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 Music of Our Time Series Study Score. Composed by Mikis Theodorakis (1925-). Study Score. Softcover. 144 pages. Schott Music #ED20819. Published by Schott Music (HL.49018010).

For Easy Piano. By The Beatles. Easy Piano Personality. Softcover. 384 pages. Published by Hal Leonard

(Chopin National Edition). Composed by Frederic Chopin (1810-1849). Edited by Jan Ekier and Pawel Kaminski. For Orchestra, Piano (Full Score). PWM. Polskie Wydawnictwo Muzyczne #51600026. Published by Polskie Wydawnictwo Muzyczne

(Chopin National Edition Series A Vol. XVf). Composed by Frederic Chopin (1810-1849). Edited by Jan Ekier. For Orchestra, Piano (Score). PWM. Softcover. Polskie Wydawnictwo Muzyczne #51600005. Published by Polskie Wydawnictwo Muzyczne

By Ludwig van Beethoven. Arranged by Wilhelm Altmann. (Study Score). Schott. 127 pages. Published by Eulenburg.

Chopin National Edition 18A, Vol. XVb. Composed by Frederic Chopin (1810-1849). Edited by Jan Ekier and Pawel Kaminski. PWM. Polskie Wydawnictwo Muzyczne #51600010. Published by Polskie Wydawnictwo Muzyczne (HL.132234).

By Johann Sebastian Bach. Arranged by Arnold Schering. (Study Score). Schott. 36 pages. Published by Eulenburg.

Score. By Franz Liszt. Arranged by Imre Sulyok. EMB. 110 pages. Published by Editio Musica Budapest.

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.

Piano/harpsichord and orchestra (solo: pno - 2(picc).2.2.2 - 4.2.3.0 - timp - str)

SKU: BR.PB-15164-07

Urtext. Composed by Edvard Grieg. Edited by E.-G. Heinemann. Orchestra; Softbound. Partitur-Bibliothek (Score Library). Solo concerto; Romantic. Study Score. 108 pages. Duration 30'. Breitkopf and Haertel #PB 15164-07. Published by Breitkopf and Haertel (BR.PB-15164-07).

ISBN 9790004215906. 6.5 x 9 inches.

The piano concerto in a minor stands out in Edvard Grieg's oeuvre. Besides this famous concerto, he composed only a few other large orchestral works. Because of its popularity even in Grieg's lifetime, it was often performed, not least by the composer himself. So it is not surprising that Grieg made many changes to the score up to 1907. But at the same time, the concerto's size, form and substance remained completely unaltered. Interventions in the piano part basically involved subtleties of nuance, and only a very few places in the music text were altered. The situation was different with the orchestration. Here Grieg was keen to experiment and kept filing away at the orchestra sound right up to the last. Melodies were moved to other instruments, accompanying string chords were reconstructed, and above all the list of scored instruments was changed. The main source of the Urtext edition by Ernst-Gunter Heinemann is the new edition of the score originally published in 1907 by C. F. Peters, thus several years after the first edition of 1872. Taken into account in the present edition are the changes that Grieg made up to the time of his death. Piano reduction and fingering by Einar Steen-Nokleberg.

Piano/harpsichord and orchestra (solo: pno - 2(picc).2.2.2 - 4.2.3.0 - timp - str)

SKU: BR.PB-15152

Urtext. Composed by Edvard Grieg. Edited by Ernst-Gunter Heinemann. Orchestra; Softcover. Partitur-Bibliothek (Score Library).

In Cooperation with G. Henle Verlag

Solo concerto; Romantic. Full score. 108 pages. Duration 30'. Breitkopf and Haertel #PB 15152. Published by Breitkopf and Haertel (BR.PB-15152).

ISBN 9790004215579. 10 x 12.5 inches.

The piano concerto in a minor stands out in Edvard Grieg's oeuvre. Besides this famous concerto, he composed only a few other large orchestral works. Because of its popularity even in Grieg's lifetime, it was often performed, not least by the composer himself. So it is not surprising that Grieg made many changes to the score up to 1907. But at the same time, the concerto's size, form and substance remained completely unaltered. Interventions in the piano part basically involved subtleties of nuance, and only a very few places in the music text were altered. The situation was different with the orchestration. Here Grieg was keen to experiment and kept filing away at the orchestra sound right up to the last. Melodies were moved to other instruments, accompanying string chords were reconstructed, and above all the list of scored instruments was changed. The main source of the Urtext edition by Ernst-Gunter Heinemann is the new edition of the score originally published in 1907 by C. F. Peters, thus several years after the first edition of 1872. Taken into account in the present edition are the changes that Grieg made up to the time of his death. Piano reduction and fingering by Einar Steen-Nokleberg.

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

Piano/harpsichord and orchestra (solo: pno - 1.2.2.2. - 2.2.0.0. - timp - str)

SKU: BR.PB-14620

Urtext based on the new Complete Edition (G. Henle Verlag). Composed by Ludwig van Beethoven. Edited by Hans-werner Kuthen. Orchestra; Softbound. Partitur-Bibliothek (Score Library).

The piano reduction and the study score (,,Studien-Edition) are available at G. Henle Verlag.

Solo concerto; Classical. Full score. 96 pages. Duration 34'. Breitkopf and Haertel #PB 14620. Published by Breitkopf and Haertel (BR.PB-14620).

ISBN 9790004211038. 10 x 12.5 inches.

Ludwig van Beethoven wrote his Piano Concerto no. 4 in 1805, thus contemporaneously with the opera Fidelio and the Symphonies nos. 5 and 6. The first performance took place on 22 December 1808 at the now legendary academy (subscription concert) in which Beethoven presented the two new symphonies and the Choral Fantasy op. 80 to the Viennese public for the first time. The work was first published that year by Breitkopf & Hartel. The autograph of the score is no longer extant. The principal source of the musical text on which the present edition is based is a scribal copy examined and corrected by Beethoven.

By Samuel Applebaum. For Piano Acc. String Orchestra Method/Supplement. Book. 68 pages. Published by Alfred Publishing.