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!'.

Composed by Ludwig van Beethoven (1770-1827). Edited by Jonathan Del Mar. For piano, orchestra. This edition: Urtext edition. In a slipcase. Study score (in a slipcase). Published by Baerenreiter Verlag

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.

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 15 No. 1. Duration 40 minutes. Published by Baerenreiter Verlag (BA.TP921).

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).

Composed by Ludwig van Beethoven (1770-1827). Edited by Jonathan Del Mar. This edition: urtext edition. Paperback. Study score. Opus 58 No. 4. Duration 33 minutes. Published by Baerenreiter Verlag (BA.TP924).

Composed by Ludwig van Beethoven (1770-1827). Edited by Jonathan Del Mar. This edition: urtext edition. Paperback. Study score. Opus 37 No. 3. Duration 34 minutes. Published by Baerenreiter Verlag (BA.TP923).

Piano, orchestra (Piano,2Fl,2Ob,2Clar,2bas soon,2Hn,2Trp,Timp,2V,Va, Vc,Db) - Level 4

SKU: BA.BA10420

Composed by Antonin Dvorak. Edited by Robbert van Steijn. This edition: urtext edition. Paperback. Barenreiter Urtext. Score. Opus 33. Duration 00:40:00. Baerenreiter Verlag #BA10420_00. Published by Baerenreiter Verlag (BA.BA10420).

ISBN 9790260108387. 31 x 24.3 cm inches. Key: G minor. Preface: David R. Beveridge.

Composed in 1876, Dvorákâ??s only piano concerto has been overshadowed by his other two concertos, for violin and violoncello, respectively. Performers and editors have often attempted to upgrade this pianistically unassuming work by adding stylisations of their own. Our Urtext edition revaluates the sources, frees the work from subsequent interventions and presents it to full advantage in its authentic form.

The principal source of our new edition is the first complete print issued by the publisher Hainauer in 1883, which has been meticulously collated with the autograph. The anonymous original piano reduction is so full of mistakes that editor Robbert van Steijn decided instead to present the version by Karel Å olc.

About Barenreiter Urtext

What can I expect from a Barenreiter Urtext edition?< /p>

MUSICOLOGICA LLY SOUND
- A reliable musical text based on all available sources
- A description of the sources
- Information on the genesis and history of the work
- Valuable notes on performance practice
- Includes an introduction with critical commentary explaining source discrepancies and editorial decisions

... AND PRACTICAL
- Page-turns, fold-out pages, and cues where you need them
- A well-presented layout and a user-friendly format
- Excellent print quality
- Superior paper and binding

Piano and orchestra

SKU: H2.MH3273

Composed by Trygve Madsen. Piano Reduction. Published by Musikk-Husets Forlag (H2.MH3273).

Piano reduction.
Urframfort 12.februar 2008 i Universitetets Aula med Oslo symfoniorkester og solist Joachim Kjelsaas Kwetzinsky.

(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

Masterworks Book). Standard early intermediate to intermediate literature for expressive performance. Classical. Early Intermediate; Intermediate. Collection. Fingerings. 64 pages. Published by Alfred Music Publishing

(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

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).

(Study Score). By James Macmillan. For Orchestra, Piano (Study Score). Boosey and Hawkes Scores/Books. Softcover. 106 pages. Boosey and Hawkes #M060124556. Published by Boosey and Hawkes

Composed by Erkki Sven Tuur (1959-). Peters Contemporary Library. Full score. Edition Peters #EP11071. Published by Edition Peters (PE.P11071).

For Piano and Orchestra - Study Score. By Toru Takemitsu. Schott. 30 pages. Published by Schott Japan.

(Study Score/CD). By Franz Liszt (1811-1886). Study Score. Eulenberg Audio plus Score. Softcover with CD. 120 pages. Hal Leonard #EAS170. Published by Hal Leonard