For piano. Les Classiques favoris. Classical. Grade 3. Score. 136 pages. Published by Editions Henry Lemoine

(Urtext der Neuen Mozart-Ausgabe). By Wolfgang Amadeus Mozart (1756-1791). Edited by Christoph Wolff. For Piano Solo, Orchestra. Neue Mozart-Ausgabe. Serie V, Werkgruppe 15/2. Klassik, Musikwissenschaft (Classical, Music Theory). Score; Urtext Edition; Complete Edition (cloth bound). Published by Baerenreiter Verlag

Composed by Ludwig van Beethoven (1770-1827). Edited by Jonathan Del Mar. This edition: urtext edition. Paperback. Study score. Opus 19 No. 2. Duration 28 minutes. Published by Baerenreiter Verlag (BA.TP922).

Composed by Ludwig van Beethoven (1770-1827). Edited by Jonathan Del Mar. This edition: urtext edition. Paperback. Study score. Opus 73 No. 5. Duration 38 minutes. Published by Baerenreiter Verlag (BA.TP925).

For Piano and Orchestra (Solo Piano and Piano Reduction). By Ellen Taaffe Zwilich. For Piano Solo, Piano Reduction. Junior Class I-B piece for the One Hand Piano Music for the Concerto Event with the National Federation of Music Clubs (NFMC) Festivals Bulletin 2008-2009-2010. Solo part with piano reduction. Composed 1996. 31 pages. Duration 13:00. Published by Theodore Presser Company

By Sergei Prokofiev (1891-1953). Arranged by Douglas McLain. For piano and concert band. Baton Music Instrumental Series. Opus 10. Grade 5. Full score and parts. Duration 16:00. Published by Baton Music

By Wolfgang Amadeus Mozart (1756-1791). Edited by Wolfgang Rehm. For piano/orchestra (solo piano/flute/2 oboes/2 bassoons/2 horns/strings). This edition: Stapled, Urtext edition. Score. KV 595, No. 27. 78 pages. Duration 30'. Published by Baerenreiter Verlag

(1923) Piano: Left Hand. By Paul Hindemith. (Score). Schott. Book only. Size 8.25x11.75 inches. 74 pages. Published by Schott.

Eulenburg Audio Score Series. By Johannes Brahms. This edition: EAS131. Eulenburg Audio Score (Pocket Scores CD). Study score and CD. 134 pages. Published by Eulenburg.

The Manchester Carols. (A Re-Telling of the Christmas Story). By Carol Ann Duffy and Sasha Johnson Manning. For Orchestra / Piano. Choral Extended Work. Faber Edition. Christmas; Sacred; Winter. Published by Faber Music

Composed by Bohuslav Martinu (1890-1959). Edited by Ivana Kalina Tabak. This edition: complete edition, urtext edition. Cloth bound. The Bohuslav Martinu Complete Edition III/1/5. Complete Edition, Score, anthology. Baerenreiter Verlag #BA10579- 01. Published by Baerenreiter Verlag

By Wolfgang Amadeus Mozart (1756-1791). Edited by Hans Engel; Horst Heussner. For piano/orchestra (solo piano/flute/2 oboes/2 bassoons/2 horns/2 trumpets/timpani/strings) . This edition: Paperback, Urtext edition. Score. KV 482, No. 22. Duration 32'. Published by Baerenreiter Verlag

Full Score. Composed by Poul Ruders. Music Sales America. Classical. Score Only. Composed 2017. 80 pages. Edition Wilhelm Hansen #WH32201. Published by Edition Wilhelm Hansen (HL.232526).

Piano and orchestra

SKU: BO.B.3175

Composed by Manuel Oltra. Instrumental Sets. Published by Editorial de Musica Boileau (BO.B.3175).

Comentarios del Espanol:
La Obra Rapsodia para Piano y Cobla (1953) destaca dentro de la produccion de Manuel Oltra por ser su primera obra compuesta para esta formacion instrumental. La produccion para cobla de Manuel Oltra contempla, ademas de la armonizacion de un centenar de ballets tradicionales catalanes, una docena larga de obras de concierto de forma, extension e instrumentacion variada, asi como un extenso catalogo de sardanas. La constante inquietud del compositor le ha llevado a realizar muy valiosas y logradas investigaciones timbricas. Fue el primero en combinar la cobla con instrumentos ajenos a los de la formacion tradicional consiguiendo exitosas especulaciones ritmico-melodicas. Rapsodia para piano y cobla se puede encontrar tambien en su version reducida para dos pianos. Obra compuesta por el mismo autor con el objetivo de facilitar el estudio de la obra al pianista para su posterior interpretacion con la cobla. Dado el exito de la Rapsodia para piano y cobla y gracias a su gran diversidad de timbres, en el ano 2004 Manuel Oltra creo una nueva version de la obra para orquesta sinfonica y que se publico el mismo ano en Editorial de Musica Boileau.

Piano and orchestra

SKU: FG.55011-372-5

Composed by Matthew Whittall. Study score. Fennica Gehrman #55011-372-5. Published by Fennica Gehrman (FG.55011-372-5).

ISBN 9790550113725.

Imag es of the sea figure prominently throughout my life and memories: from holidays on the Atlantic coast during my Canadian childhood to my current Baltic home, and the imagined, only later experienced Mediterranean of my ancestral heritage. As an immigrant (son of an immigrant) bound to two northern countries, the sea is emblematic of my twin homelands, from the expanses of water surrounding them to those separating them. A Mari usque ad Mare. The sea is also an enduring image of the unknown, of expanses unexplored, of the raw power of nature and, for too many currently, of terror holding a hope of refuge - or the pain of loss.
Such disparate ideas were captured for me in the seascapes of the New York painter MaryBeth Thielhelm, whom I met in 2008 during a residency on the Gulf of Mexico. Her vast, abstract, nearly monochromatic depictions of imaginary seas in wildly varying moods were the catalyst for a concerto where the piano is frequently far from a hero battling a collective, but rather acts as a channel for elemental forces surging up from the orchestra, floating - sometimes barely so - on its constantly shifting surface. There are few themes to speak of, beyond a handful of iconic ideas that periodically cycle upward. Rather, the piano's material is largely an ornamentation of the more primal rhythmic and harmonic impulses from the orchestra below - a poetic interpretation, if you will, of the more immediate experience of facing the vastness of some unknown body of water.
The title Nameless Seas is borrowed from one of Thielhelm's exhibitions, as are those of the four movements, which are bridged together into two halves of roughly equal weight - one rhapsodic and free, the other more single-minded and direct, separated only by a short breath. The opening movement, Nocturne, is predominantly calm, if brooding, darkness and light alternating throughout. Lyrical arabesques sparkle over gently lapping cross-currents in the strings and mirrored timpani, the piano's full power only rarely deployed. The waves gradually build, drawing in the full orchestra for a meeting of forces in Land and Sea, a brighter, more warmly lyrical scene that unfolds in series of dreamlike, sometimes even nostalgic visions, which for me carry strong memories of sitting on rocks above surging Atlantic waves. The third movement, Wake, is a fast, perpetual-motion texture of glinting, darting rhythms and sudden shafts of light, with a prominent part for the steel drums, limning the piano's quicksilver figurations. An ecstatic climax crashes into a solo cadenza that grows progressively calmer and more introspective rather than virtuosic. Much of the tension finally releases into Unclaimed Waters, a drifting, meditative seascape in which the piano is progressively engulfed by a series of ever-taller waves, ultimately dissolving into a tolling, rippling continuum of sound.
It has been a great privilege to realize such a long-held dream as this piece, and to write it for not one, but two great pianists. Risto-Matti Marin and Angela Hewitt, both of whose friendship and support have been unfailing and humbling, share the dedication. Nameless Seas was commissioned by the PianoEspoo festival and Canada's National Arts Centre, with the premieres in Ottawa and Helsinki led by Hannu Lintu and Olari Elts. Thanks are due also to the Jenny and Antti Wihuri fund, whose generous grant provided me with much-needed time, and Escape to Create in Seaside, Florida, the source to which I returned to do a large part of the work.

By Ludwig van Beethoven (1770-1827). Edited by Jonathan Del Mar. For piano/orchestra. This edition: Urtext edition. Paperback. Score. English/German. No. 1, Op. 15. Published by Baerenreiter Verlag

Concerto for Piano and Orchestra. Composed by Narong Prangcharoen. First performed by the Thailand Philharmonic Orchestra, Dariusz Mikulksi, conductor, with Christopher Janwong McKiggan as piano soloist. Contemporary. Full score (study). With Standard notation. Composed 2016. 80 pages. Duration 24 minutes. Theodore Presser Company #416-41609. Published by Theodore Presser Company (PR.416416090).

Piano and Orchestra

SKU: HL.14030961

Composed by Bent Sorensen. Music Sales America. Classical. Score. 96 pages. Edition Wilhelm Hansen #KP00980. Published by Edition Wilhelm Hansen (HL.14030961).

ISBN 9788759857458. English.

Score of the Danish Composer's Concerto for Piano and Orchestra written in 1996. Bent Sorensen writes: 'The title of this piano concerto came, as usual, very early to me, when my thoughts about the work had started to circulate, but before 'real' music was written down. I held on to the Italian title, even though its association with Vivaldi had no influence on my music, and even when German, French, English, and Danish titles covering almost the same content -'Nachtmusik', 'Nocturne', 'By Night', 'Om Natten', were just about to get the upper hand. The piano concerto has, then, in my opinion, something to do with night, but to describe this further is at least as difficult to me as it is to defend the final Italian title against those which were rejected. The Piano Concerto is in two movements. The first, swarming, is perhaps the mystery of the night, and the second perhaps the dreams of the night; with this, however, I have already given the concerto a more programmatic content than I can defend. Each movement ends with a cadenza and perhaps the last of those - the ending of the work that is - is inspired by a sequence from Bruce Chatwin's wonderful book 'The Viceroy of Ouidah': Or the Amazons howling. 'No, No, No. It was not the leopard that killed him. Not the buffalo that killed him. It was night. Night that killed him!'.