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...
Composed by Various. Arranged by Christopher Robinson. Music Sales America. Sacr...(+)
Composed by Various.
Arranged by Christopher
Robinson. Music Sales
America. Sacred.
Softcover. 56 pages.
Novello and Co Ltd.
#NOV956021. Published by
Novello and Co Ltd.
Easy Piano SKU: BT.MUSAM1010658 Really Easy Piano. Pop and Rock. Book wit...(+)
Easy Piano
SKU:
BT.MUSAM1010658
Really Easy Piano. Pop
and Rock. Book with
Online Audio. Composed
2015. 48 pages. Wise
Publications
#MUSAM1010658. Published
by Wise Publications
(BT.MUSAM1010658).
ISBN 9781783059829.
English.
With the
Really Easy Piano
Playalong songbook, you
can learn 19 Classic Hit
Songs with these
simplified arrangements
for Easy Piano, then use
the included download
card to hear
demonstrations and
backing tracks that you
can play along to.
Featuring a wealth of
some of the most famous
tunes of all time by the
greatest singers and
songwriters ever, these
Classic Hit Songs  are
essential playing for all
pianists, and the Really
Easy Piano Playalong book
lets beginners
immediately pick up these
wonderful melodies. From
classic pop songs like
All Shook Up, Downtown
and Waterloo to those
beautiful ballads like
Rocket Man, Hallelujah
 and Fields Of Gold,
this collection
offersamazing variety of
tunes that can be placed
right at beginner
pianist's fingertips.ÂÂ
With the accompanying
download card, you will
get instant online access
to fantastic-sounding
demonstration and backing
tracks for each tune.
This means you'll be able
to hear how each Classic
Hit Song  should
sound, then learn them
using the easy-to-read
sheet music, before
playing your own versions
along to the backing
tracks. With songs by
such bestselling artists
as Simon and Garfunkel,
The Beatles, David Bowie
and Louis Armstrong, this
is a fantastic book for
learning all of those
timeless tunes that
everyone loves, and with
the help of some
fingering hints,
performance tips, lyrics
and fascinating
background information,
the Really Easy Piano
Playalong really is the
perfect songbook for
pianists who love pop
hits. The fantastic
selection of brilliant
songs from these
wonderful musicians
places some of the
greatest tunes of all
time at any beginner
pianist's fingertips.
Your friends and family
will no doubt be wholly
impressed with how great
each of these songs sound
on the Piano, especially
when played along with
the backing tracks. For a
collection of 19 Classic
Hit Songs,  look no
further than the Really
Easy Piano Playalong
 songbook.
Clarinet and Piano SKU: ST.C143 Composed by Alexander Glazunov. Wind & br...(+)
Clarinet and Piano
SKU: ST.C143
Composed by Alexander
Glazunov. Wind & brass
music. Clifton Edition
#C143. Published by
Clifton Edition
(ST.C143).
ISBN
9790570811434.
Alex
ander Konstantinovich
Glazunov (1865-1936)
trained under Rimsky-
Korsakov and became the
most illustrious Russian
composer and conductor
immediately succeeding
Tchaikovsky. Glazunov’s
close affinity with the
Saint Petersburg
Conservatory, of which
institution he would
later become Director for
more than two decades,
placed him ideally to
assist in the
Institute’s transition
to the Petrograd
Conservatory in the
immediate wake of the
Bolshevik Revolution of
1917. For the last six
years of his life,
Glazunov left the USSR,
feeling hemmed in by
propagandist restrictions
and at the same time out
of kilter with the
Modernist
movement.
He lived
in exile for a time,
touring the USA, before
eventually settling in
Paris, though his stoical
brand of Russian
Romanticism never waned.
Despite being partly
remembered for having
taught Shostakovich,
Glazunov was never known
as a revolutionary
composer, more inclined
to align himself with
19th century ideologies
than with the thrusting
new compositional paths
forged by Prokofiev and
others. Indeed, the
nationalistic movement so
successfully espoused by
Balakirev found a new
energy in Glazunov’s
hands, and he discovered
an opulence of scale
which leaned more in the
direction of
Borodin.
There can
be no doubting
Glazunov’s technical
mastery, which
successfully drew
together contrapuntal,
lyrical and virtuosic
skills, and which were
admired by the likes of
Liszt. Glazunov steered a
steady course at a time
when it was most sorely
needed; one need only
hear the marvellous
Violin Concerto in A
minor to experience the
full power and authority
of his writing, though he
possessed an enviable
touch with more intimate
forms too, such as those
readily to be heard in
these three charming
Miniatures
Op.42, originally
composed for
piano. Clarinet and
Piano Transcribed by
M
ark Tanner Grades
6 & 7 (Trinity Grades
6 & 7
syllabuses) Former
Spartan Press Cat. No.:
SP1360.
Piano - intermediate SKU: M7.ART-42217 11 mittelschwere moderne Klaviernoten fÃ...(+)
Piano - intermediate
SKU: M7.ART-42217
11 mittelschwere moderne
Klaviernoten für
Jugendliche and
Erwachsene. Composed by
Tatjana Davidoff. Score
with online audio files.
48 pages. Artist Ahead
Musikverlag #ART 42217.
Published by Artist Ahead
Musikverlag
(M7.ART-42217).
ISBN 9783866422179.
German.
Klavier - und mein Leben
klingt schön -
Klaviernoten, die
herausfordern und
trotzdem Freude am
Spielen bereiten! Dieses
Klavieralbum umfasst eine
vielfältige Auswahl
mittelschwerer moderner
sowie gefühlvoller
Kompositionen, die Dir
zahlreiche Techniken und
unterschiedliche Stile
vermitteln. 11 moderne
Klaviernoten für
Jugendliche and
Erwachsene - Die
vorliegenden
Kompositionen sind weder
zu einfach noch zu
anspruchsvoll. Sie sind
speziell für Lernende
komponiert, die sich
musikalisch
weiterentwickeln
möchten. Nicht nur
deine technischen
Fertigkeiten werden
geschult und verbessert,
auch deine
interpretatorischen
Fähigkeiten werden
gefördert, so dass das
Klavierspiel an
Ausdrucksvermögen
gewinnt.
Abwechslungsreiche
Sammlung - Der Inhalt
dieses Heftes umfasst
eine vielfältige
Auswahl moderner
Stücke (Klassik, Rock,
Pop and Jazz ) und wird
es Dir ermöglichen,
Dich zu deinem ganz
individuellen Stil
vorzutasten und die
Vorzüge des kreativen
Musizierens zu
genießen. So kannst Du
deinen musikalischen
Horizont erweitern und
deine Fertigkeiten als
Klavierspielerin und
Klavierspieler
verfeinern. Hilfreiche
Fingersätze -
Zusätzlich sind die
Noten mit hilfreichen
Fingersätzen versehen.
Dies erleichtert es Dir,
auch schwierigere
Passagen flüssig zu
spielen. Kostenlose
Audio-Dateien zum
Herunterladen - Wenn Du
hören möchtest, wie
ein Stück klingen
sollte, helfen Dir die
Audiodateien dabei, ein
Gefühl für Melodie,
Timing, Ausdruck und
Dynamik zu entwickeln.
Eine Freude für jeden
- Dieses Klavieralbum
eignet sich wunderbar als
Geburtstags- oder
Weihnachtsgeschenk für
Klavierbegeisterte,
angehende PianistInnen
und KlavierlehrerInnen!
Urtext based on the
new Complete Edition (G.
Henle Verlag).
Composed by Johannes
Brahms. Edited by Michael
Struck. Stapled.
Orchester-Bibliothek
(Orchestral Library). The
piano reduction and the
study score
(,,Studien-Edition) are
available at G. Henle
Verlag. Solo concerto;
Romantic. Part. 12 pages.
Duration 35'. Breitkopf
and Haertel #OB 16104-19.
Published by Breitkopf
and Haertel
(BR.OB-16104-19).
ISBN
9790004339435. 10 x 12.5
inches.
The
publishers Henle and
Breitkopf & Hartel are
continuing their
collaboration, now with
Brahms, by publishing the
performance material of
the double concerto.
Brahms's last work with
orchestra was published
in the new Brahms
Complete Edition in 2002,
whereby the editor was
able to base himself on
newly accessible sources.
Of particular interest
are the additional
performance instructions
for the solo violin and
solo cello, which were
gathered from the first
edition of the solo
parts. These indications
were supplied by the
soloists of the first
performance, Joseph
Joachim and Robert
Hausmann. No doubt
authorized by Brahms,
they communicate valuable
insights into the
performance practice of
the time. The new
material also contains a
part in which the solo
violin and cello are
notated one above the
other. The trio edition
for violin, violoncello
and piano (EB 6040),
which was made by Brahms
himself, has proven
itself for chamber
performances; it
continues to be
available.The full score
is a conductor's dream:
big, bold, and
beautifully laid out on
glare-free bluff paper.
(Strings).
Urtext based on the
new Complete Edition (G.
Henle Verlag).
Composed by Johannes
Brahms. Edited by Michael
Struck. Stapled.
Orchester-Bibliothek
(Orchestral Library). The
piano reduction and the
study score
(,,Studien-Edition) are
available at G. Henle
Verlag. Solo concerto;
Romantic. Part. 12 pages.
Duration 35'. Breitkopf
and Haertel #OB 16104-27.
Published by Breitkopf
and Haertel
(BR.OB-16104-27).
ISBN
9790004339459. 10 x 12.5
inches.
The
publishers Henle and
Breitkopf & Hartel are
continuing their
collaboration, now with
Brahms, by publishing the
performance material of
the double concerto.
Brahms's last work with
orchestra was published
in the new Brahms
Complete Edition in 2002,
whereby the editor was
able to base himself on
newly accessible sources.
Of particular interest
are the additional
performance instructions
for the solo violin and
solo cello, which were
gathered from the first
edition of the solo
parts. These indications
were supplied by the
soloists of the first
performance, Joseph
Joachim and Robert
Hausmann. No doubt
authorized by Brahms,
they communicate valuable
insights into the
performance practice of
the time. The new
material also contains a
part in which the solo
violin and cello are
notated one above the
other. The trio edition
for violin, violoncello
and piano (EB 6040),
which was made by Brahms
himself, has proven
itself for chamber
performances; it
continues to be
available.The full score
is a conductor's dream:
big, bold, and
beautifully laid out on
glare-free bluff paper.
(Strings).
Urtext based on the
new Complete Edition (G.
Henle Verlag).
Composed by Johannes
Brahms. Edited by Michael
Struck. Folder.
Orchester-Bibliothek
(Orchestral Library). The
piano reduction and the
study score
(,,Studien-Edition) are
available at G. Henle
Verlag. Solo concerto;
Romantic. Set of parts.
100 pages. Duration 35'.
Breitkopf and Haertel #OB
16104-30. Published by
Breitkopf and Haertel
(BR.OB-16104-30).
ISBN
9790004339466. 10 x 12.5
inches.
The
publishers Henle and
Breitkopf & Hartel are
continuing their
collaboration, now with
Brahms, by publishing the
performance material of
the double concerto.
Brahms's last work with
orchestra was published
in the new Brahms
Complete Edition in 2002,
whereby the editor was
able to base himself on
newly accessible sources.
Of particular interest
are the additional
performance instructions
for the solo violin and
solo cello, which were
gathered from the first
edition of the solo
parts. These indications
were supplied by the
soloists of the first
performance, Joseph
Joachim and Robert
Hausmann. No doubt
authorized by Brahms,
they communicate valuable
insights into the
performance practice of
the time. The new
material also contains a
part in which the solo
violin and cello are
notated one above the
other. The trio edition
for violin, violoncello
and piano (EB 6040),
which was made by Brahms
himself, has proven
itself for chamber
performances; it
continues to be
available.The full score
is a conductor's dream:
big, bold, and
beautifully laid out on
glare-free bluff paper.
(Strings).
Urtext based on the
new Complete Edition (G.
Henle Verlag).
Composed by Johannes
Brahms. Edited by Michael
Struck. Stapled.
Orchester-Bibliothek
(Orchestral Library). The
piano reduction and the
study score
(,,Studien-Edition) are
available at G. Henle
Verlag. Solo concerto;
Romantic. Part. 12 pages.
Duration 35'. Breitkopf
and Haertel #OB 16104-16.
Published by Breitkopf
and Haertel
(BR.OB-16104-16).
ISBN
9790004339428. 10 x 12.5
inches.
The
publishers Henle and
Breitkopf & Hartel are
continuing their
collaboration, now with
Brahms, by publishing the
performance material of
the double concerto.
Brahms's last work with
orchestra was published
in the new Brahms
Complete Edition in 2002,
whereby the editor was
able to base himself on
newly accessible sources.
Of particular interest
are the additional
performance instructions
for the solo violin and
solo cello, which were
gathered from the first
edition of the solo
parts. These indications
were supplied by the
soloists of the first
performance, Joseph
Joachim and Robert
Hausmann. No doubt
authorized by Brahms,
they communicate valuable
insights into the
performance practice of
the time. The new
material also contains a
part in which the solo
violin and cello are
notated one above the
other. The trio edition
for violin, violoncello
and piano (EB 6040),
which was made by Brahms
himself, has proven
itself for chamber
performances; it
continues to be
available.The full score
is a conductor's dream:
big, bold, and
beautifully laid out on
glare-free bluff paper.
(Strings).
Urtext based on the
new Complete Edition (G.
Henle Verlag).
Composed by Johannes
Brahms. Edited by Michael
Struck. Stapled.
Orchester-Bibliothek
(Orchestral Library). The
piano reduction and the
study score
(,,Studien-Edition) are
available at G. Henle
Verlag. Solo concerto;
Romantic. Part. 12 pages.
Duration 35'. Breitkopf
and Haertel #OB 16104-23.
Published by Breitkopf
and Haertel
(BR.OB-16104-23).
ISBN
9790004339442. 10 x 12.5
inches.
The
publishers Henle and
Breitkopf & Hartel are
continuing their
collaboration, now with
Brahms, by publishing the
performance material of
the double concerto.
Brahms's last work with
orchestra was published
in the new Brahms
Complete Edition in 2002,
whereby the editor was
able to base himself on
newly accessible sources.
Of particular interest
are the additional
performance instructions
for the solo violin and
solo cello, which were
gathered from the first
edition of the solo
parts. These indications
were supplied by the
soloists of the first
performance, Joseph
Joachim and Robert
Hausmann. No doubt
authorized by Brahms,
they communicate valuable
insights into the
performance practice of
the time. The new
material also contains a
part in which the solo
violin and cello are
notated one above the
other. The trio edition
for violin, violoncello
and piano (EB 6040),
which was made by Brahms
himself, has proven
itself for chamber
performances; it
continues to be
available.The full score
is a conductor's dream:
big, bold, and
beautifully laid out on
glare-free bluff paper.
(Strings).
Piano - intermediate SKU: BT.DHP-1145559-401 12 intermediate solos for...(+)
Piano - intermediate
SKU:
BT.DHP-1145559-401
12 intermediate solos
for the modern
pianist. Composed by
Michiel Merkies. Book
Only. Composed 2014. 32
pages. De Haske
Publications #DHP
1145559-401. Published by
De Haske Publications
(BT.DHP-1145559-401).
ISBN 9789043136082.
9x12 inches.
International.
PIAN
O SOLOS features twelve
marvellous contemporary
compositions that were
written in the style of
the pop and film music
genres. The solos are
designed to develop
technique and focus on
musical expression,
whilst also being fun to
play. Suitable
forintermediate players
and ideal for piano
lessons.
Stylistically reminiscent
of Yann Tiersen and
Yurama, these 12 pieces
by Michiel Merkies
accompany his Piano
Life method. The
focus of these pieces is
on the pleasure of
playing. This modern
music will complement
your piano playing
todayand fuel your
ambitions for
tomorrow!
In PIANO
SOLOS vind je twaalf
schitterende hedendaagse
composities in een bijna
filmische, poëtische
popmuziekstijl. De
stukken zijn bedoeld om
je techniek en muzikale
voordracht te
ontwikkelen, maar ze zijn
vooral heel leuk om te
spelen.
Demoeilijkheidsgraad is
gemiddeld en het boek is
bijzonder geschikt voor
gebruik in de pianoles.
Kortom: dit is muziek
die past bij je pianospel
van vandaag en bij je
ambities voor
morgen!
PIANO
SOLOS: Das sind zwölf
großartige moderne
Kompositionen in einem
filmischen, poetisch
anmutenden Pop-Stil. Die
Stücke sind dazu
gedacht, die Technik zu
verfeinern und Schüler
im musikalischen Vortrag
zu schulen, aber sie
machen vor allem
auchSpaß zu spielen.
Das im mittleren
Schwierigkeitsgrad
gehaltene Buch eignet
sich besonders gut für
den Gebrauch im
Klavierunterricht. Kur
zum: Dies ist Musik
für das Klavierspiel
der Gegenwart, die den
Ehrgeiz für die
Zukunft
weckt!
PIANO SOLOS
raccoglie 12 splendide
composizioni
contemporanee scritte in
uno stile che si avvicina
alla musica fa film,
poetico e con accenti
pop. I brani sono stati
scritti per sviluppare la
tecnica e
l’espressione
musicale, ma sono in
primo luogodivertenti da
eseguire. Il livello di
difficolt è intermedio
e i pezzi si prestano in
modo ottimale ad essere
utilizzati come materiale
da studio. In breve:
musica perfetta per le
esigenze attuali e le
ambizioni future!
(Violin with Piano Reduction). Composed by Henry Vieuxtemps. Edited by Ray Iwazu...(+)
(Violin with Piano
Reduction). Composed by
Henry Vieuxtemps. Edited
by Ray Iwazumi. For
Violin, Piano
Accompaniment. Henle
Music Folios. Softcover.
G. Henle #HN1257.
Published by G. Henle
Piano, Voix et Guitare [Partition] - Intermédiaire Hal Leonard
Budget Books. Piano/Vocal/Chords Mixed Folio (Arrangements for piano and voice w...(+)
Budget Books.
Piano/Vocal/Chords Mixed
Folio (Arrangements for
piano and voice with
guitar chords). Size
8.37x10.87 inches. 352
pages. Published by Hal
Leonard.
(Piano Solo). Composed by Enrique Granados (1867-1916). Edited by Ulrich Scheide...(+)
(Piano Solo). Composed by
Enrique Granados
(1867-1916). Edited by
Ulrich Scheideler. For
Piano. Henle Music
Folios. Softcover. 88
pages. G. Henle #HN582.
Published by G. Henle
11 Miniaturen. Composed by Claus Kuhnl. Edition Breitkopf. In these eleven s...(+)
11 Miniaturen. Composed
by
Claus Kuhnl. Edition
Breitkopf.
In these eleven short
piano
pieces, the composer
follows
the cue of such
modern-day
masters as Olivier
Messiaen,
Karlheinz Stockhausen,
Helmut
Lachenmann and Nicolaus
A.
Huber.
Pedagogical. Breitkopf
and
Haertel #EB-9175.
Published
by Breitkopf and Haertel
Piano, Violin, and Horn (with viola or cello instead of horn). Composed b...(+)
Piano, Violin, and
Horn (with viola or cello
instead of horn).
Composed by Johannes
Brahms (1833-1897).
Edited by Katharina
Loose-Einfalt. Henle
Music Folios. Classical.
Softcover. G. Henle
#HN811. Published by G.
Henle (HL.51480811).
Edited by Zoby Perez. Piano arrangement mixed folio (Big Note Piano: large, simp...(+)
Edited by Zoby Perez.
Piano arrangement mixed
folio (Big Note Piano:
large, simple,
easy-to-read melodies).
Level: big note.
Published by Alfred
Publishing.