| Concerto (RAVEL MAURICE) Piano et Orchestre [Conducteur] Barenreiter
For The Left Het For Piano et Orchestra. Par RAVEL MAURICE. In 1929 Paul Wittgen...(+)
For The Left Het For Piano et Orchestra. Par RAVEL MAURICE. In 1929 Paul Wittgenstein, a pianist and war veteran who lost his right arm in the Great War, commissioned Maurice Ravel to write a concerto for him to perform. The result was one of Ravel's most thrilling compositions and, for Wittgenstein, the most important of the many works he commissioned over the course of his career. This scholarly-critical edition of Ravel's Concerto for the Left Hand is based on previously inaccessible and unknown sources. The editor, Douglas Woodfull-Harris, was able to consult manuscripts in the private library of the Paul Wittgenstein Estate which allowed him to retrace the work's evolution from Ravel's autograph working copy to the first printededition. The piano reduction in our edition contains both Ravel's and Wittgenstein's fingerings. Also included is a solo part without fingering, thereby giving pianists the opportunity to enter their own fingering after having studied those of Ravel and Wittgenstein. In 1929 Paul Wittgenstein, a pianist and war veteran who lost his right arm in the Great War, commissioned Maurice Ravel to write a concerto for him to perform. The result was one of Ravel 's most thrilling compositions and, for Wittgenstein, the most important of the many works he commissioned over the course of his career. This scholarly-critical edition of Ravel 's Piano Concerto For The Left Hand is based on previously inaccessible and unknown sources. The editor, Douglas Woodfull-Harris, was able to consult manuscripts in the private library of the Paul Wittgenstein Estate which allowed him to retrace thework's evolution from Ravel 's autograph working copy to the first printed edition. A source of key importance to our new edition is a handwritten French copy of Ravel 's own Piano reduction (the autograph is inaccessible) that he gave to Wittgenstein to facilitate rehearsing the work. This copy is the sole source reflecting Wittgenstein's own interpretation and containing his changes to the final cadenza. It also helps us to understand omissions in the first edition of the score as well as the Piano reduction, and enabled the editor, amongst other things, to correct a great many notes which could be found in previous editions, including the solo Piano part. The Piano reduction in our edition contains both Ravel 's and Wittgenstein's fingering. Also included is a solo part without fingering, thereby giving pianists the opportunity to enter their own fingering after having studied those of Ravel and Wittgenstein. Score and orchestral parts in large format (25. 5 x 32. 5 cm) Includes source descriptions and a Critical Commentary with alternative readings (Eng) Informative Introduction on the work's history and genesis (Ger/Eng/Fr) With facsimile pages Piano reduction with separate Urtext solo part enclosed Full score & parts (BA7881) and two-Piano reduction (BA7881-90) available for sale./ Répertoire / Piano et Orchestre
70.60 EUR - vendu par LMI-partitions Délais: 2-5 jours - En Stock Fournisseur | |
| Konzertante Werke Op. 32
Wev N.15 Piano et Orchestre Schott
Carl Maria von Weber's fame rests mainly on ?Der Freischütz'. The unprecedented...(+)
Carl Maria von Weber's fame rests mainly on ?Der Freischütz'. The unprecedented success of this opera overshadowed all his other works and contributed to their increasing fall into oblivion. Certain works such as ?Preciosa', ?Oberon', and ?Euryanthe', the overtures, solo concertos and piano sonatas, the lieder and chamber works enjoyed great popularity and were widely known in Germany and abroad as late as the second half of the 19th century. However, any chance of a revival of Weber's influential and substantial oeuvre was wasted in the 1920s, when a complete edition - begun by Hans Joachim Moser and with potential contributors including Wilhelm Kempff, Hans Pfitzner, Max von Schillings, Fritz Stein and Richard Strauss - failed after the third volume.Ever since there have been numerous attempts to restart a complete edition of Weber's works, but as this kind of project would have required the co-operation of scholars from both sides of the inter-German border, the political situation after 1945 was not conducive to any such enterprise. Careful negotiations led to the first tangible steps in the 1980s. The intention, right from the beginning, was to place Weber's work in context, and not to separate his musical output from his influential work as a writer, critic and organiser in the musical field, but to publish his compositions together with his letters, diaries and other literary output as the best way to document the cross-fertilisation between his musical, literary and practical activities.Since the German re-unification both working-parties concerned - at the Staatsbibliothek zu Berlin, and at the Musikwissenschaftliches Seminar, Detmold/Paderborn - have co-operated on the complete edition of the musical works (c. 45 volumes in 10 series: sacred music - cantatas, odes and other occasional works - stage works - lieder and vocal works - orchestral works - chamber music - music for piano - piano reductions - miscellanea, arrangements and orchestrations - works of doubtful attribution). The diaries (6-8 vols.) are edited in Berlin and the letters (8-10 vols.) and other writings (2 vols.) in Detmold. This complete edition aims to be a reliable basis of scholarly debate as well as for the authentic performance practice of Carl Maria von Weber's music. Conforming to the standards of recent historico-critical editions, the textual material will be based on all available authentic sources, accompanied by a detailed documentation of the genesis and a list of variants for each work. The musicological importance of the works will be evaluated by placing them in their historical context, the presentation of their genesis, history and Critical Commentaries. The letters, writings and diaries will be treated as inter-related and relevant to each other in the commentaries, therefore readers should benefit from a wealth of concise information and cross-references. / Piano Et Orchestre
194.90 EUR - vendu par LMI-partitions Délais: 2-5 jours - En Stock Fournisseur | |
| Concerto N 4 In G Major
Op. 58 (BEETHOVEN LUDWIG
VAN) Piano et Orchestre Barenreiter
For Pianoforte et Orchestra. Par BEETHOVEN LUDWIG VAN. With numerous corrections...(+)
For Pianoforte et Orchestra. Par BEETHOVEN LUDWIG VAN. With numerous corrections. Piano reduction with a separate solo Piano part. The autograph to Beethoven ’s Piano Concerto No. 4 is lost. For every new edition which has appeared during the course of time there have been only two authentic sources to draw upon; the copyist’s manuscript of the score with Beethoven ’s own corrections and the first edition in parts from 1808 which was published in Vienna and which contains a few revisions dated after the aforementioned manuscript. Though no new sources have been available for this new edition, numerous editorial emendations which have prevailed in all previous editions (evenUrtext editions) have now been corrected. Thus, this new Bärenreiter Urtext edition presents Beethoven ’s famous work in the clarity which it deserves./ Répertoire / Piano et Orchestre
55.40 EUR - vendu par LMI-partitions Délais: 2-5 jours - En Stock Fournisseur | |
| Beethoven, Ludwig Van :
Concerto for Pianoforte
and Orchestra no. 1 C
major op. 15
Piano et Orchestre [Partition] - Avancé Barenreiter
New findings in Beethoven?s first piano concerto' ' The Bärenreiter edito...(+)
New findings in Beethoven?s first piano concerto' ' The Bärenreiter editor and Beethoven expert Jonathan Del Mar who has received international acclaim for his highly successful editions of Beethoven?s works now turns his focus on the piano concertos.' ' In the Piano Concerto No. 1 in C major op. 15, Del Mar has found no less than 17 corrections in Beethoven?s autograph which were made after the work was published. These have been brought to light in this new Bärenreiter edition. A detailed critical commentary documents all the sources and findings made by the editor.' ' This new critical edition sets the highest scholarly standards without losing sight of the needs of modern performers. ' ' - Urtext edition reflecting the latest musicological research' - Includes Beethoven?s cadenzas ' - Piano reduction with a separate solo piano part / [Concerto pour Piano et Orchestre n°1 Do majeur Opus 15] / Classique / Partition / Agrafé /
27.50 EUR - vendu par Note4Piano Délais: En Stock Plus que 1 ex. en stock, commandez vite ! | |
| Concerto No. 1 C Major
Op. 15 (BEETHOVEN LUDWIG
VAN) Piano et Orchestre Barenreiter
Par BEETHOVEN LUDWIG VAN. The Bärenreiter Urtext edition of Ludwig Van Beethove...(+)
Par BEETHOVEN LUDWIG VAN. The Bärenreiter Urtext edition of Ludwig Van Beethoven 's Concerto No. 1 In C Major Op. 15 For Piano features a detailed commentary by Bärenreiter editor and Beethoven expert Jonathan Del Mar. In Beethoven ’s autograph for Concerto No. 1 In C Major Op. 15 For Piano Del Mar found no less than 17 corrections which were made after the work was published. These have been brought to light in this volume and all the sources and findings made by the editor have been documented. This critical edition reflects the latest musicological research and sets the highest scholarly standards without losing sight of theneeds of modern performers. This is a full score./ Répertoire / Piano et Orchestre
60.50 EUR - vendu par LMI-partitions Délais: 2-5 jours - En Stock Fournisseur | |
| Piano Concerto D Major
Op. 61A After The Violin
Concerto Op. 61 Deutsch Piano et Orchestre [Conducteur d'étude / Miniature] G. Henle 19.40 EUR - vendu par LMI-partitions Délais: 2-5 jours - En Stock Fournisseur | |
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