By Nicolas Horvath. By Robert Orledge and Claude Debussy (1862-1918). Rediscoverd Debussy. Christmas. Score. Musik Fabrik #MFCD017A. Published by Musik Fabrik

For Piano. Includes a complete, high-quality printed music score with performance suggestions; 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.

Piano Solo - advanced

SKU: FD.FD0321

Composed by Bernard De Vienne. Claviers. Score. Duration 15-20 minutes. Editions Francois Dhalmann #FD0321. Published by Editions Francois Dhalmann (FD.FD0321).

ISBN 9790560243214.

Work for solo piano. My snapshots are scribblings in pencil or ink, with a little color, and that's all -Kees van Dongen. This collection of short pieces is neither akin to sketches nor to studies, nor to preludes, nor to variations in the classical meaning of the word. They are like the rough drawings that make up a kind of travel notebook, and as such they demand a piano writing that involves widely varied musical gestures. This multiplicity of very different motifs crates sudden ruptures in the sonic atmosphere. This writing doesn't develop but rather hints at things in order to reach equilibrium between light and deep. A play on variants of the core motifs runs right through across the work. Each piece centers on a motif or a group of motifs in particular that builds the shape of a palindrome.

Chamber Music Piano

SKU: CF.PL1056

Composed by Clara Wieck-Schumann, Franz Schubert, and Robert Schumann. Edited by Nicholas Hopkins. Collection. With Standard notation. 128 pages. Carl Fischer Music #PL1056. Published by Carl Fischer Music (CF.PL1056).

ISBN 9781491153390. UPC: 680160910892. Transcribed by Franz Liszt.

Introduction It is true that Schubert himself is somewhat to blame for the very unsatisfactory manner in which his admirable piano pieces are treated. He was too immoderately productive, wrote incessantly, mixing insignificant with important things, grand things with mediocre work, paid no heed to criticism, and always soared on his wings. Like a bird in the air, he lived in music and sang in angelic fashion. --Franz Liszt, letter to Dr. S. Lebert (1868) Of those compositions that greatly interest me, there are only Chopin's and yours. --Franz Liszt, letter to Robert Schumann (1838) She [Clara Schumann] was astounded at hearing me. Her compositions are really very remarkable, especially for a woman. There is a hundred times more creativity and real feeling in them than in all the past and present fantasias by Thalberg. --Franz Liszt, letter to Marie d'Agoult (1838) Chretien Urhan (1790-1845) was a Belgian-born violinist, organist and composer who flourished in the musical life of Paris in the early nineteenth century. According to various accounts, he was deeply religious, harshly ascetic and wildly eccentric, though revered by many important and influential members of the Parisian musical community. Regrettably, history has forgotten Urhan's many musical achievements, the most important of which was arguably his pioneering work in promoting the music of Franz Schubert. He devoted much of his energies to championing Schubert's music, which at the time was unknown outside of Vienna. Undoubtedly, Urhan was responsible for stimulating this enthusiasm in Franz Liszt; Liszt regularly heard Urhan's organ playing in the St.-Vincent-de-Paul church in Paris, and the two became personal acquaintances. At eighteen years of age, Liszt was on the verge of establishing himself as the foremost pianist in Europe, and this awakening to Schubert's music would prove to be a profound experience. Liszt's first travels outside of his native provincial Hungary were to Vienna in 1821-1823, where his father enrolled him in studies with Carl Czerny (piano) and Antonio Salieri (music theory). Both men had important involvements with Schubert; Czerny (like Urhan) as performer and advocate of Schubert's music and Salieri as his theory and composition teacher from 1813-1817. Curiously, Liszt and Schubert never met personally, despite their geographical proximity in Vienna during these years. Inevitably, legends later arose that the two had been personal acquaintances, although Liszt would dismiss these as fallacious: I never knew Schubert personally, he was once quoted as saying. Liszt's initial exposure to Schubert's music was the Lieder, what Urhan prized most of all. He accompanied the tenor Benedict Randhartinger in numerous performances of Schubert's Lieder and then, perhaps realizing that he could benefit the composer more on his own terms, transcribed a number of the Lieder for piano solo. Many of these transcriptions he would perform himself on concert tour during the so-called Glanzzeit, or time of splendor from 1839-1847. This publicity did much to promote reception of Schubert's music throughout Europe. Once Liszt retired from the concert stage and settled in Weimar as a conductor in the 1840s, he continued to perform Schubert's orchestral music, his Symphony No. 9 being a particular favorite, and is credited with giving the world premiere performance of Schubert's opera Alfonso und Estrella in 1854. At this time, he contemplated writing a biography of the composer, which regrettably remained uncompleted. Liszt's devotion to Schubert would never waver. Liszt's relationship with Robert and Clara Schumann was far different and far more complicated; by contrast, they were all personal acquaintances. What began as a relationship of mutual respect and admiration soon deteriorated into one of jealousy and hostility, particularly on the Schumann's part. Liszt's initial contact with Robert's music happened long before they had met personally, when Liszt published an analysis of Schumann's piano music for the Gazette musicale in 1837, a gesture that earned Robert's deep appreciation. In the following year Clara met Liszt during a concert tour in Vienna and presented him with more of Schumann's piano music. Clara and her father Friedrich Wieck, who accompanied Clara on her concert tours, were quite taken by Liszt: We have heard Liszt. He can be compared to no other player...he arouses fright and astonishment. His appearance at the piano is indescribable. He is an original...he is absorbed by the piano. Liszt, too, was impressed with Clara--at first the energy, intelligence and accuracy of her piano playing and later her compositions--to the extent that he dedicated to her the 1838 version of his Etudes d'execution transcendante d'apres Paganini. Liszt had a closer personal relationship with Clara than with Robert until the two men finally met in 1840. Schumann was astounded by Liszt's piano playing. He wrote to Clara that Liszt had played like a god and had inspired indescribable furor of applause. His review of Liszt even included a heroic personification with Napoleon. In Leipzig, Schumann was deeply impressed with Liszt's interpretations of his Noveletten, Op. 21 and Fantasy in C Major, Op. 17 (dedicated to Liszt), enthusiastically observing that, I feel as if I had known you twenty years. Yet a variety of events followed that diminished Liszt's glory in the eyes of the Schumanns. They became critical of the cult-like atmosphere that arose around his recitals, or Lisztomania as it came to be called; conceivably, this could be attributed to professional jealousy. Clara, in particular, came to loathe Liszt, noting in a letter to Joseph Joachim, I despise Liszt from the depths of my soul. She recorded a stunning diary entry a day after Liszt's death, in which she noted, He was an eminent keyboard virtuoso, but a dangerous example for the young...As a composer he was terrible. By contrast, Liszt did not share in these negative sentiments; no evidence suggests that he had any ill-regard for the Schumanns. In Weimar, he did much to promote Schumann's music, conducting performances of his Scenes from Faust and Manfred, during a time in which few orchestras expressed interest, and premiered his opera Genoveva. He later arranged a benefit concert for Clara following Robert's death, featuring Clara as soloist in Robert's Piano Concerto, an event that must have been exhilarating to witness. Regardless, her opinion of him would never change, despite his repeated gestures of courtesy and respect. Liszt's relationship with Schubert was a spiritual one, with music being the one and only link between the two men. That with the Schumanns was personal, with music influenced by a hero worship that would aggravate the relationship over time. Nonetheless, Liszt would remain devoted to and enthusiastic for the music and achievements of these composers. He would be a vital force in disseminating their music to a wider audience, as he would be with many other composers throughout his career. His primary means for accomplishing this was the piano transcription. Liszt and the Transcription Transcription versus Paraphrase Transcription and paraphrase were popular terms in nineteenth-century music, although certainly not unique to this period. Musicians understood that there were clear distinctions between these two terms, but as is often the case these distinctions could be blurred. Transcription, literally writing over, entails reworking or adapting a piece of music for a performance medium different from that of its original; arrangement is a possible synonym. Adapting is a key part of this process, for the success of a transcription relies on the transcriber's ability to adapt the piece to the different medium. As a result, the pre-existing material is generally kept intact, recognizable and intelligible; it is strict, literal, objective. Contextual meaning is maintained in the process, as are elements of style and form. Paraphrase, by contrast, implies restating something in a different manner, as in a rewording of a document for reasons of clarity. In nineteenth-century music, paraphrasing indicated elaborating a piece for purposes of expressive virtuosity, often as a vehicle for showmanship. Variation is an important element, for the source material may be varied as much as the paraphraser's imagination will allow; its purpose is metamorphosis. Transcription is adapting and arranging; paraphrasing is transforming and reworking. Transcription preserves the style of the original; paraphrase absorbs the original into a different style. Transcription highlights the original composer; paraphrase highlights the paraphraser. Approximately half of Liszt's compositional output falls under the category of transcription and paraphrase; it is noteworthy that he never used the term arrangement. Much of his early compositional activities were transcriptions and paraphrases of works of other composers, such as the symphonies of Beethoven and Berlioz, vocal music by Schubert, and operas by Donizetti and Bellini. It is conceivable that he focused so intently on work of this nature early in his career as a means to perfect his compositional technique, although transcription and paraphrase continued well after the technique had been mastered; this might explain why he drastically revised and rewrote many of his original compositions from the 1830s (such as the Transcendental Etudes and Paganini Etudes) in the 1850s. Charles Rosen, a sympathetic interpreter of Liszt's piano works, observes, The new revisions of the Transcendental Etudes are not revisions but concert paraphrases of the old, and their art lies in the technique of transformation. The Paganini etudes are piano transcriptions of violin etudes, and the Transcendental Etudes are piano transcriptions of piano etudes. The principles are the same. He concludes by noting, Paraphrase has shaded off into composition...Composition and paraphrase were not identical for him, but they were so closely interwoven that separation is impossible. The significance of transcription and paraphrase for Liszt the composer cannot be overstated, and the mutual influence of each needs to be better understood. Undoubtedly, Liszt the composer as we know him today would be far different had he not devoted so much of his career to transcribing and paraphrasing the music of others. He was perhaps one of the first composers to contend that transcription and paraphrase could be genuine art forms on equal par with original pieces; he even claimed to be the first to use these two terms to describe these classes of arrangements. Despite the success that Liszt achieved with this type of work, others viewed it with circumspection and criticism. Robert Schumann, although deeply impressed with Liszt's keyboard virtuosity, was harsh in his criticisms of the transcriptions. Schumann interpreted them as indicators that Liszt's virtuosity had hindered his compositional development and suggested that Liszt transcribed the music of others to compensate for his own compositional deficiencies. Nonetheless, Liszt's piano transcriptions, what he sometimes called partitions de piano (or piano scores), were instrumental in promoting composers whose music was unknown at the time or inaccessible in areas outside of major European capitals, areas that Liszt willingly toured during his Glanzzeit. To this end, the transcriptions had to be literal arrangements for the piano; a Beethoven symphony could not be introduced to an unknowing audience if its music had been subjected to imaginative elaborations and variations. The same would be true of the 1833 transcription of Berlioz's Symphonie fantastique (composed only three years earlier), the astonishingly novel content of which would necessitate a literal and intelligible rendering. Opera, usually more popular and accessible for the general public, was a different matter, and in this realm Liszt could paraphrase the original and manipulate it as his imagination would allow without jeopardizing its reception; hence, the paraphrases on the operas of Bellini, Donizetti, Mozart, Meyerbeer and Verdi. Reminiscence was another term coined by Liszt for the opera paraphrases, as if the composer were reminiscing at the keyboard following a memorable evening at the opera. Illustration (reserved on two occasions for Meyerbeer) and fantasy were additional terms. The operas of Wagner were exceptions. His music was less suited to paraphrase due to its general lack of familiarity at the time. Transcription of Wagner's music was thus obligatory, as it was of Beethoven's and Berlioz's music; perhaps the composer himself insisted on this approach. Liszt's Lieder Transcriptions Liszt's initial encounters with Schubert's music, as mentioned previously, were with the Lieder. His first transcription of a Schubert Lied was Die Rose in 1833, followed by Lob der Tranen in 1837. Thirty-nine additional transcriptions appeared at a rapid pace over the following three years, and in 1846, the Schubert Lieder transcriptions would conclude, by which point he had completed fifty-eight, the most of any composer. Critical response to these transcriptions was highly favorable--aside from the view held by Schumann--particularly when Liszt himself played these pieces in concert. Some were published immediately by Anton Diabelli, famous for the theme that inspired Beethoven's variations. Others were published by the Viennese publisher Tobias Haslinger (one of Beethoven's and Schubert's publishers in the 1820s), who sold his reserves so quickly that he would repeatedly plead for more. However, Liszt's enthusiasm for work of this nature soon became exhausted, as he noted in a letter of 1839 to the publisher Breitkopf und Hartel: That good Haslinger overwhelms me with Schubert. I have just sent him twenty-four new songs (Schwanengesang and Winterreise), and for the moment I am rather tired of this work. Haslinger was justified in his demands, for the Schubert transcriptions were received with great enthusiasm. One Gottfried Wilhelm Fink, then editor of the Allgemeine musikalische Zeitung, observed of these transcriptions: Nothing in recent memory has caused such sensation and enjoyment in both pianists and audiences as these arrangements...The demand for them has in no way been satisfied; and it will not be until these arrangements are seen on pianos everywhere. They have indeed made quite a splash. Eduard Hanslick, never a sympathetic critic of Liszt's music, acknowledged thirty years after the fact that, Liszt's transcriptions of Schubert Lieder were epoch-making. There was hardly a concert in which Liszt did not have to play one or two of them--even when they were not listed on the program. These transcriptions quickly became some of his most sough-after pieces, despite their extreme technical demands. Leading pianists of the day, such as Clara Wieck and Sigismond Thalberg, incorporated them into their concert programs immediately upon publication. Moreover, the transcriptions would serve as inspirations for other composers, such as Stephen Heller, Cesar Franck and later Leopold Godowsky, all of whom produced their own transcriptions of Schubert's Lieder. Liszt would transcribe the Lieder of other composers as well, including those by Mendelssohn, Chopin, Anton Rubinstein and even himself. Robert Schumann, of course, would not be ignored. The first transcription of a Schumann Lied was the celebrated Widmung from Myrten in 1848, the only Schumann transcription that Liszt completed during the composer's lifetime. (Regrettably, there is no evidence of Schumann's regard of this transcription, or even if he was aware of it.) From the years 1848-1881, Liszt transcribed twelve of Robert Schumann's Lieder (including one orchestral Lied) and three of Clara (one from each of her three published Lieder cycles); he would transcribe no other works of these two composers. The Schumann Lieder transcriptions, contrary to those of Schubert, are literal arrangements, posing, in general, far fewer demands on the pianist's technique. They are comparatively less imaginative in their treatment of the original material. Additionally, they seem to have been less valued in their day than the Schubert transcriptions, and it is noteworthy that none of the Schumann transcriptions bear dedications, as most of the Schubert transcriptions do. The greatest challenge posed by Lieder transcriptions, regardless of the composer or the nature of the transcription, was to combine the vocal and piano parts of the original such that the character of each would be preserved, a challenge unique to this form of transcription. Each part had to be intact and aurally recognizable, the vocal line in particular. Complications could be manifold in a Lied that featured dissimilar parts, such as Schubert's Auf dem Wasser zu singen, whose piano accompaniment depicts the rocking of the boat on the shimmering waves while the vocal line reflects on the passing of time. Similar complications would be encountered in Gretchen am Spinnrade, in which the ubiquitous sixteenth-note pattern in the piano's right hand epitomizes the ever-turning spinning wheel over which the soprano voice expresses feelings of longing and heartache. The resulting transcriptions for solo piano would place exceptional demands on the pianist. The complications would be far less imposing in instances in which voice and piano were less differentiated, as in many of Schumann's Lieder that Liszt transcribed. The piano parts in these Lieder are true accompaniments for the voice, providing harmonic foundation and rhythmic support by doubling the vocal line throughout. The transcriptions, thus, are strict and literal, with far fewer demands on both pianist and transcriber. In all of Liszt's Lieder transcriptions, regardless of the way in which the two parts are combined, the melody (i.e. the vocal line) is invariably the focal point; the melody should sing on the piano, as if it were the voice. The piano part, although integral to contributing to the character of the music, is designed to function as accompaniment. A singing melody was a crucial objective in nineteenth-century piano performance, which in part might explain the zeal in transcribing and paraphrasing vocal music for the piano. Friedrich Wieck, father and teacher of Clara Schumann, stressed this point repeatedly in his 1853 treatise Clavier und Gesang (Piano and Song): When I speak in general of singing, I refer to that species of singing which is a form of beauty, and which is a foundation for the most refined and most perfect interpretation of music; and, above all things, I consider the culture of beautiful tones the basis for the finest possible touch on the piano. In many respects, the piano and singing should explain and supplement each other. They should mutually assist in expressing the sublime and the noble, in forms of unclouded beauty. Much of Liszt's piano music should be interpreted with this concept in mind, the Lieder transcriptions and opera paraphrases, in particular. To this end, Liszt provided numerous written instructions to the performer to emphasize the vocal line in performance, with Italian directives such as un poco marcato il canto, accentuato assai il canto and ben pronunziato il canto. Repeated indications of cantando,singend and espressivo il canto stress the significance of the singing tone. As an additional means of achieving this and providing the performer with access to the poetry, Liszt insisted, at what must have been a publishing novelty at the time, on printing the words of the Lied in the music itself. Haslinger, seemingly oblivious to Liszt's intent, initially printed the poems of the early Schubert transcriptions separately inside the front covers. Liszt argued that the transcriptions must be reprinted with the words underlying the notes, exactly as Schubert had done, a request that was honored by printing the words above the right-hand staff. Liszt also incorporated a visual scheme for distinguishing voice and accompaniment, influenced perhaps by Chopin, by notating the accompaniment in cue size. His transcription of Robert Schumann's Fruhlings Ankunft features the vocal line in normal size, the piano accompaniment in reduced size, an unmistakable guide in a busy texture as to which part should be emphasized: Example 1. Schumann-Liszt Fruhlings Ankunft, mm. 1-2. The same practice may be found in the transcription of Schumann's An die Turen will ich schleichen. In this piece, the performer must read three staves, in which the baritone line in the central staff is to be shared between the two hands based on the stem direction of the notes: Example 2. Schumann-Liszt An die Turen will ich schleichen, mm. 1-5. This notational practice is extremely beneficial in this instance, given the challenge of reading three staves and the manner in which the vocal line is performed by the two hands. Curiously, Liszt did not use this practice in other transcriptions. Approaches in Lieder Transcription Liszt adopted a variety of approaches in his Lieder transcriptions, based on the nature of the source material, the ways in which the vocal and piano parts could be combined and the ways in which the vocal part could sing. One approach, common with strophic Lieder, in which the vocal line would be identical in each verse, was to vary the register of the vocal part. The transcription of Lob der Tranen, for example, incorporates three of the four verses of the original Lied, with the register of the vocal line ascending one octave with each verse (from low to high), as if three different voices were participating. By the conclusion, the music encompasses the entire range of Liszt's keyboard to produce a stunning climactic effect, and the variety of register of the vocal line provides a welcome textural variety in the absence of the words. The three verses of the transcription of Auf dem Wasser zu singen follow the same approach, in which the vocal line ascends from the tenor, to the alto and to the soprano registers with each verse. Fruhlingsglaube adopts the opposite approach, in which the vocal line descends from soprano in verse 1 to tenor in verse 2, with the second part of verse 2 again resuming the soprano register; this is also the case in Das Wandern from Mullerlieder. Gretchen am Spinnrade posed a unique problem. Since the poem's narrator is female, and the poem represents an expression of her longing for her lover Faust, variation of the vocal line's register, strictly speaking, would have been impractical. For this reason, the vocal line remains in its original register throughout, relentlessly colliding with the sixteenth-note pattern of the accompaniment. One exception may be found in the fifth and final verse in mm. 93-112, at which point the vocal line is notated in a higher register and doubled in octaves. This sudden textural change, one that is readily audible, was a strategic means to underscore Gretchen's mounting anxiety (My bosom urges itself toward him. Ah, might I grasp and hold him! And kiss him as I would wish, at his kisses I should die!). The transcription, thus, becomes a vehicle for maximizing the emotional content of the poem, an exceptional undertaking with the general intent of a transcription. Registral variation of the vocal part also plays a crucial role in the transcription of Erlkonig. Goethe's poem depicts the death of a child who is apprehended by a supernatural Erlking, and Schubert, recognizing the dramatic nature of the poem, carefully depicted the characters (father, son and Erlking) through unique vocal writing and accompaniment patterns: the Lied is a dramatic entity. Liszt, in turn, followed Schubert's characterization in this literal transcription, yet took it an additional step by placing the register of the father's vocal line in the baritone range, that of the son in the soprano range and that of the Erlking in the highest register, options that would not have been available in the version for voice and piano. Additionally, Liszt labeled each appearance of each character in the score, a means for guiding the performer in interpreting the dramatic qualities of the Lied. As a result, the drama and energy of the poem are enhanced in this transcription; as with Gretchen am Spinnrade, the transcriber has maximized the content of the original. Elaboration may be found in certain Lieder transcriptions that expand the performance to a level of virtuosity not found in the original; in such cases, the transcription approximates the paraphrase. Schubert's Du bist die Ruh, a paradigm of musical simplicity, features an uncomplicated piano accompaniment that is virtually identical in each verse. In Liszt's transcription, the material is subjected to a highly virtuosic treatment that far exceeds the original, including a demanding passage for the left hand alone in the opening measures and unique textural writing in each verse. The piece is a transcription in virtuosity; its art, as Rosen noted, lies in the technique of transformation. Elaboration may entail an expansion of the musical form, as in the extensive introduction to Die Forelle and a virtuosic middle section (mm. 63-85), both of which are not in the original. Also unique to this transcription are two cadenzas that Liszt composed in response to the poetic content. The first, in m. 93 on the words und eh ich es gedacht (and before I could guess it), features a twisted chromatic passage that prolongs and thereby heightens the listener's suspense as to the fate of the trout (which is ultimately caught). The second, in m. 108 on the words Betrogne an (and my blood boiled as I saw the betrayed one), features a rush of diminished-seventh arpeggios in both hands, epitomizing the poet's rage at the fisherman for catching the trout. Less frequent are instances in which the length of the original Lied was shortened in the transcription, a tendency that may be found with certain strophic Lieder (e.g., Der Leiermann, Wasserflut and Das Wandern). Another transcription that demonstrates Liszt's readiness to modify the original in the interests of the poetic content is Standchen, the seventh transcription from Schubert's Schwanengesang. Adapted from Act II of Shakespeare's Cymbeline, the poem represents the repeated beckoning of a man to his lover. Liszt transformed the Lied into a miniature drama by transcribing the vocal line of the first verse in the soprano register, that of the second verse in the baritone register, in effect, creating a dialogue between the two lovers. In mm. 71-102, the dialogue becomes a canon, with one voice trailing the other like an echo (as labeled in the score) at the distance of a beat. As in other instances, the transcription resembles the paraphrase, and it is perhaps for this reason that Liszt provided an ossia version that is more in the nature of a literal transcription. The ossia version, six measures shorter than Schubert's original, is less demanding technically than the original transcription, thus representing an ossia of transcription and an ossia of piano technique. The Schumann Lieder transcriptions, in general, display a less imaginative treatment of the source material. Elaborations are less frequently encountered, and virtuosity is more restricted, as if the passage of time had somewhat tamed the composer's approach to transcriptions; alternatively, Liszt was eager to distance himself from the fierce virtuosity of his early years. In most instances, these transcriptions are literal arrangements of the source material, with the vocal line in its original form combined with the accompaniment, which often doubles the vocal line in the original Lied. Widmung, the first of the Schumann transcriptions, is one exception in the way it recalls the virtuosity of the Schubert transcriptions of the 1830s. Particularly striking is the closing section (mm. 58-73), in which material of the opening verse (right hand) is combined with the triplet quarter notes (left hand) from the second section of the Lied (mm. 32-43), as if the transcriber were attempting to reconcile the different material of these two sections. Fruhlingsnacht resembles a paraphrase by presenting each of the two verses in differing registers (alto for verse 1, mm. 3-19, and soprano for verse 2, mm. 20-31) and by concluding with a virtuosic section that considerably extends the length of the original Lied. The original tonalities of the Lieder were generally retained in the transcriptions, showing that the tonality was an important part of the transcription process. The infrequent instances of transposition were done for specific reasons. In 1861, Liszt transcribed two of Schumann's Lieder, one from Op. 36 (An den Sonnenschein), another from Op. 27 (Dem roten Roslein), and merged these two pieces in the collection 2 Lieder; they share only the common tonality of A major. His choice for combining these two Lieder remains unknown, but he clearly recognized that some tonal variety would be needed, for which reason Dem roten Roslein was transposed to C>= major. The collection features An den Sonnenschein in A major (with a transition to the new tonality), followed by Dem roten Roslein in C>= major (without a change of key signature), and concluding with a reprise of An den Sonnenschein in A major. A three-part form was thus established with tonal variety provided by keys in third relations (A-C>=-A); in effect, two of Schumann's Lieder were transcribed into an archetypal song without words. In other instances, Liszt treated tonality and tonal organization as important structural ingredients, particularly in the transcriptions of Schubert's Lieder cycles, i.e. Schwanengesang, Winterreise a...

Piano - Grade 5

SKU: FA.MFCD017B

By Nicolas Horvath. By Claude Debussy and Robert Orledge. Rediscoverd Debussy. Christmas. Score. Musik Fabrik #MFCD017B. Published by Musik Fabrik (FA.MFCD017B).

8.27 x 11.69 inches.

Contains Le Roi Lear: Prelude,Premiere Fanfare, and La Mort de Cordelia,Toomai des elephants, Rodrigue et Chimene: Prelude a l'acte 1p. Le Martyre de Saint Sebastien: La Passion , and No-ja-li ou Le Palais du Silence

From Robert Orledge's notes:

My interest in the wonderful music of Claude Debussy began in the 1980s when I researched and published a book with Cambridge University Press entitled Debussy and the Theatre. During the course of my studies in Paris, I was amazed to discover that Debussy planned over 50 theatrical works but only finished two of these entirely by himself (the opera Pelleas et Melisande in 1893-1902 and the ballet Jeux for Diaghilev's Ballets Russes in 1912-13). Of the rest, many were never started musically (like Siddartha and Orphee-roi with the Oriental scholar Victor Segalen, 1907); some had a few tantalising sketches (like the Edgar Allan Poe opera Le Diable dans le beffroi, 1902-03); some were half-finished (like his other Poe opera La Chute de la Maison Usher, 1908-17); while others were musically complete but had their orchestrations completed by other composers (like Khamma, by Charles Koechlin, 1912-13; or Le Martyre de Saint Sebastien and La Boite a joujoux by his 'angel of corrections' ['l'ange des Corrections'] Andre Caplet in 1911 and 1919 respectively).

For it has to be admitted that what some scholars call Debussy's 'compulsive achievement' could equally well be viewed as laziness, especially as far as the minute detail required for calligraphing his orchestral scores was concerned. It was as if creating the music itself was of greater importance than controlling its final sound, even if Debussy was an imaginative orchestrator when he found the time and energy to do it. It also seems true that Debussy also preferred inventing ideas to turning them into complete pieces. However, despite the lack of detail in many of his sketches (missing clefs, key signatures, dynamics, phrasing, etc.) the notes themselves are surprisingly accurate, whether or not they can be compared with a later draft. Thus, a large number of sketches exist for his Chinese ballet No-ja-li ou Le Palais du Silence and it is not too difficult to see which parts of Georges de Feure's 1913 scenario (see below) inspired which ideas. But Debussy hardly made any attempt to join them together after the first few bars.

It was usually up to his publisher, Jacques Durand, to find solutions when Debussy risked a breach of contract. Debussy was supposed to supervise the orchestrations completed by others, but this supervision was usually very light and restricted to quiet, sensitive moments in which problems were easier to spot. Far from jealously guarding every one of his created notes, as Ravel did, Debussy once even went as far as to ask Koechlin to 'write a ballet for him that he would sign' on 26 March 1914 when he was hard-pressed to fulfil his lucrative contract for No-ja-li with Andre Charlot at the Alhambra Theatre in London. In the end, Debussy (through Durand) sent Charlot the symphonic suite Printemps instead, whose orchestration had been completed by Henri Busser in the Spring of 1912.

So, when I was offered early retirement as Professor of Music at Liverpool University in 2004, I seized the opportunity it would give me to spend time trying to reconstruct some of Debussy's lost potential masterpieces from his existing sketches and drafts--then orchestrating them in Debussy's style when this was appropriate. I had begun this mission in 2001 with the most promising project, the missing parts of Scene 2 of La Chute de la Maison Usher and the sheer joy it gave me at every stage persuaded me to tackle other projects, especially when Debussy experts were unable to identify exactly where I took over from Debussy (and vice versa) in Usher.

3 Etudes pour la Methode des Methodes. Composed by Frederic Chopin (1810-1849). Piano (Solo). The Complete Chopin - A New Critical Edition. Score. Edition Peters #EP73229. Published by Edition Peters

Easy Piano - Easy

SKU: SP.TS305

Composed by Craig Stevens. Arranged by Craig Stevens. Solo; Christmas. Best of Christmas series. Christmas. Score. With Text Language: English. 8 pages. Santorella Publications #TS305. Published by Santorella Publications (SP.TS305).

ISBN 9781585604050. UPC: 649571003050.

Every one at Santorella Publications is extremely sensitive to the costly demands placed on piano teachers and their tenacious students. With this in mind, we decided to publish a series of Christmas sheets for easy piano with only those specific titles that you and/or your student(s) have decided to perform for their holiday concert, recital or maybe just for family and friends. Rather than purchase a large costly collection of songs that you may or may not have the opportunity to perform this year, we have provided an inexpensive alternative. For just $4.95, you can buy just that one, two or three songs that you truly want to learn this holiday season. That's three songs for the price of one! Each arrangement derives from our best-selling Christmas songbook, The Best Of Christmas For Easy Piano by Craig Stevens which is also available with or without a performance CD. If cost is not an issue and you'd like to buy this fantastic collection, be our guest, but if a big songbook is not in the budget this year, that's quite alright. Why not choose only those titles you've settled on for your Christmas performance? Here's your chance to learn O Come All Ye Faithful, Deck The Halls and The Snow Lay On The Ground published by Santorella Publications. Be sure to review our entire list of songs available for easy piano and yes, every one includes lyrics to sing along. Merry Christmas! Look at all the great Christmas sheets to choose from: (TS301 - TS313) O Come All Ye Faithful, Deck the Halls, The Snow Lay on the Ground - I Saw Three Ships, Hark! The Herald Angels Sing, Angels We Have Heard on High - We Wish You a Merry Christmas, Angels From the Realms of Glory, We Three Kings - Jingle Bells, Silver and Gold, Away in The Manger - Jingle, Jingle, Jingle, Joy To The World, Bringing the Season's Cheer - O Christmas Tree, It Came Upon a Midnight Clear, The Coventry Carol - Holly and the Ivy, Good King Wenceslas, Away in a Manger - The Most Wonderful Day of the Year, Up On the Housetop, I Heard the Bells on Christmas Day - Holly Jolly Christmas, Silent Night, O Little Town of Bethlehem - Rudolph, the Red-Nosed Reindeer, Jolly Old St. Nicholas, What Child Is This? (Greensleeves) - Rockin' Around the Christmas Tree, Carol of the Bells - O Holy Night, The First Noel - 12 Days of Christmas.

Composed by Wolfgang Amadeus Mozart (1756-1791). Edited by Mario Aschauer. This edition: urtext edition. Stapled. Barenreiter Urtext. With the Rondo "Alla Turca". Performance score. KV 331 (300i). Baerenreiter Verlag #BA11816. Published by Baerenreiter Verlag

By Peter Ilyich Tchaikovsky. For Piano. Piano Collection. Masterwork. Level: Advanced. Book. Published by Dover Publications.

(6 Volumes in a Slipcase). By Robert Schumann. Study Score. Henle Study Scores. Softcover. 1852 pages. G. Henle Verlag #HN9932. Published by G. Henle Verlag

Piano

SKU: BT.ESZ-01494800

Composed by Sandor Veress. Score Only. Edizioni Suvini Zerboni #ESZ 01494800. Published by Edizioni Suvini Zerboni (BT.ESZ-01494800).

With his Venti pezzi per pianoforte (1938), the Hungarian composer Sándor Veress (1907-92) wanted to create a collection of piano miniatures on folk melodies destined for use in the concert hall as well as for teaching purposes. Each piece is based on one or more songs and dances from different Hungarian speaking areas, which are re-elaborated and presented in a carefully conceived alternation of character, musical writing and technical difficulty. The result is a multi-colored overview of Hungarian folk music: songs of a pathetic or even dramatic nature are contrasted with lighter and high-spirited pieces, interspersed with dances of varying types, among which a homogeneousblock stands out formed by the group of Csárdás, a typical tavern dance also used by Liszt. The Venti pezzi per pianoforte represent the culmination of the extensive ethnomusicological research made by Veress in the ’30s and ‘40s, while working as assistant to László Lajtha and to Béla Bartók, and at the same time carrying out field work in Hungary and neighboring countries. The composer intended that this collection should play a fundamental role of mediation between folklore and western “art” music, by revitalizing the language from within, without resorting to the abstractions of the experimentation being developed in Europe at the time. During his lifetime Veress never succeeded in publishing the complete version of the Venti pezzi per pianoforte, but issued various selections of the pieces, two of which remained totally unpublished. The present critical edition prepared by Giada Viviani reconstructs the complete text of the Venti pezzi per pianoforte on the basis of manuscript sources kept at the Paul Sacher Foundation in Basel: the musical scores, with fingering by Jakub Tchorzewski, are accompanied by an introductory essay on the context in which the collection was created, including a description of the state of the sources and a detailed apparatus criticus of the textual variants.

Con i suoi Venti pezzi per pianoforte (1938), il compositore ungherese Sándor Veress (1907-92) ha voluto creare una raccolta di miniature pianistiche su melodie popolari destinate sia a un uso concertistico, sia all’attivit didattica. In ogni branovengono rielaborati uno o più canti e danze provenienti da diverse aree geografiche di lingua ungherese, che si susseguono in base a una sapiente alternanza di carattere, scrittura musicale, difficolt esecutiva. Viene così offerta una variegatapanoramica della musica popolare di questa nazionalit : a canti di contenuto patetico o addirittura drammatico se ne affiancano di più leggeri e giocosi, avvicendandosi a danze di natura differente, tra cui spicca come un blocco omogeneo il gruppodelle Csárdás, tipica danza da locanda utilizzata anche da Liszt.I Venti pezzi per pianoforte rappresentano il coronamento della ricca attivit etnomusicologica condotta da Veress tra gli anni ’30 e ‘40, sia lavorando come assistente di László Lajtha e di Béla Bartók, sia svolgendo ricerca sul campo in Ungheria enei paesi limitrofi. Per il compositore, questa raccolta doveva svolgere un fondamentale ruolo di mediazione tra il folklore e la musica “colta” occidentale, in maniera da rivitalizzarne il linguaggio dall’interno, senza gli astrattismi dellesperimentazioni allora condotte in Europa.Nel corso della sua vita Veress non riuscì mai a pubblicare la versione integrale dei Venti pezzi per pianoforte, mentre ne fece uscire sul mercato alcune selezioni, lasciando del tutto inediti due brani. La presente edizione critica a cura di GiadaViviani ricostruisce il testo completo dei Venti pezzi per pianoforte in base alle fonti manoscritte conservate presso la Fondazione Paul Sacher di Basilea: gli spartiti musicali, corredati dalla diteggiatura di Jakub Tchorzewski, sono accompagnatida un saggio introduttivo sul contesto di creazione della raccolta, dalla descrizione dello stato delle fonti e da un dettagliato apparato critico delle varianti testuali.

Piano - Level 2

SKU: LM.27281

Composed by Hans Gunter Heumann. Classical. Score. Editions Henry Lemoine #27281. Published by Editions Henry Lemoine (LM.27281).

ISBN 9790230972819.

TRAD ITIONNEL : Greensleeves - Joshua Fit the Battle Of Jericho - Nobody's Knows the Trouble I've Seen - AZNAVOUR / GALL : La Mamma - BARBELIVIEN / MEHDI : Mademoiselle chante le blues - BETTI / HORNEZ / SEELEN : C'est si bon - BOCCHERINI : Menuet - BRAHMS : Danse hongroise n. 7 - CHOPIN : Polonaise heroique - DELIBES : Valse lente (Coppelia) - DVORAK : Humoresque - GAINSBOURG : La Javanaise - HASSLER : Prelude varie - HEUMANN : Feelin' The Blues - That's Real Boogie - KARAS : Le Troisieme homme - LAI / SIGMAN : Love Story - LEGRAND / MARNAY : Les Moulins de mon coeur (L'Affaire Thomas Crown) - MANCINI : Baby Elephant Walk (Hatari) - PUCCINI : Nessun Dorma - REVAUX / FRANCOIS / THIBAUT / ANKA : My Way (Comme d'habitude) - ROSSINI : La Danza.

Piano

SKU: FG.55011-717-4

Composed by Einar Englund. Score. Fennica Gehrman #55011-717-4. Published by Fennica Gehrman (FG.55011-717-4).

ISBN 9790550117174.

It was through Einar Englund (1916-1999) that the Neoclassicism already familiar elsewhere in the world landed on Finnish shores in the late 1940s. A composer especially of large-scale orchestral and chamber works, Englund is one of the greatest Finnish symphonists.

Sinuh e is an example of a Finnish composition founded on a non-Finnish subject handled in a non-National-Romantic way. This probably partly explains why the score has fallen into oblivion in Finland: the Oriental moods and the Nile do not correspond to the view of a Finnish composition as one favouring topics from the national epic, the Kalevala, and lakeland scenery. The music also incorporates motifs derived from Lapp yoiks used by Englund in his score for the film The White Deer (1952). When it was written, the ballet's combination of a historical subject with an exotic, stylised idiom showed that Englund had his finger on the international pulse, unlike, say, Samuel Barber's ballet Medea (1946) and Aram Khachaturian's ballet Spartacus (1956).

The suite from Sinuhe is in five scenes. It omits the original overture and almost all the music for the second half of the ballet. Sinuhe's hapless love for the courtesan Nefernefer is described with languorous sensuality. His servant Kaptah throws himself into a frenzied dance with the Cretan maidens. The suite ends with the rhythmic war dance of his friend Horemheb.

Composed by Johannes Brahms (1833-1897). Edited by Johannes Behr. For Score (Study Score). Henle Study Scores. Softcover. G. Henle #HN7231. Published by G. Henle

By Johann Sebastian Bach. Edited by Donald Martino. For Piano. This edition: Score. Baroque. Level: College Text. Text Book. Published by Dantalian, Inc.

Composed by Ludwig van Beethoven (1770-1827). Edited by Mario Aschauer. This edition: urtext edition. Stapled. Barenreiter Urtext. Performance score. WoO 59. Baerenreiter Verlag #BA11839. Published by Baerenreiter Verlag

Easy Piano - Easy

SKU: SP.TS302

Composed by Craig Stevens. Arranged by Craig Stevens. Solo; Christmas. Best of Christmas series. Christmas. Score. With Text Language: English. 8 pages. Santorella Publications #TS302. Published by Santorella Publications (SP.TS302).

ISBN 9781585604029. UPC: 649571003029.

Every one at Santorella Publications is extremely sensitive to the costly demands placed on piano teachers and their tenacious students. With this in mind, we decided to publish a series of Christmas sheets for easy piano with only those specific titles that you and/or your student(s) have decided to perform for their holiday concert, recital or maybe just for family and friends. Rather than purchase a large costly collection of songs that you may or may not have the opportunity to perform this year, we have provided an inexpensive alternative. For just $4.95, you can buy just that one, two or three songs that you truly want to learn this holiday season. That's three songs for the price of one! Each arrangement derives from our best-selling Christmas songbook, The Best Of Christmas For Easy Piano by Craig Stevens which is also available with or without a performance CD. If cost is not an issue and you'd like to buy this fantastic collection, be our guest, but if a big songbook is not in the budget this year, that's quite alright. Why not choose only those titles you've settled on for your Christmas performance? Here's your chance to learn O Come All Ye Faithful, Deck The Halls and The Snow Lay On The Ground published by Santorella Publications. Be sure to review our entire list of songs available for easy piano and yes, every one includes lyrics to sing along. Merry Christmas! Look at all the great Christmas sheets to choose from: (TS301 - TS313) O Come All Ye Faithful, Deck the Halls, The Snow Lay on the Ground - I Saw Three Ships, Hark! The Herald Angels Sing, Angels We Have Heard on High - We Wish You a Merry Christmas, Angels From the Realms of Glory, We Three Kings - Jingle Bells, Silver and Gold, Away in The Manger - Jingle, Jingle, Jingle, Joy To The World, Bringing the Season's Cheer - O Christmas Tree, It Came Upon a Midnight Clear, The Coventry Carol - Holly and the Ivy, Good King Wenceslas, Away in a Manger - The Most Wonderful Day of the Year, Up On the Housetop, I Heard the Bells on Christmas Day - Holly Jolly Christmas, Silent Night, O Little Town of Bethlehem - Rudolph, the Red-Nosed Reindeer, Jolly Old St. Nicholas, What Child Is This? (Greensleeves) - Rockin' Around the Christmas Tree, Carol of the Bells - O Holy Night, The First Noel - 12 Days of Christmas.

Chamber Music Piano

SKU: PR.110418250

Composed by Shulamit Ran. Sws. Performance Score. 12 pages. Duration 11 minutes. Theodore Presser Company #110-41825. Published by Theodore Presser Company (PR.110418250).

ISBN 9781491133859. UPC: 680160683345. 9 x 12 inches.

This intriguing 11-minute work builds on alternations between declamatory unmetered phrases (beginning as “sonorous, rubato, with great aplomb and resonance”) and strictly motoric rhythmic sections, developing in waves of increasing drama and intensity. Commissioned by the Naumburg Foundation for pianist Xiaohui Yang’s Carnegie Hall premiere.
Ballade is a one-movement work of approximately 11 minutes, divided into three main parts that are played without significant break.Ballade alternates sections where the performer is invited to apply great interpretive freedom, especially on the temporal plane, with contrasting sections that are quite precise and rhythmic. Although carefully notated, the “freer” sections (often marked rubato) certainly allude at times to the kind of repertoire that is familiar to most concert pianists, doing so not by way of quotation but by the type of expressivity, affect, and even passagework. Thus, the performer should think of the score as a “blueprint,” where the many descriptive words I have inserted throughout the score (ranging from sonorous, rubato, with great aplomb and resonance as the work begins, to with greater motion, in a series of ever-expanding “waves” later on) are intended to act as triggers for one’s sense of imagination and fantasy to take off and bring the music alive! An inscription in the score urges the pianist to play fearlessly and exuberantly, but also tenderly!

By John Cage (1912-1992). For for any instrument or combination of instruments. Modern. Sheet Music. Composed 1952. Duration 4 minutes 33 seconds. Published by Edition Peters

For Piano. Contains a newly engraved, complete music score, printed on high-quality ivory paper; and a digital stereo compact disc containing a complete reference version of the quartet, then a recording of the accompaniments minus you, the soloist!. Published by Music Minus One.

Piano Solo - Intermediate - Digital Download Composed by Jean-Philippe Rameau (1683-1764). Arranged by Transcribed by Flavio Regis Cunha. Baroque Period, Early Music, Funeral, Graduation, Recital. Score. 9 pages. Published by Flavio Regis Cunha

Study Score. Composed by Robert Schumann. Henle Study Scores. Study score (paperbound). 270 pages. G. Henle #HN9922. Published by G. Henle (HL.51489922).

Piano

SKU: BR.EB-4342

Instructive Edition. Composed by Ludwig van Beethoven. Edited by Frederic Lamond. This edition: paperback. Solo instruments; Softbound. Edition Breitkopf. The Scotsman and his Beethoven - The 32 Piano Sonatas in the Instructive Edition, edited and supplied with fingerings by Frederic LamondHave a look into EB 4342. Sonata; Classical. Score. 316 pages. Breitkopf and Haertel #EB 4342. Published by Breitkopf and Haertel (BR.EB-4342).

ISBN 9790004162873. 9 x 12 inches.

Whereas in past decades Urtext editions with assorted aspirations and readings by various editors were the primary points of departure in addressing Beethoven's piano sonatas, today it is more often the question of what significance so-called instructive editions have in the history of interpretation, what additional benefit is generated from them, and wherein lies their legitimacy. Unlike his teacher Hans von Bulow in his edition of the sonatas, Lamond did not allow any intervention in the music text per se. His indications give instead interpretive approaches, additionally inspiring today's musicians in the realization of the musical composition. By the beginning of the 20th century he was a successful and celebrated pianist, concertizing in the US and across much of Europe. He repeatedly caused a stir with his Beethoven projects such as performing sixteen sonatas as well as the Diabelli and Eroica variations within four days at the Queen's Hall in London (1925). Dating from this period is also his edition of Beethoven's 32 piano sonatas that first appeared from Breitkopf & Hartel in 1923. Frederic Lamond thus epitomizes Beethoven interpretation. Even today his name is still associated primarily with Beethoven. The present ,,Instructive Edition of Beethoven's 32 Piano Sonatas is a part of the ,,Breitkopf Originals series on the occasion of Beethoven's 250th Birthday in 2020. Apart from the established Urtext editions, this reissue opens up a fascinating view on the interpretation- and performance practice of one of the most important Beethoven interpreters in the 19th and 20th century.

The Scotsman and his Beethoven - The 32 Piano Sonatas in the Instructive Edition, edited and supplied with fingerings by Frederic Lamond.

Piano

SKU: BR.EB-4341

Instructive Edition. Composed by Ludwig van Beethoven. Edited by Frederic Lamond. Solo instruments; Softbound. Edition Breitkopf. The Scotsman and his Beethoven - The 32 Piano Sonatas in the Instructive Edition, edited and supplied with fingerings by Frederic LamondHave a look into EB 4342. Sonata; Classical. Score. 260 pages. Breitkopf and Haertel #EB 4341. Published by Breitkopf and Haertel (BR.EB-4341).

ISBN 9790004162866. 9 x 12 inches.

Whereas in past decades Urtext editions with assorted aspirations and readings by various editors were the primary points of departure in addressing Beethoven's piano sonatas, today it is more often the question of what significance so-called instructive editions have in the history of interpretation, what additional benefit is generated from them, and wherein lies their legitimacy. Unlike his teacher Hans von Bulow in his edition of the sonatas, Lamond did not allow any intervention in the music text per se. His indications give instead interpretive approaches, additionally inspiring today's musicians in the realization of the musical composition. By the beginning of the 20th century he was a successful and celebrated pianist, concertizing in the US and across much of Europe. He repeatedly caused a stir with his Beethoven projects such as performing sixteen sonatas as well as the Diabelli and Eroica variations within four days at the Queen's Hall in London (1925). Dating from this period is also his edition of Beethoven's 32 piano sonatas that first appeared from Breitkopf & Hartel in 1923. Frederic Lamond thus epitomizes Beethoven interpretation. Even today his name is still associated primarily with Beethoven. The present ,,Instructive Edition of Beethoven's 32 Piano Sonatas is a part of the ,,Breitkopf Originals series on the occasion of Beethoven's 250th Birthday in 2020. Apart from the established Urtext editions, this reissue opens up a fascinating view on the interpretation- and performance practice of one of the most important Beethoven interpreters in the 19th and 20th century.

The Scotsman and his Beethoven - The 32 Piano Sonatas in the Instructive Edition, edited and supplied with fingerings by Frederic Lamond.

Piano (pno(-2-6hd) - sp - (fl and child ch(1-2pt) ad lib.))

SKU: BR.DV-32147

Ein musikalisches Geschichtenspiel fur Klavier zu 2, 3, 4, 5 und 6 Handen. Composed by Manfred Schmitz. Solo instruments; Softcover. Deutscher Verlag. Once again, expert educator Manfred Schmitz wheels the piano outdoors into the fresh air. The story-telling gardener then lets all the children join in and play a role in making music on his flower-bed piano. Music pedagogy. Score. 50 pages. Deutscher Verlag fur Musik #DV 32147. Published by Deutscher Verlag fur Musik (BR.DV-32147).

ISBN 9790200426809. 9 x 12 inches.

Once again, expert educator Manfred Schmitz wheels the piano outdoors into the fresh air. The story-telling gardener then lets all the children join in and play a role in making music on his flower-bed piano: as a frog, a daisy, a lark, a ladybug, a mole, a snowdrop, a wren or a butterfly. Everyone gets into the act, with a performance that can be big or small, but that's always suited to a child's proficiency, enjoyment and enthusiasm. The result is a real little outdoor musical! Following the Spielwiese (DV 30065) and the Grune Kinder-Lieder-Klavier (DV 31099), this is the third installment of the multi-faceted Open Air Piano concept.

Once again, expert educator Manfred Schmitz wheels the piano outdoors into the fresh air. The story-telling gardener then lets all the children join in and play a role in making music on his flower-bed piano.

Piano - Beginner, Intermediate, Intermediate-Advanced

SKU: YM.GTP01097982

Composed by Yukie Nishimura. Piano Pop and Vocal. Score. Yamaha Music Media #GTP01097982. Published by Yamaha Music Media (YM.GTP01097982).

ISBN 9784636979824.

This is the matched scorebook of the same name of Yukie Nishimura's CD album, and all works are newly composed for the album. I want as many people as possible to turn on their musical switch to enjoy the piano sound, she created the album with this wish in mind. She speaks gently to the piano and plays melodies that touch the heart, making the listeners' hearts flutter.
This scorebook will bring you even more love towards piano as well as a connection to the wonderful musical world.
There are two bonus arrangements included in the scorebook.
The Quartet on the Keys is arranged for beginners. She has made the Merry-Go-Round - Dedicated to Piazzolla into a slightly gentler arrangement, yet still perfect for performing at recitals and competitions.

15 Christmas Classics Arranged for A Soloist and Jazz Rhythm Section - Includes CD Play-Along with A "Live" Rhythm Section (Piano). By Felix Mendelssohn Bartholdy; Franz Gruber; James Pierpont; John Francis Wade; John Henry Hopkins; Lewis Redner; Richard Storrs Willis. Arranged by Carl Strommen. For Piano. Score and Audio CD. 48 pages. Published by Carl Fischer.

Piano

SKU: BT.WMP2315

Selected Piano Repertory and Studies. By Josephine Koh. Teachers' Choice. Exam Material. Book Only. 48 pages. Wells Music Publishers #WMP2315. Published by Wells Music Publishers (BT.WMP2315).

ISBN 9789811105562. English.

The latest of this series comprises popular choice pieces and alternative works from the ABRSM Piano Examination syllabi. These pieces have been specially selected for examination purposes and general repertoire study. Meticulously fingered and edited by Josephine Koh, the Teachers ' Choice Selected Piano Repertory & Studies, just like the past series, offers teaching points and performance directionsthat help to develop technical assurance and stylistic awareness in the students. All works in Teachers' Choice are beautifully scored for comfort of reading.  Beyond examinations, the series is enjoyed by music teacherswhouse the studies presented in each grade, for the development of specific technical skills in their students.

Composed by Carol Lander. For piano solo. Playing score. Published by Imagine Music

Piano - Entry Level

SKU: YM.GTP01100746

Composed by Various. Piano and Vocal. Kids Piano. Children's Songs. Book. Yamaha Music Media #GTP01100746. Published by Yamaha Music Media (YM.GTP01100746).

ISBN 9784636105377.

This is a collection of melody scores with easy-to-play lyrics for children playing keyboard instruments for the first time. Melody notations and keyboard diagrams are included. Children who cannot read sheet music can also use this book with ease. Nicely arranged to be played on all keyboard instruments, including piano, mini keyboard, and pianica. Includes 20 well-known Japanese children's songs and play songs. This book is full of cute illustrations that match the images of the songs. Let's start the piano by playing with a single hand first with this book.