(Over 850 Classical Themes and Melodies in the Original Keys) For C instrument. Format: fakebook (spiral bound). With vocal melody (excerpts) and chord names. Lassical. Series: Hal Leonard Fake Books. 646 pages. 9x12 inches. Published by Hal Leonard.

Composed by Wolfgang Amadeus Mozart (1756-1791). For solo piano. Format: piano solo book. Classical period. Series: The World's Great Classical Music. 208 pages. 9x12 inches. Published by Hal Leonard.

Composed by Wolfgang Amadeus Mozart (1756-1791). For solo piano. Format: piano solo book. Classical period. Series: The World's Great Classical Music. 224 pages. 9x12 inches. Published by Hal Leonard.

(pending). For Piano. Book; Masterworks; Piano Collection. Masterwork; Recital. 356 pages. Published by Alfred Music Publishing

For solo piano. Format: piano solo book. Classical period and romantic period. 352 pages. 9x12 inches. Published by Hal Leonard.

For solo piano. Format: piano solo book. Classical period and romantic period. Series: The World's Great Classical Music. 232 pages. 9x12 inches. Published by Hal Leonard.

Composed by Various. For Piano/Keyboard. Piano Solo Songbook. Softcover. 122 pages. Published by Hal Leonard

133 Selections by 43 Composers. Piano Solo Mixed Folio (Intermediate to advanced piano arrangements with no lyrics). Size 9x12 inches. 480 pages. Published by Hal Leonard.

Pastorale. By Ludwig van Beethoven. Edited by N. Gertsch. For piano solo. This edition: HN725. Piano (Harpsichord), 2-hands. Henle Music Folios. Urtext edition (Paper-bound). 40 pages. Published by Henle Urtext Edition.

Composed by Peter Ilyich Tchaikovsky. For solo piano. Format: piano solo book. Romantic period. Series: The World's Great Classical Music. 216 pages. 9x12 inches. Published by Hal Leonard.

For Piano. Classical, Folk, Holiday. Sheet Music. 240 pages. Published by Music Sales.

Composed by Various. For Piano. Easy Piano Songbook. Softcover. 138 pages. Published by Hal Leonard

(The World's Great Classical Music) For solo piano. Format: piano solo book. With introductory text and composer biographies. Classical period, romantic period, impressionistic and baroque. 240 pages. 9x12 inches. Published by Hal Leonard.

Edited by Amy Appleby. Collection and examples CD for solo piano. Over 125 great masterpieces from the Baroque, Classical, Romantic, and Modern eras. Series: Piano Treasury Series. 399 pages. Published by Music Sales.

(Easy Piano Solo). By Various. For Easy piano. Music Sales America. Classical. Softcover. 160 pages

Music for Brass No. 801 Version for Trumpet and Piano. Composed by Johann Nepomuk Hummel (1778-1837). Robert King. Classical. CD only. 44 pages. Alphonse Leduc #AL28564. Published by Alphonse Leduc

Orchestra - all

SKU: PR.816600040

Composed by Wolfgang Amadeus Mozart. CD Sheet Music (Version 1). Full Scores to all of the major works for orchestra by Mozart - parts not included. Classical Period. CD Sheet Music. 2000 printable pages. Published by Theodore Presser Company (PR.816600040).

UPC: 680160600045. 5.5x5 inches.

This disk contains study scores of all 41 of Mozart's Symphonies, as well as Concertos for Winds and Strings (Piano Concertos are on a companion CD-ROM), Serenades, Opera Overtures, Divertimentos, and other works.

About CD Sheet Music (Version 1)

CD Sheet Music (Version 1) was the initial CD Sheet Music series distributed by Theodore Presser. The CDs include thousands of pages of music that are viewable and printable on Mac or PC. Version 1 titles are a great value at 40% off, as we make room in our warehouse for the newly enhanced CD Sheet Music (Version 2.0) series.

(7 Transcriptions for Late Intermediate to Early Advanced Pianists). Edited by Lucy Mauro and Scott Beard. For Piano. Duet or Duo; Graded Standard Repertoire; Masterworks; Piano Duet (1 Piano, 4 Hands). Alfred Masterwork Edition: Essential Keyboard Repertoire. Masterwork; Recital. Early Advanced; Late Intermediate. Book. 136 pages

Chamber orchestra (Orchestra)

SKU: BA.BA05355

Composed by Wolfgang Amadeus Mozart. Edited by Gerhard Allroggen. This edition: urtext edition. Stapled. Barenreiter Urtext. Score. K. 45, No. 7. 22 pages. Duration 13 minutes. Baerenreiter Verlag #BA05355_00. Published by Baerenreiter Verlag (BA.BA05355).

ISBN 9790006468935. 31 x 24.3 cm inches. Key: D major.

Urtext der Neuen Mozart-Ausgabe.

About Barenreiter Urtext

What can I expect from a Barenreiter Urtext edition?< /p>

MUSICOLOGICA LLY SOUND
- A reliable musical text based on all available sources
- A description of the sources
- Information on the genesis and history of the work
- Valuable notes on performance practice
- Includes an introduction with critical commentary explaining source discrepancies and editorial decisions

... AND PRACTICAL
- Page-turns, fold-out pages, and cues where you need them
- A well-presented layout and a user-friendly format
- Excellent print quality
- Superior paper and binding

Composed by Franz Schubert (1797-1828). Edited by Arnold Feil; Christa Landon. For viola. This edition: Urtext edition. Stapled. Single part. Composed 1815. D 200, No. 3. Duration 26 minutes. Published by Baerenreiter Verlag

Composed by Franz Schubert (1797-1828). Edited by Arnold Feil; Christa Landon. For orchestra (2 flutes/2 oboes/2 clarinets/2 bassoons/2 horns/2 trumpets/timpani). This edition: Urtext edition. Stapled. Set of wind parts. Composed 1815. D 200, No. 3. Duration 26 minutes. Published by Baerenreiter Verlag

Composed by Franz Schubert (1797-1828). Edited by Arnold Feil; Christa Landon. For first violin. This edition: Urtext edition. Stapled. Single part. Composed 1815. D 200, No. 3. Duration 26 minutes. Published by Baerenreiter Verlag

Easiest Piano Works by Joseph Haydn. Composed by Franz Joseph Haydn (1732- 1809). Edited by Wilhelm Ohmen. This edition: Saddle stitching. Sheet music. Piano Solo. Classical. Softcover. 64 pages. Schott Music #ED 23051. Published by Schott Music

Chamber Music Piano

SKU: PR.110418370

Composed by Charles Ives. Arranged by Danny Holt. Performance Score. 20 pages. Duration 8 minutes. Theodore Presser Company #110-41837. Published by Theodore Presser Company (PR.110418370).

ISBN 9781491135075. UPC: 680160686247.

Compo sed as an organ solo by the 17-year-old Ives for his own performance purposes, the beloved Variations on America is a treat for any occasion, whether a holiday concert, a serious recital, or other special event. Danny Holt’s transcription for Piano, Four Hands adds a dazzling new option to play at home or on stage, taking best advantage of Ives’ tremendous contrasts in color, dynamics, and texture.
Composed when Charles Ives was a teenager, Variations on “America” is both a convenient introduction to Ives’ body of work, and an early example of his iconoclastic musical voice and creative genius. Just a few years after composing this piece, Ives would leave home to study music at Yale. But until then he had been taught by his father, George (who had been a bandmaster in the Civil War). George subjected the young Ives to experiments such as singing a song in one key while being accompanied in another, or arranging for two marching bands to converge on a town center, with the resulting cacophony that ensued.The Variations exemplifies an early period of experimentation in Ives’ work, spurred on by the unusual pedagogy of his father. The piece is particularly notable for its use of bitonality in the two interludes, subtly foreshadowing more well-known examples by Stravinsky, Bartók, and others by approximately two decades.The bitonal interludes were so ahead of their time, in fact, they were omitted from the first copy that was submitted to a publisher in 1892. (Alas, the piece was rejected even despite these “shocking” elements having been left out, and it wasn’t published until more than five decades later.) There is some ambiguity about when exactly Ives added the interludes into his manuscript copy, though ample evidence suggests he had performed the piece with the interludes around the time he notated the piece in 1891-92. In any case, in light of this piece and his other polytonal explorations from the last decade of the 19th century, it seems fair to give Ives credit for being a pioneer in this area!This arrangement for Piano, Four Hands, closely follows Ives’ original version for organ, setting aside William Schuman’s popular adaptation for symphony orchestra and William Rhoads’ band transcription of the Schuman orchestration. Pianists will find that the piece translates well to the instrument. Ideally, the choreography and logistics of elbow-to-elbow four-hands playing approximates the wild joy one gets from watching an organist play the piece (e.g., the elaborate pedal part in the final variation).In preparing this publication, attention was paid to details in the dual Critical Editions (Presser 443-41003) of both Ives’ manuscript edition and the 1949 publication edited by organist E. Power Biggs (who is credited with discovering what had been a long-lost, forgotten work.) But as with much of Ives’ output, attempting to create a true ‘urtext’ score is a futile endeavor, and especially with a piece such as this one – in which Ives incorporated improvisation in live performance – seems unnecessary anyhow. True die-hards are of course encouraged to consult the critical editions and even find inspiration in the orchestrated version. Generally, performers are advised to be wild, have fun, and not to be too rigid in their interpretive choices.Dynamics in this arrangement mostly follow the organ score closely. Pianists will use good judgment about pedaling throughout, which should be straightforward and intuitive. Courtesy accidentals have been provided frequently – without parentheses – balancing the need for extra clarity in the context of Ives’ murky musical language, and a desire to avoid unnecessary clutter.A few notes that might inform interpretive decisions:mm. 15-16: There are inconsistencies here between Ives’ original manuscript and the 1949 Biggs edition, regarding the top voice in m. 15, beat 3 (C# vs. Cn) and m. 16 (D Major vs. D Minor).mm. 76-84 & 143-146: In both Interludes, Ives emphatically notates extreme dynamic contrast, in order to highlight the bitonality. Although it may seem counterintuitive (or even a misprint, as has apparently been misconstrued by some), performers are urged to follow the composer’s marking!m. 109: Two-note slurs have been added here for clarity and consistency with other similar passages, though they do not appear in either the original manuscript or Biggs.m. 112: The last two eighth notes of Primo appear as 16ths in the original manuscript.mm. 183-186: The original manuscript has a slightly different bass line.mm. 184 & 186: Primo gestures have been re-written to be slightly more idiomatic for Piano, Four Hands.m. 186: The breath mark at the end of this bar does not appear in either the manuscript or Biggs, but is an editorial suggestion – aside from being appropriately dramatic, it will indeed be necessary in a reverberant hall!I would like to thank Steven Vanhauwaert, the other half of my piano duo, 4handsLA, for his input on early drafts of this arrangement.— Danny Holt, April 2022.