Solo Piano, Male Choir, and Orchestra. Composed by Gavin Bryars (1943-). ...(+)
Solo Piano, Male
Choir, and Orchestra.
Composed by Gavin Bryars
(1943-). Study Score.
Softcover. 80 pages.
Schott Music #ED13529.
Published by Schott Music
(HL.49019799).
For Piano. Includes a printed music score on high-quality ivory paper; a digital...(+)
For Piano. Includes a
printed music score on
high-quality ivory paper;
a digital stereo compact
disc featuring a complete
performance of the
concerto with orchestra
and soloist, and a second
performance minus you,
the soloist; and a second
compact disc containing a
full-speed version of the
complete version as well
as a special -20%
slow-tempo version of the
accompaniment for
practice purposes. Each
concerto is voluminously
indexed for your practice
and performance
convenience. Published by
Music Minus One.
Luminary Piano et Orchestre [Conducteur] Theodore Presser Co.
Concerto for Piano and Orchestra. Composed by Narong Prangcharoen. First ...(+)
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).
(study score). By Ferruccio Busoni (1866-1924). Edited by Antony Beaumont. For P...(+)
(study score). By
Ferruccio Busoni
(1866-1924). Edited by
Antony Beaumont. For
Piano, Orchestra and
Men's Choir. Breitkopf
Full Scores. Study score.
336 pages
Piano/harpsichord and orchestra (solo: pno - 1.2.0.2 - 2.2.0.0 - timp - str) ...(+)
Piano/harpsichord and
orchestra (solo: pno -
1.2.0.2 - 2.2.0.0 - timp
- str)
SKU:
BR.PB-15106
Urtext. Composed
by Wolfgang Amadeus
Mozart. Edited by Norbert
Gertsch. Orchestra;
Softbound.
Partitur-Bibliothek
(Score Library).
In
Cooperation with G. Henle
VerlagEB
10766 is printed in score
form; two copies are
needed for
performance.Our edition
EB
8578 contains
Ferrucci Busoni's
cadenzas for the Piano
Concerto in C m. Solo
concerto; Classical. Full
score. 72 pages. Duration
30'. Breitkopf and
Haertel #PB 15106.
Published by Breitkopf
and Haertel
(BR.PB-15106).
ISBN
9790004211892. 10 x 12.5
inches.
The
editorial quality of the
new edition is guaranteed
not only by Schiff's
sensitive fingerings and
stylistically
well-grounded cadenzas,
but also by the Mozart
scholar Norbert Gertsch
to whom Henle has
entrusted its urtext
editions.Breitkopf/Henle
cooperation means: Each
work is edited according
to predetermined
standardized editorial
guidelines. First and
foremost among the
sources consulted were
Mozart's handwritten
scores, being the most
important sources. In
some cases they had not
been available when the
previous editions were
being prepared. Moreover,
we know today that in
addition to Mozart's own
manuscripts, early copies
in parts and prints also
contain important
information regarding the
musical text.Die
Editionen werden den
Intentionen des
Komponisten so weit wie
moglich gerecht. Gemass
Mozarts Anweisungen in
den Autographen ist
beispielsweise im unteren
Klaviersolosystem sowohl
der Partituren als auch
der Klavierauszuge
durchgangig die
Bassstimme des Orchesters
wiedergegeben. (Andreas
Friesenhagen,
FonoForum)L'interet
particulier de cette
nouvelle edition reside
dans les notations
complementaires des
parties de violon ayant
pour source la premiere
execution de l'oeuvre par
Joseph Joachim et Robert
Hausmann avec, tres
probablement,
l'autorisation du
compositeur, ces notes de
jeu refletant les
pratiques de l'epoque.
(Crescendo).
Piano/harpsichord and orchestra (picc.2.2.cor ang.2.2 - 4.2.3.1 - timp - perc(4)...(+)
Piano/harpsichord and
orchestra (picc.2.2.cor
ang.2.2 - 4.2.3.1 - timp
- perc(4) - hp - str)
SKU: BR.PB-15160
Urtext. Composed
by Sergej Rachmaninow.
Edited by Norbert
Gertsch. Orchestra;
Softbound.
Partitur-Bibliothek
(Score Library).
Variations; Solo
concerto; Late-romantic;
Early modern. Sheet
Music. Duration 22'.
Breitkopf and Haertel #PB
15160. Published by
Breitkopf and Haertel
(BR.PB-15160).
ISBN
9790004215654. 10 x 12.5
inches.
Paganini's
Capricci served as
inspiration for many
composers. In addition to
Brahms, Schumann and
Liszt, Rachmaninoff was
also inspired by the
idea. His Rhapsody on a
Theme by Paganini has
since become one of his
best known and most
popular works and was an
immediate success. In
1934, between two intense
concert seasons,
Rachmaninoff took
advantage of the peace
and quiet at his villa on
Lake Lucerne to compose
the Variations.
Paganini's virtuosity and
joy of playing are
juxtaposed with the
Gregorian sequence Dies
irae. A symbol of the
evil spirit to which
Paganini sold his soul?
At least that is how
Rachmaninoff wrote it in
a letter to the
choreographer Fokine. For
the demanding piano part,
the composer and
celebrated pianist
himself had to start
practicing very early:
The composition is very
difficult, and I should
really start practicing
now, but I get lazier
with my finger exercises
year after year.The
editor, Norbert Gertsch,
presents with this
edition for the first
time an Urtext edition of
the work that Joachim
Kaiser described as
Rachmaninoff's most
spiritual, witty, elegant
work for piano..
Piano and orchestra SKU: FG.55011-372-5 Composed by Matthew Whittall. Stu...(+)
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.
The Manchester Carols. (A Re-Telling of the Christmas Story). By Carol Ann Duffy...(+)
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
For Piano. Includes a complete printed music score on high-quality ivory paper; ...(+)
For Piano. Includes a
complete printed music
score on high-quality
ivory paper; and a
compact disc containing
the complete version of
each piece with soloist
and accompaniment; then a
second performance with
accompaniments minus you,
the soloist. Published by
Music Minus One.
Urtext. Composed
by George Gershwin.
Orchestra; Softbound.
Edition Breitkopf. Solo
concerto; Early modern;
Music post-1945. Piano
reduction. 88 pages.
Duration 36'. Breitkopf
and Haertel #EB 10859.
Published by Breitkopf
and Haertel
(BR.EB-10859).
ISBN
9790201808598. 9.5 x 12
inches.
After
achieving sensational
success with the musical
Lady, be good! , with
evergreens such as
Fascinating Rhythm and
The Man I love, as well
as with his Rhapsody in
Blue , Gershwin premiered
his Concerto in F for
piano and orchestra as a
soloist at Carnegie Hall
in 1925. Now, the new
superstar of Broadway had
also arrived at the
center of New York's
classical music scene. In
its eventful history, the
work went through
numerous changes,
cuttings, arrangements,
many of which doubtful
and unauthorized. Even
the first and so far only
printed orchestral score,
edited by Frank
Campbell-Watson,
published in 1942 five
years after Gershwin's
death, contains many
unauthorized
interventions. Through
years of research, editor
Norbert Gertsch has
succeeded in ridding the
work of all unauthorized
additions and alterations
and thus reconstructing
an Urtext in its original
literal sense from the
complex source material -
from autograph sketches
to early recordings. The
first text-critical
edition of the work is a
joint production of
Breitkopf
(score/orchestral parts)
and G. Henle Verlag
(piano reduction).
For Piano. Includes a high-quality printed music score and a compact disc contai...(+)
For Piano. Includes a
high-quality printed
music score and a compact
disc containing a
complete version with
soloist, in split-channel
stereo (soloist on the
right channel); then a
second version in full
stereo of the orchestral
accompaniment, minus the
soloist. Published by
Music Minus One.
Urtext. Composed
by Wolfgang Amadeus
Mozart. Edited by
Ernst-Gunter Heinemann.
Orchestra; stapled.
Partitur-Bibliothek
(Score Library). In
Cooperation with G. Henle
Verlag EB 10767 is
printed in score form;
two copies are needed for
performance. You will
find the original
cadenzas under Mozart, 36
Cadenzas for his own
Piano Concertos. Our
edition EB 8579 contains
a Ferrucci Busoni
cadenza. Solo concerto;
Classical. Study Score.
76 pages. Duration 26'.
Breitkopf and Haertel #PB
15111-07. Published by
Breitkopf and Haertel
(BR.PB-15111-07).
ISBN
9790004212684. 6.5 x 9
inches.
One of the
most frequently performed
concertos of all, it was
written while Mozart was
working on the opera Le
nozze di Figaro. The
source situation is
clear: the autograph
score has survived, and
the first printed
editions were not
published until after
Mozart's death.The
editorial quality of the
new edition is guaranteed
not only by Schiffs
sensitive fingerings and
stylistically
well-grounded cadenzas,
but also by the Mozart
scholar Ernst-Gunter
Heinemann to whom Henle
has entrusted its urtext
editions.Breitkopf/Henle
cooperation means: Each
work is edited according
to predetermined
standardized editorial
guidelines. First and
foremost among the
sources consulted were
Mozarts handwritten
scores, being the most
important sources. In
some cases they had not
been available when the
previous editions were
being prepared. Moreover,
we know today that in
addition to Mozarts own
manuscripts, early copies
in parts and prints also
contain important
information regarding the
musical text.
Urtext. Composed
by George Gershwin.
Edited by Norbert
Gertsch. Orchestra;
Softbound.
Partitur-Bibliothek
(Score Library). Solo
concerto; Early modern;
Music post-1945. Full
score. 136 pages.
Duration 36'. Breitkopf
and Haertel #PB 15140.
Published by Breitkopf
and Haertel
(BR.PB-15140).
ISBN
9790004214763. 10 x 12.5
inches.
After
achieving sensational
success with the musical
Lady, be good!, with
evergreens such as
Fascinating Rhythm and
The Man I love, as well
as with his Rhapsody in
Blue, Gershwin premiered
his Concerto in F for
piano and orchestra as a
soloist at Carnegie Hall
in 1925. Now, the new
superstar of Broadway had
also arrived at the
center of New York's
classical music scene. In
its eventful history, the
work went through
numerous changes,
cuttings, arrangements,
many of which doubtful
and unauthorized. Even
the first and so far only
printed orchestral score,
edited by Frank
Campbell-Watson,
published in 1942 five
years after Gershwin's
death, contains many
unauthorized
interventions. Through
years of research, editor
Norbert Gertsch has
succeeded in ridding the
work of all unauthorized
additions and alterations
and thus reconstructing
an Urtext in its original
literal sense from the
complex source material -
from autograph sketches
to early recordings. The
first text-critical
edition of the work is a
joint production of
Breitkopf
(score/orchestral parts)
and G. Henle Verlag
(piano reduction).
(Piano Solo And Chamber Ensemble). By Jason Eckardt (1971-). For piano solo, flu...(+)
(Piano Solo And Chamber
Ensemble). By Jason
Eckardt (1971-). For
piano solo, flute
(doubling piccolo),
clarinet in Bb, violin,
violoncello. Full score.
40 pages. Published by
Carl Fischer
for Piano and Orchestra Soloist in Concert Series. By Edvard Grieg. Piano Large ...(+)
for Piano and Orchestra
Soloist in Concert
Series. By Edvard Grieg.
Piano Large Works
(Arranged for piano).
Size 9x12 inches. 56
pages. Published by
Ricordi.