| Transcriptions of Lieder Piano seul Carl Fischer
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... $32.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Classical FlexTrios - String Bass Kendor Music Inc.
Mixed Instrument Collection String Bass - 2-3 SKU: KN.19638 Composed by V...(+)
Mixed Instrument
Collection String Bass -
2-3 SKU: KN.19638
Composed by Various.
Arranged by Andrew
Balent. Mixed Instrument
Collection. Mixed
Instrument Collection.
Trios. Kendor Music Inc
#19638. Published by
Kendor Music Inc
(KN.19638). UPC:
822795196382. These
18 trios cover a wide
range of styles from the
Baroque era to the 20th
Century. Published in
score form for any
combination of
instruments using the
appropriate
key-compatible
books.
Contents:Royal Fanfare
(Duncombe); Minuet
(Purcell); Bagatelle
(Diabelli); Quadrille
(Haydn); Minuet From The
Royal Fireworks (Handel);
Largo (Corelli); March
Alla Turka (Mozart);
German Dance (Beethoven);
Rondo (Mozart); Sailor's
Song (Grieg); Scherzando
(Schumann); Polka
(Tschaikowsky); Slavonic
Dance (Dvorak); March Of
The Tin Soldiers
(Tschaikowsky); Country
Dance (German); Pizzicato
Polka (Delibes); Eine
Kleine Nachtmusik
(Mozart); and Ecossaise
(Schubert). $11.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Diabelli Variations Piano seul Furore Verlag
Composed by Various. Edited by Claudia Bigos. Contemporary. Score. Furore Ve...(+)
Composed by Various.
Edited by
Claudia Bigos.
Contemporary.
Score. Furore Verlag #FUE
10413. Published by
Furore
Verlag
$67.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Heygster M Wir Am Klavier Bd1 Piano seul - Débutant Schott
Piano (KL) - very easy SKU: HL.49032842 Musik zum Singen und Spielen f...(+)
Piano (KL) - very easy
SKU: HL.49032842
Musik zum Singen und
Spielen fur den
Klavierunterricht in der
Gruppe oder einzeln.
Composed by Malte
Heygster. This edition:
Saddle stitching. Sheet
music. Edition Schott. 72
pages. Schott Music #ED
8891. Published by Schott
Music (HL.49032842).
ISBN 9783795753863.
12.0x8.75x0.265 inches.
German. Rolf
Rettich. Wir am
Klavier ist ein
elementarer
Klavierlehrgang,
vorzugsweise fur den
Gruppenunterricht, aber
auch fur den
Einzelunterricht
geeignet. Er ist nach
pianistischer Progression
aufgebaut. Sein Ziel ist
es, neben soliden
spieltechnischen
Fertigkeiten die ganze
Breite von Fahigkeiten zu
vermitteln, die fur das
Heranwachsen eines
ausgebildeten Musikers
notig sind. Grundprinzip
ist das Spiel aus der
inneren Vorstellung. Band
1 enthalt: - Spielstucke
im Dreiton-, Funfton-,
Siebentonraum in Dur und
Moll - einfache Harmonien
und Begleitformen -
Spiele zum Formtraining -
Improvisationsanleitungen
- Lese- und
Schreibubungen - relative
Solmisation und
Rhythmussprache - Stucke
zum Ensemblemusizieren
Anregungen fur das
Vorgehen im Unterricht
enthalt der methodische
Kommentar, ED 8893. $23.99 - Voir plus => Acheter | | |
| De Bach a nos jours - Volume 1B Piano seul Lemoine, Henry
Piano SKU: LM.28443D Composed by Charles Herve and Jacqueline Pouillard. ...(+)
Piano SKU:
LM.28443D Composed by
Charles Herve and
Jacqueline Pouillard.
Classical. CD. Editions
Henry Lemoine #28443D.
Published by Editions
Henry Lemoine
(LM.28443D). ISBN
9790231701609. CLAR
KE : King William's Mora
- MAYKAPAR : Petit Conte
- SCHUMANN : En
fredonnant - PAPP : Valse
- PAPP : Sauterelle -
PASTERWITZ : Piece -
BARTOK : Chanson
d'enfants (For children
n. 1 vol. 2) - DIABELLI :
Bagatelle - GAYRHOS :
Phantasiesluck - KADOSA :
Chant populaire hongrois
- TELEMANN : Danse
galante - KELEMEN : Danse
des brins d'herbe -
PIEPER : Swing - TELEMANN
: Gigue a l'anglaise -
FARKAS : Danse magyar -
MAYKAPAR : Prelude -
BARTOK : En jouant (For
children n. 1 vol. 1) -
PURCELL : Menuet -
MAYKAPAR : Vision
Fugitive - MAYER :
Andantino - BARTOK : For
Children n. 17 vol. 2 -
HAENDEL : Rigaudon -
BORTKIEWICZ : A travers
les steppes - MAYKAPAR :
En automne - PAPP : Le
Carrosse tire par six
singes bleus - CLEMENTI :
Valse - MAYKAPAR :
Enfantine - MOZART :
Menuet - GARDONYI : Chant
populaire roumain -
TELEMANN : Gavotte -
GLINKA : Polka - BARTOK :
For Children n. 28 vol. 2
- CIMAROSA : Sonate -
HELLER : Chant d'automne
- KELEMEN : Le Chat au
soleil - PAPP : Valse
pour trompette - KULLAK :
Il etait une fois une
princesse - JAELL :
Petits lutins - HAYDN :
Final - PAPP : La
Nourrice et sa vilaine
fille - ROSSIGNOL : Les
Etoiles - VANHAL :
Sonatine opus 41 n. 121 -
SCHUBERT : Ecossaise -
SZELENYI : Sur la pelouse
- TURK : Gaiement - LEVY
: Lied - KUHLAU :
Sonatine (opus 55 n. 1) -
GLOCKNER : Arlequin. $19.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Easy Original Piano Duets 1 Piano, 4 mains [Partition] - Facile Music Sales
Edited by Poldi Zeitlin And David Goldberger. For Piano Duet. Classical. Sheet M...(+)
Edited by Poldi Zeitlin
And David Goldberger. For
Piano Duet. Classical.
Sheet Music. 160 pages.
Published by Wise
Publications.
$19.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Mass in E flat major (Messe in Es) Soli, choeur mixte et accompagnement satb (soli), SATB (chœur), Orchestre Carus Verlag
Orchestra SATB vocal soli, SATB choir, flute, 2 clarinets, 2 horns, 2 trumpets, ...(+)
Orchestra SATB vocal
soli, SATB choir, flute,
2 clarinets, 2 horns, 2
trumpets, timpani, 2
violins, viola,
cello/contrabass, organ
[1 flute, 2 horns]
SKU: CA.2300713
Composed by Anton
Diabelli. German title:
Messe in Es. Sacred vocal
music, Masses, Latin.
Single Part, Viola. Op.
107. 12 pages. Duration
25 minutes. Carus Verlag
#CV 23.007/13. Published
by Carus Verlag
(CA.2300713). ISBN
9790007037703. Key: E
flat major. Language:
Latin. In the
musical-historical
context Anton Diabelli is
among a transitional
group of Biedermeier
composers who cannot be
classed as either
classical or romantic.
Diabelli's intention was
to publish this Mass in
accordance with the
tradition of his teacher
Michael Haydn as a
Country Mass, although
its technical demands and
also its length far
exceeded those customary
in a Country Mass and
Missa brevis. The extant
sources offer scope for
performance in various
different versions as
regards the
instrumentation used, all
these versions having the
right to be considered
authentic. Score and part
available separately -
see item CA.2300700. $9.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Mass in E flat major (Messe in Es) Chorale SATB Carus Verlag
Orchestra Soli SATB Voices, SATB Choir, Fl, 2 Clt, 2 Cor, 2 Tr, Timp, 2 Vl, Va, ...(+)
Orchestra Soli SATB
Voices, SATB Choir, Fl, 2
Clt, 2 Cor, 2 Tr, Timp, 2
Vl, Va, Vc/Cb, Org [ Fl,
2 Cor] SKU:
CA.2300749 Composed
by Anton Diabelli. Sacred
vocal music, Masses,
Latin. Organ. Sacred
vocal music, Masses,
Latin. Single Part,
Organ. Op. 107. 20 pages.
Duration 25 minutes.
Carus Verlag #CV
23.007/49. Published by
Carus Verlag
(CA.2300749). ISBN
9790007241681. Key: E
flat major. Language:
Latin. In the
musical-historical
context Anton Diabelli is
among a transitional
group of Biedermeier
composers who cannot be
classed as either
classical or romantic.
Diabelli's intention was
to publish this Mass in
accordance with the
tradition of his teacher
Michael Haydn as a
Country Mass, although
its technical demands and
also its length far
exceeded those customary
in a Country Mass and
Missa brevis. The extant
sources offer scope for
performance in various
different versions as
regards the
instrumentation used, all
these versions having the
right to be considered
authentic. Score and part
available separately -
see item CA.2300700. $24.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Mass in E flat major (Messe in Es) Soli, choeur mixte et accompagnement satb (soli), SATB (chœur), Orchestre Carus Verlag
Orchestra SATB vocal soli, SATB choir, flute, 2 clarinets, 2 horns, 2 trumpets, ...(+)
Orchestra SATB vocal
soli, SATB choir, flute,
2 clarinets, 2 horns, 2
trumpets, timpani, 2
violins, viola,
cello/contrabass, organ
[1 flute, 2 horns]
SKU: CA.2300712
Composed by Anton
Diabelli. German title:
Messe in Es. Sacred vocal
music, Masses, Latin.
Single Part, Violin 2.
Op. 107. 12 pages.
Duration 25 minutes.
Carus Verlag #CV
23.007/12. Published by
Carus Verlag
(CA.2300712). ISBN
9790007037697. Key: E
flat major. Language:
Latin. In the
musical-historical
context Anton Diabelli is
among a transitional
group of Biedermeier
composers who cannot be
classed as either
classical or romantic.
Diabelli's intention was
to publish this Mass in
accordance with the
tradition of his teacher
Michael Haydn as a
Country Mass, although
its technical demands and
also its length far
exceeded those customary
in a Country Mass and
Missa brevis. The extant
sources offer scope for
performance in various
different versions as
regards the
instrumentation used, all
these versions having the
right to be considered
authentic. Score and part
available separately -
see item CA.2300700. $9.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Mass in E flat major (Messe in Es) Soli, choeur mixte et accompagnement satb (soli), SATB (chœur), Orchestre Carus Verlag
Orchestra SATB vocal soli, SATB choir, flute, 2 clarinets, 2 horns, 2 trumpets, ...(+)
Orchestra SATB vocal
soli, SATB choir, flute,
2 clarinets, 2 horns, 2
trumpets, timpani, 2
violins, viola,
cello/contrabass, organ
[1 flute, 2 horns]
SKU: CA.2300714
Composed by Anton
Diabelli. German title:
Messe in Es. Sacred vocal
music, Masses, Latin.
Single Part, Cello/Double
Bass. Op. 107. 12 pages.
Duration 25 minutes.
Carus Verlag #CV
23.007/14. Published by
Carus Verlag
(CA.2300714). ISBN
9790007037710. Key: E
flat major. Language:
Latin. In the
musical-historical
context Anton Diabelli is
among a transitional
group of Biedermeier
composers who cannot be
classed as either
classical or romantic.
Diabelli's intention was
to publish this Mass in
accordance with the
tradition of his teacher
Michael Haydn as a
Country Mass, although
its technical demands and
also its length far
exceeded those customary
in a Country Mass and
Missa brevis. The extant
sources offer scope for
performance in various
different versions as
regards the
instrumentation used, all
these versions having the
right to be considered
authentic. Score and part
available separately -
see item CA.2300700. $9.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Mass in E flat major (Messe in Es) Soli, choeur mixte et accompagnement satb (soli), SATB (chœur), Orchestre Carus Verlag
Orchestra SATB vocal soli, SATB choir, flute, 2 clarinets, 2 horns, 2 trumpets, ...(+)
Orchestra SATB vocal
soli, SATB choir, flute,
2 clarinets, 2 horns, 2
trumpets, timpani, 2
violins, viola,
cello/contrabass, organ
[1 flute, 2 horns]
SKU: CA.2300711
Composed by Anton
Diabelli. German title:
Messe in Es. Sacred vocal
music, Masses, Latin.
Single Part, Violin 1.
Op. 107. 12 pages.
Duration 25 minutes.
Carus Verlag #CV
23.007/11. Published by
Carus Verlag
(CA.2300711). ISBN
9790007037680. Key: E
flat major. Language:
Latin. In the
musical-historical
context Anton Diabelli is
among a transitional
group of Biedermeier
composers who cannot be
classed as either
classical or romantic.
Diabelli's intention was
to publish this Mass in
accordance with the
tradition of his teacher
Michael Haydn as a
Country Mass, although
its technical demands and
also its length far
exceeded those customary
in a Country Mass and
Missa brevis. The extant
sources offer scope for
performance in various
different versions as
regards the
instrumentation used, all
these versions having the
right to be considered
authentic. Score and part
available separately -
see item CA.2300700. $9.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Flute Repertoire 3 Flûte traversière The Frederick Harris Music Company
Flute - Advanced Beginner SKU: FH.FLR03 2010 Edition. Composed by ...(+)
Flute - Advanced Beginner
SKU: FH.FLR03
2010 Edition.
Composed by The Royal
Conservatory. Overtones:
A Comprehensive Flute
Series. Book/Piano
Accompaniment/CD. The
Frederick Harris Music
Company #FLR03. Published
by The Frederick Harris
Music Company (FH.FLR03).
ISBN
978-1-55440-291-5.
Unparalleled in scope,
Overtones offers all the
music flutists want in
one complete series! This
progressive collection
includes fundamental
repertoire and supporting
materials such as
Studies, Compact Discs,
Orchestral Excerpts, and
Technique. The richness
of music carefully
selected for this
compilation will resonate
with teachers and
students at every level
of study.This compilation
of standard orchestral
passages for flute is an
indispensable resource
for the developing years
and beyond. Teachers and
students will find this
unrivalled volume
essential for examination
or audition
preparation. Sonata in
C Major, BWV 1033: Menuet
I and Menuet II attr.
Johann Sebastian Bach,
arr. Stephen
Chatman Sonata in G
Minor, op. 2, no. 4 (La
Lumagne), Third movement:
Siciliana Michel Blavet,
arr. Kathleen Wood
Sonatina, op. 163,
no. 1, Second movement
Anton Diabelli, arr.
Kathleen
Wood Sonatina, op.
163, no. 4, Second
movement Anton Diabelli,
arr. Kathleen
Wood Anglois con
Variationi Johann
Gottlieb Nicolai, arr.
Stephen Chatman Sonata
in F Major, K 13,
Menuetto I and Menuetto
II Wolfgang Amadeus
Mozart Collage Michael
Conway Baker Robo-Tic
Kathryn
Cernauskas Almost
Waltz Robert
Fleming Windsurfer's
Waltz Adam
Gorb Machmad Levavi
(My Sweetheart) Sarah
Levi-Tanai, arr. Yoav
Talmi Ostinato Lowell
Liebermann Theme from
Fantasie melancolique
Mathieu-Andre Reichert
Sea Chant Peter
Sculthorpe.
About
Overtones
Unparalleled in scope,
Overtones offers all the
music flutists want in
one complete series! This
progressive collection
includes fundamental
Repertoire and supporting
materials such as Etudes,
Compact Discs, Orchestral
Excerpts, and Technique.
The richness of music
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Development program. $31.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Exaudi, Domine Chorale SATB Carus Verlag
Solo bass voice, SATB choir, [flute, clarinet], 2 horns, 2 violins, [viola], bas...(+)
Solo bass voice, SATB
choir, [flute, clarinet],
2 horns, 2 violins,
[viola], basso continuo
SKU: CA.2711511
Graduale Exaudi,
Dominum und Offertorium
Lauda anima mea Dominum
fur die Messe in Es-Dur
op. 107. Composed by
Anton Diabelli. Graduale
+ Offertorium Zur Missa
In Es. Sacred vocal
music, Mass sections.
Single Part, Violin 1.
Op. 110. 4 pages.
Duration 5 minutes. Carus
Verlag #CV 27.115/11.
Published by Carus Verlag
(CA.2711511). ISBN
9790007200688. Language:
Latin. To
commemorate the 150th
anniversary of the death
of Anton Diabelli we are
publishing the two
additional movements of
his first Country Mass,
the remainder of which is
already available. These
two movements, suitable
for use during any period
of the Church year, are
further cause to perform
at church services and in
concerts the Mass in E
flat major, which despite
its simplicity can be
impressive in effect. The
flexibility in the size
of the orchestra intended
by the composer makes
this work ideal for
churches whatever their
instrumental resources
are. Score and part
available separately -
see item CA.2711500. $4.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Exaudi, Domine Chorale SATB Carus Verlag
Solo bass voice, SATB choir, [flute, clarinet], 2 horns, 2 violins, [viola], bas...(+)
Solo bass voice, SATB
choir, [flute, clarinet],
2 horns, 2 violins,
[viola], basso continuo
SKU: CA.2711512
Graduale Exaudi,
Dominum und Offertorium
Lauda anima mea Dominum
fur die Messe in Es-Dur
op. 107. Composed by
Anton Diabelli. Graduale
+ Offertorium Zur Missa
In Es. Sacred vocal
music, Mass sections.
Single Part, Violin 2.
Op. 110. 4 pages.
Duration 5 minutes. Carus
Verlag #CV 27.115/12.
Published by Carus Verlag
(CA.2711512). ISBN
9790007200695. Language:
Latin. To
commemorate the 150th
anniversary of the death
of Anton Diabelli we are
publishing the two
additional movements of
his first Country Mass,
the remainder of which is
already available. These
two movements, suitable
for use during any period
of the Church year, are
further cause to perform
at church services and in
concerts the Mass in E
flat major, which despite
its simplicity can be
impressive in effect. The
flexibility in the size
of the orchestra intended
by the composer makes
this work ideal for
churches whatever their
instrumental resources
are. Score and part
available separately -
see item CA.2711500. $4.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Exaudi, Domine Chorale SATB Carus Verlag
Solo bass voice, SATB choir, [flute, clarinet], 2 horns, 2 violins, [viola], bas...(+)
Solo bass voice, SATB
choir, [flute, clarinet],
2 horns, 2 violins,
[viola], basso continuo
SKU: CA.2711513
Graduale Exaudi,
Dominum und Offertorium
Lauda anima mea Dominum
fur die Messe in Es-Dur
op. 107. Composed by
Anton Diabelli. Graduale
+ Offertorium Zur Missa
In Es. Sacred vocal
music, Mass sections.
Single Part, Viola. Op.
110. 4 pages. Duration 5
minutes. Carus Verlag #CV
27.115/13. Published by
Carus Verlag
(CA.2711513). ISBN
9790007200701. Language:
Latin. To
commemorate the 150th
anniversary of the death
of Anton Diabelli we are
publishing the two
additional movements of
his first Country Mass,
the remainder of which is
already available. These
two movements, suitable
for use during any period
of the Church year, are
further cause to perform
at church services and in
concerts the Mass in E
flat major, which despite
its simplicity can be
impressive in effect. The
flexibility in the size
of the orchestra intended
by the composer makes
this work ideal for
churches whatever their
instrumental resources
are. Score and part
available separately -
see item CA.2711500. $4.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Exaudi, Domine Chorale SATB Carus Verlag
Solo bass voice, SATB choir, [flute, clarinet], 2 horns, 2 violins, [viola], bas...(+)
Solo bass voice, SATB
choir, [flute, clarinet],
2 horns, 2 violins,
[viola], basso continuo
SKU: CA.2711514
Graduale Exaudi,
Dominum und Offertorium
Lauda anima mea Dominum
fur die Messe in Es-Dur
op. 107. Composed by
Anton Diabelli. Graduale
+ Offertorium Zur Missa
In Es. Sacred vocal
music, Mass sections.
Single Part, Cello/Double
Bass. Op. 110. 4 pages.
Duration 5 minutes. Carus
Verlag #CV 27.115/14.
Published by Carus Verlag
(CA.2711514). ISBN
9790007200718. Language:
Latin. To
commemorate the 150th
anniversary of the death
of Anton Diabelli we are
publishing the two
additional movements of
his first Country Mass,
the remainder of which is
already available. These
two movements, suitable
for use during any period
of the Church year, are
further cause to perform
at church services and in
concerts the Mass in E
flat major, which despite
its simplicity can be
impressive in effect. The
flexibility in the size
of the orchestra intended
by the composer makes
this work ideal for
churches whatever their
instrumental resources
are. Score and part
available separately -
see item CA.2711500. $4.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Liszt: Collected Works for Piano (Version 2.0)
Piano seul [CD Sheet Music] Subito Music
By Franz Liszt. For Piano. (Piano Solo). CD Sheet Music (Version 2.0). PDF file ...(+)
By Franz Liszt. For
Piano. (Piano Solo). CD
Sheet Music (Version
2.0). PDF file on CD.
3700 pages. Published by
Subito Music.
$28.95 - Voir plus => AcheterDélais: 3 to 5 business days | | |
| Oboenschule Spielbuch 1 - Facile Schott
Oboe (2-3 oboes) (OB/PF) - easy SKU: HL.49015438 Composed by Bettina Doem...(+)
Oboe (2-3 oboes) (OB/PF)
- easy SKU:
HL.49015438 Composed
by Bettina Doemens and
Ursula Maiwald. This
edition: Saddle
stitching. Sheet music.
Edition Schott.
Classical. Performance
Book. 76 pages. Schott
Music #ED 8162. Published
by Schott Music
(HL.49015438). ISBN
9790001083669.
9.0x11.75x0.227 inches.
German. 9
Pluspunkte fur diese
Oboenschule: - Geeignet
fur alle Altersstufen ab
ca. 10 Jahren -
Aufgelockert durch
Illustrationen und Fotos
- Viele bekannte Melodien
und Lieder -
Uberschaubare
Lernschritte - Allmahlich
aufbauend von der
leichten Mittellage bis
zum Umfang von zwei
Oktaven (im 1. Band) -
Anregungen zum freien
Musizieren, Improvisieren
und Komponieren -
Elementare
Spieltechniken, die im 2.
Band bis zu einem hohen
technischen und
musikalischen Niveau
fortgefuhrt werden -
Begleitende Spielbucher
mit Duetten, Trios und
Stucken mit
Klavierbegleitung -
Gesonderter
Lehrerkommentar (ED
8165-01) mit methodischen
Anmerkungen und
zusatzlichen Ubungen. $28.99 - Voir plus => Acheter | | |
| Mastering the Guitar Book 1B Guitare [Partition + CD] Mel Bay
by William Bay and Mike Christiansen. For all guitars. Mastering Guitar. All sty...(+)
by William Bay and Mike
Christiansen. For all
guitars. Mastering
Guitar. All styles, solos
and exercises. Level:
Beginning-Intermediate.
Book/CD Set. Method. Size
8.75x11.75. 144 pages.
Published by Mel Bay
Pub., Inc.
$24.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Das klassische Gitarrenbuch Guitare Voggenreiter
Guitar SKU: M7.VOGG-244 Composed by Stephan Schmidt. This edition: Ring/S...(+)
Guitar SKU:
M7.VOGG-244 Composed
by Stephan Schmidt. This
edition: Ring/Spiral
binding. Sheet music with
CD. 128 pages.
Voggenreiter #VOGG 244.
Published by Voggenreiter
(M7.VOGG-244). ISBN
9783802402449.
German. Für alle
Liebhaber der
Konzertgitarre! 'Das
klassische Gitarrenbuch'
enthält 50 der
schönsten Übungs-
und Vortragsstücke
für klassische Gitarre
in Noten und Tabulatur,
mit Fingersätzen
versehen und um
Spieltipps ergänzt.
Ideal für alle
Gitarristen, die bisher
Lieder begleitet haben
und einen Einstieg ins
klassische Gitarrenspiel
suchen. Zusätzlich
eine Einführung in
Geschichte, Notation und
Spieltechnik der
Konzertgitarre. Die
beiliegende CD, von
Profigitarristen
eingespielt, gibt
wertvolle Hilfestellung
beim Nachspielen.
Songliste: Präludium
in C-Dur (Carcassi),
Präludium in C-Dur
(Carulli), Präludium
in E-Moll (Carcassi),
Präludium in D-Dur
(Carcassi), Greensleeves
(Anonym), Allemande
(Susato), Tanz
(Fuhrmann), La Rotta
(Anonym), BarockMenuett
in G-Dur (Petzold),
Französischer Tanz
(Campion), Menuett (de
Visée), Menuett in
A-Moll (Krieger),
Triumphmarsch
(Charpentier), Menuett in
E-Moll (Weiß),
Bourrée in E-Moll
(Bach), KlassikWalzer in
C-Dur (Carulli), Arietta
(Küffner), Etüde in
A-Moll (Aguado),
Andantino in G-Dur
(Carulli), Für Elise
(Beethoven), Menuett in
C-Dur (Carcassi), Walzer
in E-Moll (Carulli),
Walzer in A-Dur
(Carulli), Andante in
A-Moll (Carulli),
Altwiener Ländler
(Diabelli), Allegro in
A-Moll (Giuliani),
Andantino Grazioso
(Carcassi), Etüde in
E-Dur (Aguado), Freude,
schöner
Götterfunken
(Beethoven), Moderato in
C-Dur (Sor), Etüde in
A-Moll (Sor), Menuett in
G-Dur (Sor),
Klaviersonate in A-Dur
(Mozart), Andante
Grazioso (Mozart), Danza
(Giuliani), Etüde in
A-Dur (Carcassi),
Etüde in B-Moll (Sor),
RomantikRomantischer
Walzer (Anonym), Il
vecchio castello
(Mussorgsky), Estudio Nr.
1 (Tárrega), Adagio in
A-Dur (Tárrega),
Estudio in E-Moll
(Tárrega), Lágrima
(Tárrega), Spanische
Romanze (Anonym), Romance
Irlandaise (Tudy),
FolkloreDat du min
Leevsten büst
(Volkslied), Ich denk,'es
war ein gutes Jahr (Mey),
Das Lied von der Spieluhr
(Mey), House of the
Rising Sun (Traditional),
Malagueña (Spanischer
Tanz), Kehraus
(Schmidt). $36.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Complete Works Piano seul [CD Sheet Music] CD Sheet Music
Solo Piano SKU: SU.00220504 For Solo Piano. Composed by Ludwig van...(+)
Solo Piano SKU:
SU.00220504 For
Solo Piano. Composed
by Ludwig van Beethoven.
Keyboard,
Piano/Harpsichord. CD
(PDF Scores). CD Sheet
Music #00220504.
Published by CD Sheet
Music (SU.00220504).
This CD Sheet
Musicâ?¢ collection
makes available the wide
range of Ludwig van
Beethoven's piano music,
both familiar and less
well-known. Includes:
Bagatelles, 32 Sonatas,
Sonatinas, 5 Piano
Concertos, Triple
Concerto, Diabelli
Variations, Contradances,
Ecossaises, German
Dances, Ländlers,
Minuets, Rondos,
Variations, Waltzes, and
more Also includes
composer biographies and
relevant articles from
the 1911 edition of
Groveâ??s Dictionary of
Music and Musicians 1500
pages Please note,
customers using Macintosh
computers running macOS
Catalina (version 10.5)
have reported hardware
compatibility issues with
this product. If you
encounter these issues,
we recommend copying the
entire contents of the
disk to a contained
folder on a thumb drive
or other storage device
for use on your
Mac. $20.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Suzuki Trumpet School, Volume 1 Trompette Alfred Publishing
Trumpet SKU: AP.47778 International Edition. Composed by Caleb Hud...(+)
Trumpet SKU:
AP.47778
International
Edition. Composed by
Caleb Hudson. This
edition: International.
Brass - B-flat Trumpet
Method or Collection;
Method/Instruction;
Suzuki. Suzuki Method;
Suzuki Trumpet School.
Book and CD. 28 pages.
Alfred Music #00-47778.
Published by Alfred Music
(AP.47778). ISBN
9781470641573. UPC:
038081547770.
English. Teach
trumpet with the Suzuki
Trumpet School. The
Suzuki Method of Talent
Education is based on
Shinichi Suzuki's view
that every child is born
with ability, and that
people are the product of
their environment.
According to Shinichi
Suzuki, a world-renowned
violinist and teacher,
the greatest joy an adult
can know comes from
developing a child's
potential so he/she can
express all that is
harmonious and best in
human beings. Students
are taught using the
mother-tongue approach.
Each series of books for
a particular instrument
in the Suzuki Method is
considered a Suzuki music
school, such as the
Suzuki Trumpet School.
Suzuki lessons are
generally given in a
private studio setting
with additional group
lessons. The student
listens to the recordings
and works with their
Suzuki violin teacher to
develop their potential
as a musician and as a
person.
This Book
&
Performance/Accompaniment
CD is integral for Suzuki
trumpet lessons. Volume 1
features: Engravings in a
9 x 12 format *
Introduction and general
information regarding the
trumpet * Preparatory
exercises * Tonalizations
* Pieces * Musical terms
and signs * Musical
notation guide *
Fingering chart * Photos
* CD with recordings by
Caleb Hudson accompanied
by Michael Schneider, as
well as piano
accompaniments recorded
without the trumpet part.
Titles: Let's
Begin (Traditional) *
French Tune (Traditional)
* Stroll Along
(Traditional) * Come and
Play (Traditional) * Mary
Had a Little Lamb
(Traditional) * Twinkle,
Twinkle, Little Star
(Folk Song / Suzuki) *
Lightly Row (Folk Song) *
Old MacDonald
(Traditional) * Go Tell
Aunt Rhody (Folk Song) *
Are You Sleeping, Brother
John? (Traditional) *
Long, Long, Ago (Bayly) *
May Song (Folk Song) *
French Folk Song (Folk
Song) * Ode to Joy
(Beethoven) * Amazing
Grace (Traditional) *
Allegretto (Diabelli) *
It Jingles So Softly
(Mozart) * Minuet (Roman)
* O Come, Little Children
(Folk Song) * Perpetual
Motion (Suzuki) * Prelude
(Charpentier) * Clog
Da. About
Suzuki
Method The
Suzuki Method is based on
the principle that all
children possess ability
and that this ability can
be developed and enhanced
through a nurturing
environment. All children
learn to speak their own
language with relative
ease and if the same
natural learning process
is applied in teaching
other skills, these can
be acquired as
successfully. Suzuki
referred to the process
as the Mother Tongue
Method and to the whole
system of pedagogy as
Talent Education. The
important elements of the
Suzuki approach to
instrumental teaching
include the following:an
early start (aged 3-4 is
normal in most
countries); the
importance of listening
to music; learning to
play before learning to
read; -the involvement of
the parent; a nurturing
and positive learning
environment; a high
standard of teaching by
trained teachers; the
importance of producing a
good sound in a balanced
and natural way; core
repertoire, used by
Suzuki students across
the world; social
interaction with other
children. Suzuki students
from all over the world
can communicate through
the language of
music. $24.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Suzuki Trumpet School, Volume 1 Trompette Alfred Publishing
Trumpet SKU: AP.47780 International Edition. By Michael Schneider....(+)
Trumpet SKU:
AP.47780
International
Edition. By Michael
Schneider. This edition:
International. Brass -
B-flat Cornet (Trumpet)
Method or Collection
(Suzuki);
Method/Instruction;
Suzuki. Suzuki Trumpet
School. CD. Alfred Music
#00-47780. Published by
Alfred Music (AP.47780).
ISBN 9781470644055.
UPC: 038081547763.
English. Teach
trumpet with the Suzuki
Trumpet School. The
Suzuki Method of Talent
Education is based on
Shinichi Suzuki's view
that every child is born
with ability, and that
people are the product of
their environment.
According to Shinichi
Suzuki, a world-renowned
violinist and teacher,
the greatest joy an adult
can know comes from
developing a child's
potential so he/she can
express all that is
harmonious and best in
human beings. Students
are taught using the
mother-tongue approach.
Each series of books for
a particular instrument
in the Suzuki Method is
considered a Suzuki music
school, such as the
Suzuki Trumpet School.
Suzuki lessons are
generally given in a
private studio setting
with additional group
lessons. The student
listens to the recordings
and works with their
Suzuki teacher to develop
their potential as a
musician and as a person.
This
Accompaniment/Performance
CD is integral for Suzuki
trumpet lessons. Volume 1
features: Recordings by
Caleb Hudson accompanied
by Michael Schneider, as
well as piano
accompaniments recorded
without the trumpet part.
Titles: Let's
Begin (Traditional) *
French Tune (Traditional)
* Stroll Along
(Traditional) * Come and
Play (Traditional) * Mary
Had a Little Lamb
(Traditional) * Twinkle,
Twinkle, Little Star
(Folk Song / Suzuki) *
Lightly Row (Folk Song) *
Old MacDonald
(Traditional) * Go Tell
Aunt Rhody (Folk Song) *
Are You Sleeping, Brother
John? (Traditional) *
Long, Long, Ago (Bayly) *
May Song (Folk Song) *
French Folk Song (Folk
Song) * Ode to Joy
(Beethoven) * Amazing
Grace (Traditional) *
Allegretto (Diabelli) *
It Jingles So Softly
(Mozart) * Minuet (Roman)
* O Come, Little Children
(Folk Song) * Perpetual
Motion (Suzuki) * Prelude
(Charpentier) * Clog
Dance (Traditional) *
Song of the Wind (Folk
Song) * Allegro
(Suzuki).
About Suzuki
Method The
Suzuki Method is based on
the principle that all
children possess ability
and that this ability can
be developed and enhanced
through a nurturing
environment. All children
learn to speak their own
language with relative
ease and if the same
natural learning process
is applied in teaching
other skills, these can
be acquired as
successfully. Suzuki
referred to the process
as the Mother Tongue
Method and to the whole
system of pedagogy as
Talent Education. The
important elements of the
Suzuki approach to
instrumental teaching
include the following:an
early start (aged 3-4 is
normal in most
countries); the
importance of listening
to music; learning to
play before learning to
read; -the involvement of
the parent; a nurturing
and positive learning
environment; a high
standard of teaching by
trained teachers; the
importance of producing a
good sound in a balanced
and natural way; core
repertoire, used by
Suzuki students across
the world; social
interaction with other
children. Suzuki students
from all over the world
can communicate through
the language of
music. $15.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Piano Duets: The Ultimate Collection 1 Piano, 4 mains [CD-ROM] CD Sheet Music
SKU: SU.00220522 Keyboard, Piano 4-Hands/2 Pianos, Keyboard, Piano/Harps...(+)
SKU: SU.00220522
Keyboard, Piano 4-Hands/2
Pianos, Keyboard,
Piano/Harpsichord. CD
(PDF Scores). CD Sheet
Music #00220522.
Published by CD Sheet
Music (SU.00220522).
This CD Sheet
Musicâ?¢ collection
brings together over 60
duets for every technical
level by twenty-four
composers from the 19th
and early 20th centuries.
Works include:
Beethoven (Grosse
Fuge, Variations on a
Theme of Count von
Waldstein); Bizet
(Jeux d'enfants, Books
IandII); Brahms
(Hungarian Dances,
Liebeslieder Waltzes);
Clementi (Sonata in C
major); Debussy (La
Mer, Petite Suite);
Diabelli
(Twenty-eight Melodious
Pieces); Dvorák
(Slavonic Dances);
Fauré (Dolly);
Grieg (Norwegian
Dances, Waltz-Caprices);
Haydn (Il Masstro e
Lo Scolare); Liszt
(Les Preludes),
Mendelssohn (Allegro
Brilliant);
Moszkowski (Spanish
Dances); Mozart
(Fugue, Sonatas);
Mussorgsky (Sonata);
Rachmaninoff (Six
Pieces); Ravel
(Mother Goose);
Rimsky-Korsakov
(Sheherezade), Satie
(La Belle Excentrique,
Parade, Trois Morceaux en
forme de Poire);
Schubert
(Divertissement à la
Hongroise,
Lebensstürme, Three
Military Marches);
Schumann (Twelve
Pieces for Large and
Small Children,
Kinderbal);
Stravinsky (Five Easy
Pieces; Le Sacre du
Printemps); Weber
(Mazurka, Romanza, Sonata
in C), and more Also
includes composer
biographies and relevant
articles from the 1911
edition of Groveâ??s
Dictionary of Music and
Musicians 1000 pages
Please note,
customers using Macintosh
computers running macOS
Catalina (version 10.5)
have reported hardware
compatibility issues with
this product. If you
encounter these issues,
we recommend copying the
entire contents of the
disk to a contained
folder on a thumb drive
or other storage device
for use on your
Mac. $20.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
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