Par . This volume from the series Music from Chopin's Land includes three (differing in terms of form and style) works by Polish composers for a piano duo. These compositions, dedicated for students aged 14-16 and amateur pianists, shall help acquaint them with the issues of a piano duo and the charm of four-hand piano playing. Four-hand piano playing poses an exceptional challenge. It develops a wide concept of sound diversification, control over hands and their technique, and a unique ability to unify articulation of both pianists. The pianists, while listening to their individual play and concentrating on the play of their partners, become enriched with special sensitivity to the sound quality. A piano duo teaches sensitivity to the other person and mutual responsibility for the preparation and performance of the work. This constitutes the biggest challenge to chamber music, bringing remarkable satisfaction and joy out of mutual music making. / Date parution : 2023-11-03/ Recueil / Piano 4 Mains

Fryderyk Chopin Concerto in F minor Op. 21 for piano and orchestra, WN concert version, score Piano concertos combine two elements: pure playing and full poetic expression. Virtuosity and romance. Pianistic brilliance, educated in the works in the stile brillant, brought to perfection, but at the same time ' a farewell. Both are forms of direct expression of the personality of the composer, which showed itself in them for the first time with so much strength and is manifested in a group of characteristics of forming Chopin's individual style. Piano Concerto in F minor In terms of size, substantially smaller than the E minor concerto and also a different kind of expression: more lyrical, drawn in delicate pastel colours. Especially famous is the second movement, the Larghetto, which Chopin wrote under the inspiration of his first love. Critical source-edition edited by Jan Ekier and Pawe? Kami?ski based on manuscripts, copies approved by Chopin himself, and first editions. Its purpose is to present the works of Chopin in authentic form. Editor: Jan Ekier, Pawe? Kami?ski Source commentary by: Jan Ekier, Pawe? Kami?ski Performance commentary by: Jan Ekier, Pawe? Kami?ski

The most famous and popular edition of Chopin's works prepared by I. J. Paderewski, L. Bronarski and J. Turczyński. The edition has been based primarily on Chopin's autograph manuscripts, copies approved by him and first editions. The principal aim of the Editorial Committee has been to establish a text which fully reveals Chopin's thoughts and corresponds to his intentions as closely as possible. The full version of this edition includes 21 volumes. Autor ilustracji: Eugene Delacroix Performance commentary by: Ignacy Jan Paderewski Performance commentary by: Ludwik Bronarski Performance commentary by: Józef Turczyński Cover Design: Ludwik Gardowski Editor: Ignacy Jan Paderewski Editor: Ludwik Bronarski Editor: Józef Turczyński Table of contents: Chopin Fryderyk Mazurka in A minor Chopin Fryderyk Mazurka in A minor (from Notre Temps) Chopin Fryderyk Mazurka in A minor Op. 17 No. 4 Chopin Fryderyk Mazurka in A minor Op. 59 No. 1 Chopin Fryderyk Mazurka in A minor Op. 64 No. 4 Chopin Fryderyk Mazurka in A minor Op. 68 No. 2 Chopin Fryderyk Mazurka in A minor Op. 7 No. 2 Chopin Fryderyk Mazurka in A flat major (from the album of Maria Szymanowska) Chopin Fryderyk Mazurka in A flat major Op. 24 No. 3 Chopin Fryderyk Mazurka in A flat major Op. 17 No.3 Chopin Fryderyk Mazurka in A flat major Op. 41 No. 4 Chopin Fryderyk Mazurka in A flat major Op. 50 No. 2 Chopin Fryderyk Mazurka in A flat major Op. 59 No. 2 Chopin Fryderyk Mazurka in A flat major Op. 7 No. 4 Chopin Fryderyk Mazurka in B flat major (1825) - version 1 and 2 Chopin Fryderyk Mazurka in B flat major (1832) Chopin Fryderyk Mazurka in B flat major Op. 17 No. 1 Chopin Fryderyk Mazurka in B flat major Op. 7 No. 1 Chopin Fryderyk Mazurka in B flat minor Op. 24 No. 4 Chopin Fryderyk Mazurka in C major (1833) Chopin Fryderyk Mazurka in C major Op. 33 No. 3 Chopin Fryderyk Mazurka in C major Op. 56 No. 2 Chopin Fryderyk Mazurka in C major Op. 67 No. 3 Chopin Fryderyk Mazurka in C major Op. 68 No. 1 Chopin Fryderyk Mazurka in C major Op. 7 No. 5 Chopin Fryderyk Mazurka in C major Op. 24 No. 2 Chopin Fryderyk Mazurka in C minor Op. 30 No. 1 Chopin Fryderyk Mazurka in C minor Op. 56 No.3 Chopin Fryderyk Mazurka in C sharp minor Op. 41 No. 1 Chopin Fryderyk Mazurka in C sharp minor Op. 50 No. 3 Chopin Fryderyk Mazurka in C sharp minor Op. 6 No. 2 Chopin Fryderyk Mazurka in C sharp minor Op. 63 No. 3 Chopin Fryderyk Mazurka in C sharp minor Op. 30 No. 4 Chopin Fryderyk Mazurka in D major Chopin Fryderyk Mazurka in D major (2 version) Chopin Fryderyk Mazurka in D flat major Op. 30 No. 3 Chopin Fryderyk Mazurka in E major Op. 6 No. 3 Chopin Fryderyk Mazurka in E minor Op. 17 No. 2 Chopin Fryderyk Mazurka in E minoe Op. 41 No. 2 Chopin Fryderyk Mazurka in E flat minor Op. 6 No. 4 Chopin Fryderyk Mazurka in F major Op. 68 No. 3 Chopin Fryderyk Mazurka in F minor Op. 63 No. 2 Chopin Fryderyk Mazurka in F minor Op. 68 No. 4 Chopin Fryderyk Mazurka in F minor Op. 7 No. 3 Chopin Fryderyk Mazurka in F sharp minor Op. 59 No. 3 Chopin Fryderyk Mazurka in F sharp minor Op. 6 No. 1 Chopin Fryderyk Mazurka in G major (1825) - version 1 and 2 Chopin Fryderyk Mazurka in G major Op. 21 No. 1 Chopin Fryderyk Mazurka in G major Op. 50 No. 1 Chopin Fryderyk Mazurka in G major Op. 67 No. 1 Chopin Fryderyk Mazurka in G minor Op. 67 No. 2 Chopin Fryderyk Mazurka in G sharp minor Op. 33 No. 1 Chopin Fryderyk Mazurka in B major Op. 41 No. 3 Chopin Fryderyk Mazurka in B major Op. 56 No. 1 Chopin Fryderyk Mazurka in B major Op. 63 No. 1 Chopin Fryderyk Mazurka in B minor - F sharp minor Op. 30 No. 2 Chopin Fryderyk Mazurka in B minor Op. 33 No. 4 Chopin Fryderyk Mazurka in D major Op. 33 No. 2

In accordance with the tradition of the genre, these are characterised by sentimentality, intimacy and programmatic tendencies. Characteristic for them is a turbulent middle section and a richly ornamented reprise. However, variability of dynamics and musical course are not appropriate for nocturnes, rather holding on to a particular mood, full of expectation or the past brought to the present. Critical source-edition edited by Jan Ekier and Pawe? Kami?ski based on manuscripts, copies approved by Chopin himself, and first editions. Its purpose is to present the works of Chopin in authentic form. Performance commentary by: Jan Ekier, Pawe? Kami?ski Source commentary by: Jan Ekier, Pawe? Kami?ski Cover Design: Maria Ekier Editor: Jan Ekier, Pawe? Kami?ski Editor of graphic design: Maria Ekier Publisher: PWM Edition and Foundation of National Edition of F. Chopin Table of contents: Chopin Fryderyk Nocturne in A flat major Op. 32 No. 2 Chopin Fryderyk Nocturne in B flat minor Op. 9 No. 1 Chopin Fryderyk Nocturne in C minor Op. 48 No. 1 Chopin Fryderyk Nocturne in C sharp minor Op. 27 No. 1 Chopin Fryderyk Nocturne in D flat major Op. 27 No. 2 Chopin Fryderyk Nocturne in E major Op. 62 No. 2 Chopin Fryderyk Nocturne in E flat major Op. 55 No. 2 Chopin Fryderyk Nocturne in E flat major Op. 9 No. 2 Chopin Fryderyk Nocturne in E flat major Op. 9 No. 2 (version with variants) Chopin Fryderyk Nocturne in F major Op. 15 No. 1 Chopin Fryderyk Nocturne in F minor Op. 55 No. 1 Chopin Fryderyk Nocturne in F sharp major Op. 15 No. 2 Chopin Fryderyk Nocturne in F sharp minor Op. 48 No. 2 Chopin Fryderyk Nocturne in G major Op. 37 No. 2 Chopin Fryderyk Nocturne in G minor Op. 15 No. 3 Chopin Fryderyk Nocturne in G minor Op. 37 No. 1 Chopin Fryderyk Nocturne in B major Op. 32 No. 1 Chopin Fryderyk Nocturne in B major Op. 62 No. 1 Chopin Fryderyk Nocturne in B major Op. 9 No. 3

NATIONAL EDITION SERIES A VOLUME 7 Jan Ekier. Par CHOPIN FREDERIC. The Preludes of Op. 28 include all 24 major and minor tonalities arranged in a circle of fifths, with each major key being followed by its relative minor. Contrary to custom of using this type of piece as didactic material, Chopin's cycle was intended as concert music. The Preludes are a diverse variety of mood, tempo, articulation, texture, etc.The objective of the National Edition is to present Chopin's complete output in its authentic form, based on the entire body of available sources. Sources were analysed with up-to-date scientific and musicological methodology. The National Edition was based on sources originated from the composer, mainly autographs, copies of autographs and first editions with the composer's corrections, and pupils' copies with Chopin's annotations. In cases when original sources were lacking, the closest possible materials were used. Collecting the source materials was a laborious task which took years of effort. The characteristics of sources, the links and discrepancies between them as well as the reasons for particular editorial decisions are discussed in the Source Commentary in each volume. The Performance Commentary appended to each volume includes: the realisation of ornaments, comments on pedal markings (the original markings sometimes are inadequate, due to the difference in sound between pianos used in Chopin`s times and modern pianos), suggestions as to the harmonic legato (a performance technique often used by Chopin and now forgotten). About the National Edition Full Introduction to the Polish National Edition of the Works of Fryderyk Chopin / Date parution : 2023-11-03/ Recueil / Piano

Par DOBRZYNSKI IGNACY FELIKS. Ignacy Feliks Dobrzynski wrote eight nocturnes for piano. Five of them were published in 1833–1834 in two books as Opp. 21 and 24, while the remainder appeared in various occasional collections issued much later. The Nocturne in A major was written in 1846 and belongs to the group of works composed by Dobrzynski during his tour of German cities. That tour was designed to increase the composer’s popularity and boost his finances. Besides concerts and meetings promoting Dobrzynski’s music, the ‘marketing campaign’ also included the publication of his new salon miniatures in particular cities. This Nocturne appeared in print in Berlin as Op. 52, together with a short mazurka constituting a transcription of the earlier song ‘Gdzie lubi’ (‘A fickle maid’). The form of this piece is based on an A-B-A1 scheme typical of the genre, with a quite elaborate epilogue. In section A, the composer based the melody on a one-bar motif in mazurka rhythm, which he combined with a bass led in widely spread chords, often used in nocturnes. He thus obtained a specifically idyllic mood. The sonorities, the type of melody and texture and, above all, the ornaments that appear as the work progresses bring to mind the early work of Fryderyk Chopin. The chordal section B, of lively expression, in the key of F sharp minor and a uniform triple rhythm, triggers associations with the middle section of Chopin’s Nocturne in A flat major, Op. 32 No. 2. After a short bridge, the reprise comprises a reiteration of the opening part of section A, which then passes into the epilogue, in which the composer splices motifs from both contrasting sections. It is difficult to date the second Nocturne published here and to establish the circumstances surrounding its composition. It was published posthumously (in 1868, in Warsaw), in the Album Pamiatkowe IG.F. Dobrzynskiego (‘Souvenir album of I. F. Dobrzynski’), which also contained two mazurkas, two songs and an excerpt from his incidental music for the play Konrad Wallenrod arranged for four hands. These compositions were not previously published and probably come from private collections. The Nocturne carries a dedication to Miss Wanda Miecznikowska. Determining the principal key of this work is rather problematic, since it falls into two tonally and expressively contrasting sections, divided by a lengthy caesura. An agitated, emotional episode in F minor (in A-B-A1 form, section B in A flat major), ending with a distinct conclusion, is followed, rather unexpectedly, by completely new material in the key of F major; adhering to a slower tempo and of very restrained expression, it serves as a sort of post scriptum, a lengthy and calming musical commentary to the foregoing segment. One may even gain the impression that this Nocturne is essentially a diptych consisting of two separate ‘songs without words’. Judging by its style, which is close to the lyric writing of Franz Schubert, Felix Mendelssohn-Bartholdy or John Field, with elements of the style brillant, this work could have been written earlier than the Nocturne in A major. One may also discern here a certain melodic-rhythmic similarity to the above-mentioned Nocturne in A flat major by Chopin. Both these Dobrzynski mazurkas could make interesting additions to the repertoire of both professional pianists and more advanced amateurs interested in nineteenth-century salon music. They may also enrich the programmes of concerts and broadcasts, particularly those devoted to Polish music, and also be included on the curricula of secondary schools of music. The present edition was based on the first editions. The proposed fingering in both works and the pedalling in the Nocturne in A major are entirely the work of the editors; other editorial performance markings are given in brackets. / Répertoire / Piano

Over 100 selections for piano, carefully and progressively graded. Includes music by Bach, Beethoven, Brahms, Chopin, Handel, Massenet, Mozart and many more. / Piano

Par BIRCH SVEN. Brahms Johannes: Erlaube mir, feins Mädchen WoO 33 · Grieg Edvard: Letzter Frühling · Fauré Gabriel-Urbain: Berceuse op. 56/1 · Chopin Frédéric: Mazurka C-Dur op. 67/3 · Händel Georg Friedrich: VI. Sonate für Violine und Klavier HWV 373 · Dvorák Antonín: Symphonie Nr. 8 G-Dur op. 88, IV. Satz · Beethoven Ludwig van: Thema aus: 6 Variationen op. 76 · Borodin Alexander: Polowetzer Tanz Nr. 1 · Debussy Claude: En bateau aus: Petite Suite · Schumann Robert: Quintett Es-Dur op. 44, II. Satz · Tschaikowsky Peter Iljitsch: Rokokothema op. 33/ Recueil / Piano

This collection contains 39 easy-to-play piano pieces from the Baroque to the Early Modern period and presents an ideal repertoire for music schools and private music-making.Conceived as a current supplement to Bärenreiter's popular anthology 'Easy Classics for Piano? (BA 8758), it offers a wide-ranging repertoire which includes popular classical pieces but also small gems such as Chopin's 'Contredanse? in G-flat major as well as Satie's 'Berceuse? and 'Méditation?. Tried and tested fingering by the experienced pianist and piano teacher Annette Töpel help players to learn the pieces more quickly.- Ideal for students, music-lovers and piano teachers- Tried and tested fingering - Practical page-turnsFrom the contents:Chopin, 'Préludes? in A major and C minor (op. 28 nos. 7 and 20), Contredanse in G-flat major, Schumann, 'Bärentanz and Haschemann? / Bach, 'Preludes? / Debussy, 'The little shepherd? from 'Children's Corner? / Mendelssohn, 'Wedding March? / Brahms, 'Waltz? in E major (op. 39 #5), Theme from the 'Paganini Variations? (op. 35), 'Verstohlen geht der Mond auf? from Piano Sonata op. 1 (movt. 2) / Ravel, Prélude / Satie, 'Berceuse? and 'Méditation? / Piano

10 Morceaux de favoris par les maîtres. Cette édition propre des oeuvres nouvellement gravé pour Flute et Piano contient dix des chefs-d'oeuvre de romantique préféré du flutiste. Pièces comprennent : Beethoven - Sérénade en ré majeur (mouvements sélectionnés) - Bizet - entracte de Carmen - Chopin - Variations sur un thème de Rossini - Saint-SaËns - le cygne - Kuhnau - Divertissement - Schumann - trois romans - et plus encore. Informations sur les compositeurs et les pièces individuelles et une préface de l'éditeur Elaine Schmit compléter le volume. Flûte partie insert est inclus. Ce recueil de chansons est le volume de compagnon idéal pour le Baroque et classique flûte / Flûte Traversière

Détendez-vous au piano avec cette collection exceptionnelle de morceaux apaisants. Jouez certaines pièces des plus grands compositeurs classiques de tous les temps : Bach, Beach, Beethoven, Chopin, Coleridge-Taylor, Debussy, Mozart, Schumann et bien d'autres. Certaines oeuvres ont été transposées et simplifiées./ Recueil / Piano

Arrangements de facile a moyen concu pour faire ressortir lesqualites remarquable du violoncelle. Ce qui comprend les chansons folk, les dances et le travails par Debussy, Chopin et Brahms. Partition de violoncelle a part. / Violoncelle Et Piano / 160 pages / Partition