Opus 11. Par SCHOENBERG ARNOLD. Arnold Schönberg?s Piano Pieces op. 11 are a milestone in the development of piano music. Schönberg had also already composed other atonal works, but always for voice with sung text. By contrast the Piano Pieces op. 11 are the first instrumental compositions to be written in so-called ?free atonality?. For all its revolutionary explosive power, the cycle is classically structured, with a sonata-like first movement, a slow middle piece and a stormy finale. The Henle Urtext edition publishes this modern classic in a new, generously laid out music setting based on the first edition, edited by Schönberg scholar Ullrich Scheideler. Highly experienced piano maestro Emanuel Ax has added fingering recommendations, making the work suitable for practical use. / Date parution : 2022-04-05/ Répertoire / Piano

Classroom Pops. Par SCHOENBERG CLAUDE-MICHEL. Une ressource chant / musicalité d'impliquer toute la classe. Conseils complets et des conseils sur l'enseignement et de chanter la chanson. Pas de musique de lecture nécessaires - appui total fourni sur le CD. Les plans de leçon, des jeux et des activités de renforcement des compétences musicales. Le CD contient des bandes, de démonstration et de suivi des performances. Piano complète / vocal score guitare /. Feuilles Lyric inclus sur le CD. Tout le texte original, des idées de leçons et des arrangements musicaux par Jane Sebba et Joanna Mangona / TV, Film, Comédie musicale / Date parution : 2011-03-01/ Recueil / Piano

Opus 19. Par SCHOENBERG ARNOLD. One of the answers found by Schönberg?s circle to the question about how musical processes could be shaped without a tonal context was in the extreme streamlining of the form. With Schönberg?s Six Little Piano Pieces op. 19 of 1911, the concentration on the essential is legendary. Behind its fleeting gestures lie hidden depths, shown especially through its supposed reference in the last piece to Gustav Mahler?s funeral on 21 May 1911. With his carefully considered fingerings, Emanuel Ax invites all pianists to engage with these miniatures anew. The Henle Urtext edition publishes this modern classic in a new, generously laid out music setting. / Date parution : 2022-04-05/ Répertoire / Piano

Par SCHOENBERG ARNOLD. Schönberg besser verstehen Eine Klavierfassung eines der größten Orchesterwerke Schönbergs stellt an den Bearbeiter höchste Ansprüche. In diesem Bewusstein zeigt der junge Dirigent Dante Anzolini in seiner Transkription tiefen Respekt vor der originalen Stimmführung ebenso wir vor deren Artikulation und Dynamik. Die entstandene, nun vorliegende Fassung, ein anspruchsvolles Virtuosenstück, präsentiert sich als ein gelungenes Vehikel zur Analyse, zur Erklärung und zum Genuss eines grundlegenden Repertoirestücks des 20. Jahrhunderts./ Répertoire / Piano

A comprehensive compendium of 20th-century musical styles these 28 pieces by 23 composers were selected by one of the most influential piano teachers of our time. Pieces by Schoenberg Scott Prokofiev Schulhoff Hindemith Poulenc Kabalevski Seiber Pütz Françaix Hurnik Ligeti B. Hummel Theodorakis Regner Beyer Eben Constantinescu Shchedrin Pärt Schoenmehl and Zender.

Based On A Theme By Arnold Schönberg (Op. 19/4). Par ULLMANN VIKTOR. Viktor Ullmann a présenté son cycle de variations sur le quatrième du bien connu Six peu Piano Pieces op 19 par son professeur Arnold Schoenberg en trois versions à la fois - pour piano, pour quatuor à cordes et pour grand orchestre. Miniature atonal de Schoenberg est étendue ici en une forme plus grande, avec la Gavotte et Menuet également faire référence à des pièces pour Piano de Schoenberg opus 25. Le paramètre pour piano est un exploit virtuose sur une échelle qui rappellent de Max Reger. Des 21 variations originales dans une version antérieure qui n'a pas survécu, Ullmann sélectionné neuf pour sa version finale. Une version provisoire effectuée à la 1929 l'IGNM à Genève, composé de cinq variations et différant par de nombreux détails, est publiée en annexe./ Répertoire / Piano

op. 26. Par WELLESZ EGON. Egon Wellesz?s ?Six Piano Pieces? op. 26, six rather short character pieces, are written entirely in the spirit of the atonal works of the Schoenberg School. In the first movement, even the third stands out as an essential component of the composition, which brings this movement close to Schoenberg?s opus 19/2. And Wellesz used the expressive thematic material of the ?massive? last movement once again: It can be heard in characteristic passages towards the end of his opera Alkestis op. 35, now naturally orchestrated. This composition is definitely an enrichment of the piano literature of the Viennese School, and through its first publication as a complete work more than 100 years after its creation it will finally find its way to interpreters and audiences. / Date parution : 2023-03-21/ Répertoire / Piano

No. 1-4. Par ULLMANN VIKTOR. Ullman‘s seven Piano Sonatas were written between 1936 and 1944. Though rediscovered as recently as 1990, they are now available in a number of recordings. Neo-classical in approach, the piano writing and the use of polytonality places them closer to Skriabin and Prokofiev than to the works of Ullman‘s teachers Arnold Schoenberg and Alois Hába – this applies also to the Piano Concerto, written during the same period. The numerous quotes from Mozart, Wagner, Mahler, and Dukas to folksongs and tunes from operettas are particulary interesting in this context./ Répertoire / Piano

One of the least known of the great Russian pianists of the late 19th and early 20th Centuries, Alexander Siloti (1863-1945) was one of the most influential and progressive. As a concert promoter, he introduced the music of dozens of composers to the Russian public in the famous Siloti Concerts of 1903-1917, including Albeniz, Debussy, de Falla, Delius, Elgar, Enesco, Mahler and Schoenberg. A student of Liszt (and one of the teachers of Rachmaninoff), Siloti is a central figure in the development of the great age of the piano virtuoso. As with many of his colleagues, transcribing and arranging existing music for the piano was a major part of Siloti's activity, and since he madeno recordings, his published transcriptions are one of the few existing keys we have to his musical taste and philosophy. In an extended biographical essay, Dr. Charles Barber explores this issue and writes cogently about the style and influence of this remarkable man. The Alexander Siloti Collection is dominated by Siloti's remarkable transcriptions and arrangements of the music of J.S. Bach, notable particularly for their pianistic character and faithfulness to the unique genetic code of Bach's design. Some of the Bach works included are: Prelude in B Minor, BWV855a, Gigue from Suite in Bb Major, Chaconne in D Minor, the Organ Preludes in E Minor and G Minor and the celebrated Toccata and Fugue in D Minor, BWV 565. Music by Gluck, Mozart and Chopin is also contained in this generous compilation of pianistic wizardry. This addition to The Master's Collection is likely to be one of the most talked about piano folios of the year. (288 pages, smythe sewn binding).Prelude in B MinorAdagioAirChaconne in D MinorGigueAndanteFantasia in C MinorOrgan Prelude in E MinorParaphraseOrgan Prelude in G MinorPreludePrelude from Cantata No. 29Prelude from Cantata No. 35SicilianoToccata and Fugue in D MinorMelodyVariationsVariations in F MajorEtude No. 25 in F MinorScherzo in B-flat MinorAu bord d'une sourceAu lac de WallenstadtConsolation No. 3 in D-flat MajorConcert Etude in D-flat MajorSposalizioIl PenserosoSursum CordaLe cygneHumoresqueTheme original et variationsA Song of IndiaFour Russian Folk SongsFour Russian Folk SongsFour Russian Folk SongsTwelve Themes from Famous WaltzesTwelve Themes from Famous WaltzesNo. 3. On the Beautiful Blue DanubeTwelve Themes from Famous WaltzesTwelve Themes from Famous WaltzesTwelve Themes from Famous WaltzesTwelve Themes from Famous WaltzesTwelve Themes from Famous WaltzesTwelve Themes from Famous WaltzesTwelve Themes from Famous WaltzesTwelve Themes from Famous WaltzesTwelve Themes from Famous WaltzesEtude in C-sharp MinorPoemeRomanzePrelude in G-sharp Minor / Piano / Carl Fischer

'The idea for this set of pieces initially came from writing one as a sixtieth birthday present (I shall not mention which one!). Having written one Baroque-titled piece I gradually added more until a whole suite of Baroque dances was completed.The stimulus of writing a modern set of piano pieces based on Baroque models (in my case a mixture of the English and French Suites of Bach) is nothing new of course. Many twentieth-century composers were inspired by the rigours of devising new ways of looking at Baroque dances and in the process brought new life to the forms (in the case of Schoenberg?s Piano Suite of 1925 actually liberating his new method of 12- notecomposition from theory into practice).For my part the challenge was to write a set of pieces for the piano which would be technically suitable for both young and mature pianists whilst still responding to the compositional demands of creating interesting material mainly organised through contrapuntal means (often just two-part counterpoint as in Bourr?e 1 or the Gigue) but sometimes through harmonic means (as in the Sarabande or Gavotte).In addition the more personal nature of the genesis of the album resulted in each piece or dance being dedicated to a particular friend. Whilst their pianistic skills might vary quite considerably they all share a great love of music - something which unites us all.'???????????? - Edward Gregson1. Paul?s Prelude2. Adam?s Allemande3. Clare?s Courante4. Stefan?s Sarabande5. Gaynor?s Gavotte6. Brian?s Bourr?e (Bour?e 1)7. Bethan?s Bour?e (Bour?e 2)8. Maggie?s Minuet9. Gavin?s Gigue10. Phil?s Postlude

Oratorium in 3 Teilen-Alexander Zemlinsky and his brother-in-law Arnold Schoenberg wrote piano reductions for piano 4 hands by order of Universal Edition during the first decade of the foundation of UE (1901-1910).

Commissioned by Richard Deering with funds provided by the Arts Council of Great Britain and first performed by him in October 1982 in Amsterdam.The title is the same as the Schoenberg ones of 1911 and like those pieces my title is something of an understatement. They are not musically or technically undemanding as the title may perhaps suggest. In my case these pieces were in a sense sketches for my larger scale Piano Sonata of the following year. Each piece has its own essential character but all of them are linked in the use of common pitch material. There is more than a hint of parody in the mood of the music.

Par BERG ALBAN. Le compositeur autrichien Alban Berg était un élève d'Arnold Schoenberg, avec qui il a exercé une longue amitié. Il était connu comme le premier chasseur de l'atonalité. Malgré ce fait dans ses oeuvres, il voulait faire partie des grandes traditions viennoises. Par conséquent, il a également été appelé 'l'homme classique de la musique moderne./ Répertoire / Piano