Piano Concerto g minor op. 33-Composé rapidement puis «fignolé» avec un soin...(+)
Piano Concerto g minor op. 33-Composé rapidement puis «fignolé» avec un soin méticuleux le Concerto pour piano en sol mineur de Dvorák est l?une des ?uvres majeures de la littérature pour piano tchèque. Le compositeur l?écrit en 1876 en deux mois à peine mais son travail de finition s?étend sur sept ans jusqu?au premier tirage. Rien d?étonnant donc à ce que la partition manuscrite de Dvorák soit surchargée de modifications et de corrections. Son autographe de 141 pages reflète de façon frappante ce travail de composition extraordinairement complexe: outre la notation initiale en effet il renferme diverses corrections effectuées au crayon au crayon rouge et bleu ou encore à l?encre rouge- en outre quelques passages sont recouverts d?une nouvelle version.La partition se trouvait jusqu?en 1990 en possession des héritiers de Dvorák. À l?instigation du pianiste András Schiff et grâce à son généreux appui financier nous présentons pour la première fois sous la forme d?une reproduction de grande qualité comparable dans les moindres détails à l?original le fac-similé complet de ce document musical. Il invite à découvrir et à revivre les différentes étapes du processus de composition. Et qui plus est c?est un cadeau idéal pour 2004 l?«année Dvorák» (? mais aussi bien sûr pour après ?).
[Konzert für Klavier und Orchester G-Dur KV 453 (Nr. 17)] / Classique / Editeur...(+)
[Konzert für Klavier und Orchester G-Dur KV 453 (Nr. 17)] / Classique / Editeurs : Paul & Eva Badura-Skoda / Partition de poche / Cartonné / Plats de carton / Edition Urtext
g-moll Op. 33 B. 63-Composed in 1876 Dvorák’s only piano concerto has be...(+)
g-moll Op. 33 B. 63-Composed in 1876 Dvorák’s only piano concerto has been overshadowed by his other two concertos for violin and violoncello respectively. Performers and editors have often attempted to upgrade this pianistically unassuming work by adding stylisations of their own. Our Urtext edition revaluates the sources frees the work from subsequent interventions and presents it to full advantage in its authentic form. The principal source of our new edition is the first complete print issued by the publisher Hainauer in 1883 which has been meticulously collated with the autograph. The anonymous original piano reduction is so full of mistakes that editor Robbert vanSteijn decided instead to present the version by Karel Šolc. - New Urtext edition of Dvorák’s only piano concerto - Foreword by Dvorák scholar David R. Beveridge (Eng/Cz/Ger) - Commentary on performance practice by Czech pianist Ivo Kahánek (Eng/Cz/Ger) - Piano reduction by Karel Šolc adapted to fit this new edition - Full score (BA10420) and two-piano reduction (BA10420-90) available for sale - Performance material (BA10420-72) available for hire
Interestingly there are two different versions of Prokofiev’s second pian...(+)
Interestingly there are two different versions of Prokofiev’s second piano concerto the first written between 1912 and 1913 the second written in 1923. However during the Russian Civil War the original manuscript of the Concerto was destroyed in a fire in Prokofiev’s apartment in St. Petersburg. In 1923 he recreated the score from memory effectively composing the second edition of the work which was very different. Prokofiev wrote to a friend: I have so completely rewritten the second concerto that it might be considered the fourth (his third piano concerto having been written in the meantime).At the time of composition the concerto's wild temperamentleft some exalted whereas others were horrified by the jarring and at the time futuristic sound. Today however it is generally recognised as a masterpiece and is one of the most virtuosic works in the piano concerto repertoire.Available here is the Hawkes Pocket Score edition (No.877) of Prokoviev’s virtuosic Piano Concerto No.2 in G minor Op.16 and is ideal for study and perusal usage.
Piano Concerto No.17 in G major K.453.Piano Solo Flute Oboe (2) Bassoon (2) ...(+)
Piano Concerto No.17 in G major K.453.Piano Solo Flute Oboe (2) Bassoon (2) Horn (2) Strings.The New Mozart Edition offers researchers a musicologically unimpeachable text based on all the available sources (first and foremost Mozart's autograph manuscripts). At the same time it also serves as an aid to authentic performances.BÄRENREITER URTEXT:In the international music world ?Bärenreiter Urtext? is synonymous with performing editions in which the musical text has been prepared using clearly formulated scholarly critical criteria. Editors which include prominent musicologists as well as musicians take all availablesources into account thus guaranteeing an authentic musical text which represents the latest in musicological research.For Bärenreiter ?Urtext? is more than just a label it is also a pledge and a guarantee for sheet music performing editions that present the authentic text and the latest findings of scholarly research enabling musicians to get as close to the composer?s intentions as the surviving sources will allow. There are no arbitrary editorial additions and the quality of the musical text is matched by an appearance on the page that satisfies the most discerning eye.
Urtext edition study score of Ludwig van Beethoven's Piano Concerto No.4 In G Op...(+)
Urtext edition study score of Ludwig van Beethoven's Piano Concerto No.4 In G Op.58.Features:Urtext edition at the cutting edge of scholarshipAn ideal reference edition for pianists students conductors and librariesEach score contains an introduction by Barry Cooper (Ger/Eng)Format 17.5 x 22.5 cmBarenreiter has now published the scores Critical Commentaries and the complete performance material (BA 9021-9025) as well as a boxed set of study score editions (TP 920) to all five of Beethoven’s Piano concertos. The study scores can now also be purchased individually.Themusical text reflects a meticulous examination of every surviving source resulting in Urtext editions at the highest possible level. The study scores are supplemented by introductions by Beethoven scholar Barry Cooper on the genesis of the concertos as well as forewords by the renowned editor Jonathan Del Mar with descriptions of the sources and the editorial method.
Piano Concerto No.17 in G major K.453.Piano Solo Flute Oboe (2) Bassoon (2) ...(+)
Piano Concerto No.17 in G major K.453.Piano Solo Flute Oboe (2) Bassoon (2) Horn (2) Strings.The New Mozart Edition offers researchers a musicologically unimpeachable text based on all the available sources (first and foremost Mozart's autograph manuscripts). At the same time it also serves as an aid to authentic performances.BÄRENREITER URTEXT:In the international music world ?Bärenreiter Urtext? is synonymous with performing editions in which the musical text has been prepared using clearly formulated scholarly critical criteria. Editors which include prominent musicologists as well as musicians take all availablesources into account thus guaranteeing an authentic musical text which represents the latest in musicological research.For Bärenreiter ?Urtext? is more than just a label it is also a pledge and a guarantee for sheet music performing editions that present the authentic text and the latest findings of scholarly research enabling musicians to get as close to the composer?s intentions as the surviving sources will allow. There are no arbitrary editorial additions and the quality of the musical text is matched by an appearance on the page that satisfies the most discerning eye.
Piano Concerto No.17 in G major K.453.Piano Solo Flute Oboe (2) Bassoon (2) ...(+)
Piano Concerto No.17 in G major K.453.Piano Solo Flute Oboe (2) Bassoon (2) Horn (2) Strings.The New Mozart Edition offers researchers a musicologically unimpeachable text based on all the available sources (first and foremost Mozart's autograph manuscripts). At the same time it also serves as an aid to authentic performances.BÄRENREITER URTEXT:In the international music world ?Bärenreiter Urtext? is synonymous with performing editions in which the musical text has been prepared using clearly formulated scholarly critical criteria. Editors which include prominent musicologists as well as musicians take all availablesources into account thus guaranteeing an authentic musical text which represents the latest in musicological research.For Bärenreiter ?Urtext? is more than just a label it is also a pledge and a guarantee for sheet music performing editions that present the authentic text and the latest findings of scholarly research enabling musicians to get as close to the composer?s intentions as the surviving sources will allow. There are no arbitrary editorial additions and the quality of the musical text is matched by an appearance on the page that satisfies the most discerning eye.
Piano Concerto No.17 in G major K.453.Piano Solo Flute Oboe (2) Bassoon (2) ...(+)
Piano Concerto No.17 in G major K.453.Piano Solo Flute Oboe (2) Bassoon (2) Horn (2) Strings.The New Mozart Edition offers researchers a musicologically unimpeachable text based on all the available sources (first and foremost Mozart's autograph manuscripts). At the same time it also serves as an aid to authentic performances.BÄRENREITER URTEXT:In the international music world ?Bärenreiter Urtext? is synonymous with performing editions in which the musical text has been prepared using clearly formulated scholarly critical criteria. Editors which include prominent musicologists as well as musicians take all availablesources into account thus guaranteeing an authentic musical text which represents the latest in musicological research.For Bärenreiter ?Urtext? is more than just a label it is also a pledge and a guarantee for sheet music performing editions that present the authentic text and the latest findings of scholarly research enabling musicians to get as close to the composer?s intentions as the surviving sources will allow. There are no arbitrary editorial additions and the quality of the musical text is matched by an appearance on the page that satisfies the most discerning eye.
Piano Concerto No.17 in G major K.453.Piano Solo Flute Oboe (2) Bassoon (2) ...(+)
Piano Concerto No.17 in G major K.453.Piano Solo Flute Oboe (2) Bassoon (2) Horn (2) Strings.The New Mozart Edition offers researchers a musicologically unimpeachable text based on all the available sources (first and foremost Mozart's autograph manuscripts). At the same time it also serves as an aid to authentic performances.BÄRENREITER URTEXT:In the international music world ?Bärenreiter Urtext? is synonymous with performing editions in which the musical text has been prepared using clearly formulated scholarly critical criteria. Editors which include prominent musicologists as well as musicians take all availablesources into account thus guaranteeing an authentic musical text which represents the latest in musicological research.For Bärenreiter ?Urtext? is more than just a label it is also a pledge and a guarantee for sheet music performing editions that present the authentic text and the latest findings of scholarly research enabling musicians to get as close to the composer?s intentions as the surviving sources will allow. There are no arbitrary editorial additions and the quality of the musical text is matched by an appearance on the page that satisfies the most discerning eye.
The very lively three-movement Piano Concerto in G major is characterised with ...(+)
The very lively three-movement Piano Concerto in G major is characterised with regard to style by jazz influences especially in the first and third movements but by late Romantic and impressionist influences in the middle movement.Ravel himself called it 'a concerto in the truest sense of this generic term: With that I want to say that it has been written in the spirit of the concertos by Mozart and Saint-Saëns.'
Bach's Harpsichord concerti extremely popular among pianists are presumably re...(+)
Bach's Harpsichord concerti extremely popular among pianists are presumably reworkings of pieces originally written for the Violin. Bach however succeeded in transferring the diverse idiosyncrasies of Violin technique to the keyboard with such ingenuity that most of today's pianists also include these concerti in their standard repertoire. The first concerto in d minor is perhaps the most popular not least because of its jaunty outer movements and the eminently forceful solo part. Now as a prelude to a series of all of Bach's Harpsichord concerti G. Henle Publishers presents a Piano reduction and study edition (score) of the d-minorconcerto. None other than András Schiff the outstanding Bach expert has provided fingering suggestions.
Practicing studies is a very important part of the training of every music stude...(+)
Practicing studies is a very important part of the training of every music student learner amateur and professional. These newly arranged orchestral accompaniments to well-known studies give rise to miniature piano concertos thereby turning thepractising of studies into an entirely new experience and a source of enjoyment especially for beginners. The Czerny studies in our volume have been taken from various opuses. 1-4 Etüde 100 Erh. Nr. 72 in G-Dur5-8 Etüde op. 481 Nr. 8 in A-Dur9-12 Etüde op. 453 No. 19 in C-Dur13-16 Etüde 100 Erh. Nr. 53 in G-Dur17-20 Etüde op. 599 Nr. 24 in D-Dur21-24 Etüde op. 777 Nr. 18 in D-Dur25-28 Etüde op. 777 Nr. 10 in G-Dur29-32 Etüde op. 599 Nr. 40 in F-Dur33-36 Etüde op. 777 Nr. 12 in G-Dur37-40 Etüde op. 817 Nr. 4 in D-Dur41-44 Etüde op. 817 Nr. 12 in B-Dur45-48 Etüde 100 Erh. Nr. 43 in C-Dur49-52 Etüde op. 599 Nr. 71 in F-Dur
Par BENJAMIN GEORGE. Duo pour piano et orchestre a été commandée par Roche po...(+)
Par BENJAMIN GEORGE. Duo pour piano et orchestre a été commandée par Roche pour le Festival de Lucerne 2008, où il a d'abord été interprétée par l'Orchestre de Cleveland et de la direction de Franz WelserMö - st.
George Benjamin CBE est l'un des compositeurs les plus remarquables de sa génération. Né en 1960, Benjamin a commencé à jouer du piano à l'âge de sept ans, et commence à composer presque immédiatement. Il est maintenant le Henry Purcell professeur de composition au King's College, à Londres et a été fait Chevalier de l'ordre DANS des Arts et Lettres en 1996. Il a été élu à l'Académie bavaroise des Beaux-Arts,
seulement la quatrième fois un tel honneur a été décerné à un compositeur britannique et en 2001 il a reçu le Deutsche Symphonie Orchester de première Schoenberg Prix de composition. ' / Date parution : 2010-12-01/ Répertoire / Piano et Orchestre
Par MANTOVANI BRUNO. Cette pièce emprunte sa matière soliste à une oeuvre pou...(+)
Par MANTOVANI BRUNO. Cette pièce emprunte sa matière soliste à une oeuvre pour piano, Le Livre de Jeb, véritable portrait musical de son dédicataire Jean-Efflam Bavouzet. Ce pianiste protéiforme, aussi sensible à la musique de Claude Debussy qu'au jazz, est un artiste unique, par l'ampleur de son répertoire et par la générosité de ses interprétations. C'est justement la diversité des goûts de ce musicien qui est à l'origine de mon inspiration : ma pièce renvoie autant à une contemplation caractéristique d'un certain 'esprit français' (notamment en son début) qu'à des rythmiques plus américanisantes.
L'orchestre fonctionne ici comme le prolongement des résonances naturelles du piano. Il interprète les silences de la pièce originelle, vient ajouter des commentaires, afin de complexifier une matière première qui vise à l'évidence. La forme est extrêmement libre, mais le retour de certaines idées vient structurer un parcours dense, où la logique traditionnelle du concerto (alternance entre soliste et orchestre) est remplacée par un jeu permanent de doublures.
Commande de l'Orchestre National de Lille, cette Fantaisie composée en 2009 est dédiée à Julia, Laura, Andrea, et Jean-Efflam Bavouzet.
Bruno Mantovani / contemporain / Date parution : 2010-01-04/ Répertoire / Piano et Orchestre
Par PAUSET BRICE. Cette pièce représente le premier moment d'un triptyque pour...(+)
Par PAUSET BRICE. Cette pièce représente le premier moment d'un triptyque pour grand orchestre et y adjoint temporairement un piano principal. Ce morceau relativement court (environ vingt minutes) essaie de poser la question de la représentation de la musique par elle-même: on assiste, en sept grandes sections, à un renouvellement permanent de la fonction du soliste tour à tour sujet de la représentation et cartographe du monde orchestral qui l'entoure. Au-delà, pour poursuivre sur la même métaphore, j'ai imaginé un géographe plus particulièrement préoccupé par la représentation du monde souterrain, en faisant entendre la face cachée de l'orchestre symphonique, l'envers de ses codes et de ses 'bonnes manières'. Ce que je cherche à présent (et pour quelques années encore) est une musique qui abolirait la notion d'esquisse: une musique dont principes et expression soient, pour ainsi dire, en constante circulation - je pense surtout à une musique impossible qui, au-delà de la non-musique, écouterait notre propre culture et nous transmettrait, par moments, ses évidences inavouables - une musique qui, telle une carte trouée par endroits, superposerait son dessin à la réalité qu'elle est sensée représenter. Je rêve d'une musique qui briserait le confort des codes admis, ceux, en particulier, d'une culture moribonde, inaltérablement attachée à désirer ce qu'elle connaît déjà.
Brice Pauset / contemporain / Répertoire / Piano et Orchestre
Concert célèbre du Szpilman travail ' Concertino ' pour piano et orchestre tou...(+)
Concert célèbre du Szpilman travail ' Concertino ' pour piano et orchestre tours au large de l'édition des oeuvres de concert et des chansons choisies par le compositeur polonais. Terminé dans le Ghetto de Varsovie en 1940, le travail est caractérisé par une humeur inopinément gai, presque battante. Il est légèrement réminiscence de Gershwin et les grands gestes de la musique de film à l'époque, et pourtant c'est un ' Szpilman real ' dans son instrumentation supérieure et fiable sens du style concernant le goût dominant. En plus de la musique, un score de piano est publié à des fins d'étude, avec une préface de Krystian Zimerman. / Piano Et Orchestre
Concert célèbre du Szpilman travail ' Concertino ' pour piano et orchestre tou...(+)
Concert célèbre du Szpilman travail ' Concertino ' pour piano et orchestre tours au large de l'édition des oeuvres de concert et des chansons choisies par le compositeur polonais. Terminé dans le Ghetto de Varsovie en 1940, le travail est caractérisé par une humeur inopinément gai, presque battante. Il est légèrement réminiscence de Gershwin et les grands gestes de la musique de film à l'époque, et pourtant c'est un ' Szpilman real ' dans son instrumentation supérieure et fiable sens du style concernant le goût dominant. En plus de la musique, un score de piano est publié à des fins d'étude, avec une préface de Krystian Zimerman. / Piano Et Orchestre