcriptions,
what he sometimes called
partitions de piano (or
piano scores), were
instrumental in promoting
composers whose music was
unknown at the time or
inaccessible in areas
outside of major European
capitals, areas that
Liszt willingly toured
during his Glanzzeit. To
this end, the
transcriptions had to be
literal arrangements for
the piano; a Beethoven
symphony could not be
introduced to an
unknowing audience if its
music had been subjected
to imaginative
elaborations and
variations. The same
would be true of the 1833
transcription of
Berlioz's Symphonie
fantastique (composed
only three years
earlier), the
astonishingly novel
content of which would
necessitate a literal and
intelligible rendering.
Opera, usually more
popular and accessible
for the general public,
was a different matter,
and in this realm Liszt
could paraphrase the
original and manipulate
it as his imagination
would allow without
jeopardizing its
reception; hence, the
paraphrases on the operas
of Bellini, Donizetti,
Mozart, Meyerbeer and
Verdi. Reminiscence was
another term coined by
Liszt for the opera
paraphrases, as if the
composer were reminiscing
at the keyboard following
a memorable evening at
the opera. Illustration
(reserved on two
occasions for Meyerbeer)
and fantasy were
additional terms. The
operas of Wagner were
exceptions. His music was
less suited to paraphrase
due to its general lack
of familiarity at the
time. Transcription of
Wagner's music was thus
obligatory, as it was of
Beethoven's and Berlioz's
music; perhaps the
composer himself insisted
on this approach. Liszt's
Lieder Transcriptions
Liszt's initial
encounters with
Schubert's music, as
mentioned previously,
were with the Lieder. His
first transcription of a
Schubert Lied was Die
Rose in 1833, followed by
Lob der Tranen in 1837.
Thirty-nine additional
transcriptions appeared
at a rapid pace over the
following three years,
and in 1846, the Schubert
Lieder transcriptions
would conclude, by which
point he had completed
fifty-eight, the most of
any composer. Critical
response to these
transcriptions was highly
favorable--aside from the
view held by
Schumann--particularly
when Liszt himself played
these pieces in concert.
Some were published
immediately by Anton
Diabelli, famous for the
theme that inspired
Beethoven's variations.
Others were published by
the Viennese publisher
Tobias Haslinger (one of
Beethoven's and
Schubert's publishers in
the 1820s), who sold his
reserves so quickly that
he would repeatedly plead
for more. However,
Liszt's enthusiasm for
work of this nature soon
became exhausted, as he
noted in a letter of 1839
to the publisher
Breitkopf und Hartel:
That good Haslinger
overwhelms me with
Schubert. I have just
sent him twenty-four new
songs (Schwanengesang and
Winterreise), and for the
moment I am rather tired
of this work. Haslinger
was justified in his
demands, for the Schubert
transcriptions were
received with great
enthusiasm. One Gottfried
Wilhelm Fink, then editor
of the Allgemeine
musikalische Zeitung,
observed of these
transcriptions: Nothing
in recent memory has
caused such sensation and
enjoyment in both
pianists and audiences as
these arrangements...The
demand for them has in no
way been satisfied; and
it will not be until
these arrangements are
seen on pianos
everywhere. They have
indeed made quite a
splash. Eduard Hanslick,
never a sympathetic
critic of Liszt's music,
acknowledged thirty years
after the fact that,
Liszt's transcriptions of
Schubert Lieder were
epoch-making. There was
hardly a concert in which
Liszt did not have to
play one or two of
them--even when they were
not listed on the
program. These
transcriptions quickly
became some of his most
sough-after pieces,
despite their extreme
technical demands.
Leading pianists of the
day, such as Clara Wieck
and Sigismond Thalberg,
incorporated them into
their concert programs
immediately upon
publication. Moreover,
the transcriptions would
serve as inspirations for
other composers, such as
Stephen Heller, Cesar
Franck and later Leopold
Godowsky, all of whom
produced their own
transcriptions of
Schubert's Lieder. Liszt
would transcribe the
Lieder of other composers
as well, including those
by Mendelssohn, Chopin,
Anton Rubinstein and even
himself. Robert Schumann,
of course, would not be
ignored. The first
transcription of a
Schumann Lied was the
celebrated Widmung from
Myrten in 1848, the only
Schumann transcription
that Liszt completed
during the composer's
lifetime. (Regrettably,
there is no evidence of
Schumann's regard of this
transcription, or even if
he was aware of it.) From
the years 1848-1881,
Liszt transcribed twelve
of Robert Schumann's
Lieder (including one
orchestral Lied) and
three of Clara (one from
each of her three
published Lieder cycles);
he would transcribe no
other works of these two
composers. The Schumann
Lieder transcriptions,
contrary to those of
Schubert, are literal
arrangements, posing, in
general, far fewer
demands on the pianist's
technique. They are
comparatively less
imaginative in their
treatment of the original
material. Additionally,
they seem to have been
less valued in their day
than the Schubert
transcriptions, and it is
noteworthy that none of
the Schumann
transcriptions bear
dedications, as most of
the Schubert
transcriptions do. The
greatest challenge posed
by Lieder transcriptions,
regardless of the
composer or the nature of
the transcription, was to
combine the vocal and
piano parts of the
original such that the
character of each would
be preserved, a challenge
unique to this form of
transcription. Each part
had to be intact and
aurally recognizable, the
vocal line in particular.
Complications could be
manifold in a Lied that
featured dissimilar
parts, such as Schubert's
Auf dem Wasser zu singen,
whose piano accompaniment
depicts the rocking of
the boat on the
shimmering waves while
the vocal line reflects
on the passing of time.
Similar complications
would be encountered in
Gretchen am Spinnrade, in
which the ubiquitous
sixteenth-note pattern in
the piano's right hand
epitomizes the
ever-turning spinning
wheel over which the
soprano voice expresses
feelings of longing and
heartache. The resulting
transcriptions for solo
piano would place
exceptional demands on
the pianist. The
complications would be
far less imposing in
instances in which voice
and piano were less
differentiated, as in
many of Schumann's Lieder
that Liszt transcribed.
The piano parts in these
Lieder are true
accompaniments for the
voice, providing harmonic
foundation and rhythmic
support by doubling the
vocal line throughout.
The transcriptions, thus,
are strict and literal,
with far fewer demands on
both pianist and
transcriber. In all of
Liszt's Lieder
transcriptions,
regardless of the way in
which the two parts are
combined, the melody
(i.e. the vocal line) is
invariably the focal
point; the melody should
sing on the piano, as if
it were the voice. The
piano part, although
integral to contributing
to the character of the
music, is designed to
function as
accompaniment. A singing
melody was a crucial
objective in
nineteenth-century piano
performance, which in
part might explain the
zeal in transcribing and
paraphrasing vocal music
for the piano. Friedrich
Wieck, father and teacher
of Clara Schumann,
stressed this point
repeatedly in his 1853
treatise Clavier und
Gesang (Piano and Song):
When I speak in general
of singing, I refer to
that species of singing
which is a form of
beauty, and which is a
foundation for the most
refined and most perfect
interpretation of music;
and, above all things, I
consider the culture of
beautiful tones the basis
for the finest possible
touch on the piano. In
many respects, the piano
and singing should
explain and supplement
each other. They should
mutually assist in
expressing the sublime
and the noble, in forms
of unclouded beauty. Much
of Liszt's piano music
should be interpreted
with this concept in
mind, the Lieder
transcriptions and opera
paraphrases, in
particular. To this end,
Liszt provided numerous
written instructions to
the performer to
emphasize the vocal line
in performance, with
Italian directives such
as un poco marcato il
canto, accentuato assai
il canto and ben
pronunziato il canto.
Repeated indications of
cantando,singend and
espressivo il canto
stress the significance
of the singing tone. As
an additional means of
achieving this and
providing the performer
with access to the
poetry, Liszt insisted,
at what must have been a
publishing novelty at the
time, on printing the
words of the Lied in the
music itself. Haslinger,
seemingly oblivious to
Liszt's intent, initially
printed the poems of the
early Schubert
transcriptions separately
inside the front covers.
Liszt argued that the
transcriptions must be
reprinted with the words
underlying the notes,
exactly as Schubert had
done, a request that was
honored by printing the
words above the
right-hand staff. Liszt
also incorporated a
visual scheme for
distinguishing voice and
accompaniment, influenced
perhaps by Chopin, by
notating the
accompaniment in cue
size. His transcription
of Robert Schumann's
Fruhlings Ankunft
features the vocal line
in normal size, the piano
accompaniment in reduced
size, an unmistakable
guide in a busy texture
as to which part should
be emphasized: Example 1.
Schumann-Liszt Fruhlings
Ankunft, mm. 1-2. The
same practice may be
found in the
transcription of
Schumann's An die Turen
will ich schleichen. In
this piece, the performer
must read three staves,
in which the baritone
line in the central staff
is to be shared between
the two hands based on
the stem direction of the
notes: Example 2.
Schumann-Liszt An die
Turen will ich
schleichen, mm. 1-5. This
notational practice is
extremely beneficial in
this instance, given the
challenge of reading
three staves and the
manner in which the vocal
line is performed by the
two hands. Curiously,
Liszt did not use this
practice in other
transcriptions.
Approaches in Lieder
Transcription Liszt
adopted a variety of
approaches in his Lieder
transcriptions, based on
the nature of the source
material, the ways in
which the vocal and piano
parts could be combined
and the ways in which the
vocal part could sing.
One approach, common with
strophic Lieder, in which
the vocal line would be
identical in each verse,
was to vary the register
of the vocal part. The
transcription of Lob der
Tranen, for example,
incorporates three of the
four verses of the
original Lied, with the
register of the vocal
line ascending one octave
with each verse (from low
to high), as if three
different voices were
participating. By the
conclusion, the music
encompasses the entire
range of Liszt's keyboard
to produce a stunning
climactic effect, and the
variety of register of
the vocal line provides a
welcome textural variety
in the absence of the
words. The three verses
of the transcription of
Auf dem Wasser zu singen
follow the same approach,
in which the vocal line
ascends from the tenor,
to the alto and to the
soprano registers with
each verse.
Fruhlingsglaube adopts
the opposite approach, in
which the vocal line
descends from soprano in
verse 1 to tenor in verse
2, with the second part
of verse 2 again resuming
the soprano register;
this is also the case in
Das Wandern from
Mullerlieder. Gretchen am
Spinnrade posed a unique
problem. Since the poem's
narrator is female, and
the poem represents an
expression of her longing
for her lover Faust,
variation of the vocal
line's register, strictly
speaking, would have been
impractical. For this
reason, the vocal line
remains in its original
register throughout,
relentlessly colliding
with the sixteenth-note
pattern of the
accompaniment. One
exception may be found in
the fifth and final verse
in mm. 93-112, at which
point the vocal line is
notated in a higher
register and doubled in
octaves. This sudden
textural change, one that
is readily audible, was a
strategic means to
underscore Gretchen's
mounting anxiety (My
bosom urges itself toward
him. Ah, might I grasp
and hold him! And kiss
him as I would wish, at
his kisses I should
die!). The transcription,
thus, becomes a vehicle
for maximizing the
emotional content of the
poem, an exceptional
undertaking with the
general intent of a
transcription. Registral
variation of the vocal
part also plays a crucial
role in the transcription
of Erlkonig. Goethe's
poem depicts the death of
a child who is
apprehended by a
supernatural Erlking, and
Schubert, recognizing the
dramatic nature of the
poem, carefully depicted
the characters (father,
son and Erlking) through
unique vocal writing and
accompaniment patterns:
the Lied is a dramatic
entity. Liszt, in turn,
followed Schubert's
characterization in this
literal transcription,
yet took it an additional
step by placing the
register of the father's
vocal line in the
baritone range, that of
the son in the soprano
range and that of the
Erlking in the highest
register, options that
would not have been
available in the version
for voice and piano.
Additionally, Liszt
labeled each appearance
of each character in the
score, a means for
guiding the performer in
interpreting the dramatic
qualities of the Lied. As
a result, the drama and
energy of the poem are
enhanced in this
transcription; as with
Gretchen am Spinnrade,
the transcriber has
maximized the content of
the original. Elaboration
may be found in certain
Lieder transcriptions
that expand the
performance to a level of
virtuosity not found in
the original; in such
cases, the transcription
approximates the
paraphrase. Schubert's Du
bist die Ruh, a paradigm
of musical simplicity,
features an uncomplicated
piano accompaniment that
is virtually identical in
each verse. In Liszt's
transcription, the
material is subjected to
a highly virtuosic
treatment that far
exceeds the original,
including a demanding
passage for the left hand
alone in the opening
measures and unique
textural writing in each
verse. The piece is a
transcription in
virtuosity; its art, as
Rosen noted, lies in the
technique of
transformation.
Elaboration may entail an
expansion of the musical
form, as in the extensive
introduction to Die
Forelle and a virtuosic
middle section (mm.
63-85), both of which are
not in the original. Also
unique to this
transcription are two
cadenzas that Liszt
composed in response to
the poetic content. The
first, in m. 93 on the
words und eh ich es
gedacht (and before I
could guess it), features
a twisted chromatic
passage that prolongs and
thereby heightens the
listener's suspense as to
the fate of the trout
(which is ultimately
caught). The second, in
m. 108 on the words
Betrogne an (and my blood
boiled as I saw the
betrayed one), features a
rush of
diminished-seventh
arpeggios in both hands,
epitomizing the poet's
rage at the fisherman for
catching the trout. Less
frequent are instances in
which the length of the
original Lied was
shortened in the
transcription, a tendency
that may be found with
certain strophic Lieder
(e.g., Der Leiermann,
Wasserflut and Das
Wandern). Another
transcription that
demonstrates Liszt's
readiness to modify the
original in the interests
of the poetic content is
Standchen, the seventh
transcription from
Schubert's
Schwanengesang. Adapted
from Act II of
Shakespeare's Cymbeline,
the poem represents the
repeated beckoning of a
man to his lover. Liszt
transformed the Lied into
a miniature drama by
transcribing the vocal
line of the first verse
in the soprano register,
that of the second verse
in the baritone register,
in effect, creating a
dialogue between the two
lovers. In mm. 71-102,
the dialogue becomes a
canon, with one voice
trailing the other like
an echo (as labeled in
the score) at the
distance of a beat. As in
other instances, the
transcription resembles
the paraphrase, and it is
perhaps for this reason
that Liszt provided an
ossia version that is
more in the nature of a
literal transcription.
The ossia version, six
measures shorter than
Schubert's original, is
less demanding
technically than the
original transcription,
thus representing an
ossia of transcription
and an ossia of piano
technique. The Schumann
Lieder transcriptions, in
general, display a less
imaginative treatment of
the source material.
Elaborations are less
frequently encountered,
and virtuosity is more
restricted, as if the
passage of time had
somewhat tamed the
composer's approach to
transcriptions;
alternatively, Liszt was
eager to distance himself
from the fierce
virtuosity of his early
years. In most instances,
these transcriptions are
literal arrangements of
the source material, with
the vocal line in its
original form combined
with the accompaniment,
which often doubles the
vocal line in the
original Lied. Widmung,
the first of the Schumann
transcriptions, is one
exception in the way it
recalls the virtuosity of
the Schubert
transcriptions of the
1830s. Particularly
striking is the closing
section (mm. 58-73), in
which material of the
opening verse (right
hand) is combined with
the triplet quarter notes
(left hand) from the
second section of the
Lied (mm. 32-43), as if
the transcriber were
attempting to reconcile
the different material of
these two sections.
Fruhlingsnacht resembles
a paraphrase by
presenting each of the
two verses in differing
registers (alto for verse
1, mm. 3-19, and soprano
for verse 2, mm. 20-31)
and by concluding with a
virtuosic section that
considerably extends the
length of the original
Lied. The original
tonalities of the Lieder
were generally retained
in the transcriptions,
showing that the tonality
was an important part of
the transcription
process. The infrequent
instances of
transposition were done
for specific reasons. In
1861, Liszt transcribed
two of Schumann's Lieder,
one from Op. 36 (An den
Sonnenschein), another
from Op. 27 (Dem roten
Roslein), and merged
these two pieces in the
collection 2 Lieder; they
share only the common
tonality of A major. His
choice for combining
these two Lieder remains
unknown, but he clearly
recognized that some
tonal variety would be
needed, for which reason
Dem roten Roslein was
transposed to C>= major.
The collection features
An den Sonnenschein in A
major (with a transition
to the new tonality),
followed by Dem roten
Roslein in C>= major
(without a change of key
signature), and
concluding with a reprise
of An den Sonnenschein in
A major. A three-part
form was thus established
with tonal variety
provided by keys in third
relations (A-C>=-A); in
effect, two of Schumann's
Lieder were transcribed
into an archetypal song
without words. In other
instances, Liszt treated
tonality and tonal
organization as important
structural ingredients,
particularly in the
transcriptions of
Schubert's Lieder cycles,
i.e. Schwanengesang,
Winterreise a...
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By Dana Freeman. For
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realized that I sometimes
might have taken all the
beautiful things in my
life for granted.
Personally, the year 2020
was a time of loss where
someone close to me left,
and at the same time, I
was also able to have
other successes. This
dichotomy inspired me to
realize that there is
hope in all that we do;
it is how we perceive
life. Boundless Hope
represents my thoughts,
feelings, and emotions
during this time. The
piece is roughly based on
the Lydian mode,
introducing the raised
fourth degree in m. 2 of
the mallet percussion and
then at m. 15 in the main
melody. The Lydian mode
naturally gives a sense
of positivity,
hopefulness, inspiration,
and heavenly colors. That
was my exact intention
with this piece: using
the mode to define the
mood showing gratitude
for all that we have, and
yearning to return to
normalcy with a new and
fresh perspective.
Measure 30 should be
slightly faster, followed
by a rit. into the
grandiose recapitulation
of the theme in m. 38. At
m. 45, the wind chimes
should start before the
clarinet entrance, with
the subsequent measures
representing dark and
warm colors. This piece
is very personal to me,
and I appreciate you
playing the
composition. In
December of 2020, after
almost a year of living
socially distanced,
isolated, and not knowing
when we would return to
life as we knew it, I
began to think about what
life used to look like. I
realized that I sometimes
might have taken all the
beautiful things in my
life for granted.
Personally, the year 2020
was a time of loss where
someone close to me left,
and at the same time, I
was also able to have
other successes. This
dichotomy inspired me to
realize that there is
hope in all that we do;
it is how we perceive
life. Boundless Hope
represents my thoughts,
feelings, and emotions
during this time. The
piece is roughly based on
the Lydian mode,
introducing the raised
fourth degree in m. 2
of the mallet percussion
and then at m. 15 in the
main melody. The Lydian
mode naturally gives a
sense of positivity,
hopefulness, inspiration,
and heavenly colors. That
was my exact intention
with this piece: using
the mode to define the
mood showing gratitude
for all that we have, and
yearning to return to
normalcy with a new and
fresh perspective.
Measure 30 should be
slightly faster, followed
by a rit. into the
grandiose recapitulation
of the theme in m. 38. At
m. 45, the wind chimes
should start before the
clarinet entrance, with
the subsequent measures
representing dark and
warm colors.This piece is
very personal to me, and
I appreciate you playing
the composition.
In All Major and Minor Keys. Composed by J. B. Albert. Edited by Julie DeRoche...(+)
In All Major and Minor
Keys.
Composed by J. B. Albert.
Edited by Julie DeRoche.
Book.
With Standard notation.
32
pages. Carl Fischer Music
#O99X. Published by Carl
Fischer Music
The Most Popular Method for Learning How to Play. Composed by Morty Manus...(+)
The Most Popular
Method for Learning How
to Play. Composed by
Morty Manus; Ron Manus.
This edition: 3rd. Guitar
Method or Supplement;
Method/Instruction.
Alfred's Basic Guitar
Library. Book; Digital
Download; DVD; Software.
152 pages. Alfred Music
#00-44749. Published by
Alfred Music (AP.44749).