(Easily Prepared Piano Arrangements for Wedding Ceremonies). Arranged by Carol T...(+)
(Easily Prepared Piano
Arrangements for Wedding
Ceremonies). Arranged by
Carol Tornquist. For
Piano. Book; Piano
Collection; Piano
Supplemental; Worship
Resources. Sacred
Performer Collections.
Contemporary Christian;
Sacred; Wedding. Early
Advanced; Late
Intermediate. 40 pages.
Published by Alfred Music
By Mecano. Arranged by Armelle Cocheril. For Piano. This edition: piano arrangem...(+)
By Mecano. Arranged by
Armelle Cocheril. For
Piano. This edition:
piano arrangement.
CrocK'MusiC. Level: 7.
Size 8.19 x 11.583. 2.5
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Chamber Music Piano SKU: CF.PL1056 Composed by Clara Wieck-Schumann, Fran...(+)
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 SKU: BR.EB-6774 Piano Lessons by Johann Sebastian Bach. Comp...(+)
Piano
SKU:
BR.EB-6774
Piano
Lessons by Johann
Sebastian Bach.
Composed by Johann
Sebastian Bach. Edited by
Heinz Walter. Solo
instruments; Softcover.
Edition Breitkopf.
Baroque period. Score. 16
pages. Breitkopf and
Haertel #EB 6774.
Published by Breitkopf
and Haertel (BR.EB-6774).
ISBN 9790004169735. 9
x 12 inches.
The
pieces contained in this
volume prepare the
student for the playing
in three and four parts
that is required for the
perfomance of the
three-part inventions and
the French suites. They
are most appropriately
incorporated into the
teaching material after
the two-part inventions
have been studied. New
technical problems, such
as the passing under and
over of fingers without
using the thumb and the
rapid substitution of
fingers on one key, must
here be solved. In order
to make the fonn clear,
the notation has been
simplified as much as
possible; the indications
of fingering remain quite
complicated enough, even
though they cannot by far
show all the
possibilities. lt is
necessary to adapt the
fingerings to the
mobility and span of the
particular player's
hands, whilst retaining
the chosen phrasings to
the best of his ability.
Isolated notes which
require a span exceeding
the octave have been
placed in brackets; the
performance of the
ornaments is shown in
footnotes. As in the
first volume, the missing
dynamic and tempo
indications must be
supplied by the performer
himself in accordance
with the character of
each piece. Especial
attention must be paid in
polyphonic music to the
problem of phrasing and
articulation. The
editor's suggestions can
be replaced by other
solutions that make
musical sense; these
should then be written
into the parts. An
intensive preoccupation
with polyphone structures
can even at an early age
increase the
understanding and love of
the musical work of art.
Heinz Walter, Salzburg,
Summer 1977.
Composed by Bela Bartok (1881-1945) and Sándor Reschofsky. EMB. Softcover. ...(+)
Composed by Bela Bartok
(1881-1945) and Sándor
Reschofsky. EMB.
Softcover.
136 pages. Editio Musica
Budapest #Z15072.
Published
by Editio Musica Budapest
Composed by Andrew D. Gordon. Saddle stitch. Jazz/Piano Instruction. Book/Downlo...(+)
Composed by Andrew D.
Gordon. Saddle stitch.
Jazz/Piano Instruction.
Book/Downloadable
audio/MP3/MIDI Files.
Duration 70 minutes.
Published by ADG
Productions
(50 Advanced Arrangements). Arranged by Dan Coates. For Piano. Book; Piano Colle...(+)
(50 Advanced
Arrangements). Arranged
by Dan Coates. For Piano.
Book; Piano Collection;
Piano Supplemental. The
Professional Pianist.
Masterwork Arrangement;
Wedding. Advanced. 168
pages. Published by
Alfred Music
Mystery Piano Piano seul [Partition + CD] - Débutant Schott
20 Mysterious Easy Piano Pieces. Composed by Hans- Guenter Heumann. This ed...(+)
20 Mysterious Easy Piano
Pieces. Composed by
Hans-
Guenter Heumann. This
edition: Saddle
stitching.
Sheet music with CD.
Piano
Collection. Classical.
Edition with CD. Composed
2017. 64 pages. Schott
Music
#ED22833. Published by
Schott
Music
Piano - Late Intermediate, Advanced SKU: OT.21124 Composed by Maayan Tal....(+)
Piano - Late
Intermediate, Advanced
SKU: OT.21124
Composed by Maayan Tal. 7
etudes for piano.
Classical. Score. OR-TAV
Music Publications
#21124. Published by
OR-TAV Music Publications
(OT.21124).
ISBN
9789655050981. 8.27 x
11.69
inches.
Perpetuum
Mobile, meaning perpetual
motioni, is a Latin term
that describes an
impossible situation in
which a substance has
infinite energy. This
situation is impossible
because it violates the
first and second laws of
Newton. But it is
possible in music.
Imagine a musical piece
that is a continuous
stream of notes. These
are exactly the etudes in
this album. They do not
stop, they are always in
motion and they can be
played continuously.
Etudes are solo
pieces, purposed to help
the musician practice his
technique. In this album,
each etude is designed to
practice another
technique. In
addition, the etudes in
this album are arranged
according to the circle
of fifths - each etude
ends in a key which is
dominant to the beginning
of the next etude, even
the last etude to the
first one, and so on and
so forth. This further
emphasizes the infinite
mobility of the music in
this piece. Once you
enter the loop, you can't
get out of it. All the
etudes start in a minor
key, as a symbol of the
sadness of the matter,
and end in a major key,
to represent the hope, a
false hope, that perhaps
the next etude will take
you out of the loop.
This album is a
three-year-long project,
in which I gathered ideas
from the environment in
which I live, from the
people in it and from
their thoughts, from life
that continues all the
time, and the music that
will never stop.
Maayan Tal, 17, is a
young Israeli musician,
pianist and composer.
Piano - Intermediate SKU: YM.GTP01101015 Composed by Various. Piano Educa...(+)
Piano - Intermediate
SKU:
YM.GTP01101015
Composed by Various.
Piano Educational.
Yoshiko Kurokawa.
Studies, Exercises.
Exercise Book. Yamaha
Music Media #GTP01101015.
Published by Yamaha Music
Media (YM.GTP01101015).
ISBN
9784336107173.
The
Yoshiko Kurokawa's Piano
Supplement Exercise Book
series is the most
comprehensive and
powerful technique books
for improving piano
technique. With these
books, the basic
techniques essential to
piano playing, as
described in Chopin's
manuscript of technique,
Brahms' exercises, and
Hummel's theory of piano
technique, can be learned
easily and effectively.
In addition to warm-up
and exercise pieces by
Yoshiko Kurokawa, they
include works by
composers such as Hummel,
Clementi, and Mozart,
plus exercise-specific
exercises by composer
Yasuhisa Touma. They can
be used even for those
who are just beginning to
learn the piano. It is
full of warm-ups that
will improve the hand
form, and learners will
be able to play smoothly,
with a focus on finger
movements.
More
and more people are
looking for a way to
offset the demands of
everyday life by making
music. Particularly
welcome are pieces that
often evoke poetic,
meditative moods and are
good for the soul through
their simple harmonies.
The majority of the
pieces in this book arose
from this premise. They
also explore the
multi-faceted expressive
possibilities of the
piano as well: they can
convey exuberance,
comfort, joy, longing,
compassion, mourning,
anger and ecstasy, but
also mystical moments.
Short programmatic
annotations in the
musical text, along with
the titles and the music
on the audiotracks,
awaken inner
relationships that infuse
more spirit into ones
playing. And the
possibility of expressing
feelings while playing
can also be a motivation
to expand ones own
piano-technical
resources.,,Dans la
selection de Michael
Proksch, tout est propice
a l'improvisation, plus
classique que reellement
jazz. Le CD joint donne
une bonne
idee.(Pianiste).
Piano - Early Elementary SKU: FJ.FJH2285 Composed by Helen Marlais. Piano...(+)
Piano - Early Elementary
SKU: FJ.FJH2285
Composed by Helen
Marlais. Piano Method;
Theory. Succeeding at the
Piano. Book. The FJH
Music Company Inc
#98-FJH2285. Published by
The FJH Music Company Inc
(FJ.FJH2285).
UPC:
241444369074.
English.
A set of
108 color flash cards
with topics in four
categories: Pre-Reading
(identification of piano
key names, step
direction, etc.), Notes
on the Staff (identifying
and naming notes), Music
Symbols and Technique
Reminders (dynamics,
basic note values,
corresponding lesson
terms, etc.), and Rhythm
(basic rhythm exercises).
Each card is numbered so
they can be kept in
sequence with the
corresponding Lesson and
Technique Book pages in
this series. All answers
are printed on the
reverse side of each
individual flashcard.
These cards can be used
in lessons, or at home to
drill and reinforce new
concepts as they are
introduced.
(Piano Play-Along Volume 71). By George Gershwin (1898-1937). For Piano/Keyboard...(+)
(Piano Play-Along Volume
71). By George Gershwin
(1898-1937). For
Piano/Keyboard. Piano
Play-Along. Softcover
with CD. 88 pages.
Published by Hal Leonard
(Jazz Piano Solos Series Volume 26). By George Gershwin (1898-1937). For Piano/K...(+)
(Jazz Piano Solos Series
Volume 26). By George
Gershwin (1898-1937). For
Piano/Keyboard. Piano
Solo Songbook. Softcover.
98 pages. Published by
Hal Leonard
Piano seul [Partition] - Intermédiaire Hal Leonard
Composed by George Gershwin (1898-1937), arranged by Lee Evans. For piano. Forma...(+)
Composed by George
Gershwin (1898-1937),
arranged by Lee Evans.
For piano. Format: piano
solo songbook. Broadway,
20th century and
standards. Series: Hal
Leonard Lee Evans Piano
Education. 56 pages. 9x12
inches. Published by Hal
Leonard.
Piano SKU: HL.14035519 Composed by Rolf Wallin. Music Sales America. Clas...(+)
Piano
SKU:
HL.14035519
Composed
by Rolf Wallin. Music
Sales America. Classical.
Book [Softcover].
Composed 2002. 24 pages.
Chester Music #CH65835.
Published by Chester
Music (HL.14035519).
ISBN
9780711996878.
Thes
e seven pieces can be
performed as a complete
work, as they appear in
the score. They can also
be performed as
free-standing pieces.
Total duration 20
minutes. These seven
piano pieces were written
as an attempt to go into
the tradition of romantic
and impressionist
character pieces, like
Grieg's Lyrical Pieces or
Debussy's Preludes:
small, relatively simple
pieces with a motto, and
usually with one
prevailing sentiment,
like a musical short
story.
(52 of the Most Popular and Best Loved Standards). Arranged by Dan Fox. For Pia...(+)
(52 of the Most Popular
and Best Loved
Standards). Arranged by
Dan Fox. For Piano. Piano
Collection. World's
Greatest. Standard. Easy
Piano. Book. 144 pages.
Published by Alfred Music
Publishing
Aulos Volume I Piano seul - Avancé EMB (Editio Musica Budapest)
Piano - advanced SKU: BT.EMBZ14887 Piano pieces for practising polypho...(+)
Piano - advanced
SKU:
BT.EMBZ14887
Piano
pieces for practising
polyphony. Composed
by Gyorgy Orban.
Educational Tool. Book
Only. Composed 2014. 72
pages. Editio Musica
Budapest #EMBZ14887.
Published by Editio
Musica Budapest
(BT.EMBZ14887).
English-Hungarian.
Aulos to a certain
degree continues
Orbán's easy piano
pieces for children,
which he composed for
Ãgnes Lakos's piano
tutor and which Editio
Musica Budapest published
in a separate volume
entitled Enchanted Forest
in 2011 (Z. 14742). Yet
on this occasion the
composer took on
something which was both
significantly different
and more than his earlier
pieces for children. On
the one hand, he did not
compose for beginners but
for more advanced
students who have studied
piano for at least three
years. On the other, he
did not set developing
the technique of piano
playing as an aim, rather
a systematic presentation
of different polyphonic
genres and compositional
procedures(imitation,
fugue, stretto,
inversion, augmentation
and diminution, double
counterpoint, latent
polyphony, double and
triple fugue, cantus
firmus technique, etc.).
Orbán introduces his
students to the mysteries
of polyphony in a direct
and practical manner, and
thus actually makes them
familiar with the art of
composition.The
educational use of the
series is significantly
increased by the fact
that before each piece
the composer presents and
clarifies with
demonstrative
illustrations the
polyphonic procedure he
introduces. Orbán's
explanations are not
text-book-like at all,
but are deliberately
personal and subjective,
full of lessons and
individual associations
taken from his practice
as a composer. They were
written in the same
spirit as the works
themselves - while they
perfectly fulfil their
educational purpose they
are equally individual,
witty and inspired pieces
of music that are a joy
to play.
Aulos to
a certain degree
continues Orbáns easy
piano pieces for
children, which he
composed for Ãgnes
Lakoss piano tutor and
which Editio Musica
Budapest published in a
separate volume entitled
Enchanted Forest in 2011
(Z. 14742). Yet on
thisoccasion the composer
took on something which
was both significantly
different and more than
his earlier pieces for
children. On the one
hand, he did not compose
for beginners but for
more advanced students
who have studied piano
for at least threeyears.
On the other, he did not
set developing the
technique of piano
playing as an aim, rather
a systematic presentation
of different polyphonic
genres and compositional
procedures (imitation,
fugue, stretto,
inversion, augmentation
and diminution,double
counterpoint, latent
polyphony, double and
triple fugue, cantus
firmus technique, etc.).
The educational use of
the series is
significantly increased
by the fact that before
each piece the composer
presents and clarifies
with demonstrative
illustrations the
polyphonic procedure he
introduces. Orbáns
explanations are not
text-book-like atall, but
are deliberately personal
and subjective, full of
lessons and individual
associations taken from
his practice as a
composer. They were
written in the same
spirit as the works
themselves - while they
perfectly fulfil their
educational purposethey
are equally individual,
witty and inspired pieces
of music that are a joy
to play.
Scott Joplin Reconsidered. Composed by Scott Joplin (1868-1917). Edited by L...(+)
Scott Joplin
Reconsidered.
Composed by Scott Joplin
(1868-1917). Edited by
Lara
Downes. Collection.
Theodore
Presser Company
#440-40028.
Published by Theodore
Presser
Company
Piano SKU: BT.EMBZ14888 Piano pieces for practising polyphony. Com...(+)
Piano
SKU:
BT.EMBZ14888
Piano
pieces for practising
polyphony. Composed
by Gyorgy Orban.
Educational Tool. Book
Only. Composed 2014. 80
pages. Editio Musica
Budapest #EMBZ14888.
Published by Editio
Musica Budapest
(BT.EMBZ14888).
English-Hungarian.
Aulos to a certain
degree continues
Orbán's easy piano
pieces for children,
which he composed for
Ãgnes Lakos's piano
tutor and which Editio
Musica Budapest published
in a separate volume
entitled Enchanted Forest
in 2011 (Z. 14742). Yet
on this occasion the
composer took on
something which was both
significantly different
and more than his earlier
pieces for children. On
the one hand, he did not
compose for beginners but
for more advanced
students who have studied
piano for at least three
years. On the other, he
did not set developing
the technique of piano
playing as an aim, rather
a systematic presentation
of different polyphonic
genres and compositional
procedures(imitation,
fugue, stretto,
inversion, augmentation
and diminution, double
counterpoint, latent
polyphony, double and
triple fugue, cantus
firmus technique, etc.).
Orbán introduces his
students to the mysteries
of polyphony in a direct
and practical manner, and
thus actually makes them
familiar with the art of
composition.The
educational use of the
series is significantly
increased by the fact
that before each piece
the composer presents and
clarifies with
demonstrative
illustrations the
polyphonic procedure he
introduces. Orbán's
explanations are not
text-book-like at all,
but are deliberately
personal and subjective,
full of lessons and
individual associations
taken from his practice
as a composer. They were
written in the same
spirit as the works
themselves - while they
perfectly fulfil their
educational purpose they
are equally individual,
witty and inspired pieces
of music that are a joy
to play.
Aulos is
composed for more
advanced students who
have studied piano for at
least three years. Aim is
a systematic presentation
of different polyphonic
genres and compositional
procedures (imitation,
fugue, stretto,
inversion, augmentation
anddiminution, double
counterpoint, latent
polyphony, double and
triple fugue, cantus
firmus technique, etc.).
The educational use of
the series is
significantly increased
by the fact that before
each piece the composer
presents and clarifies
withdemonstrative
illustrations the
polyphonic procedure he
introduces. Orbáns
explanations are not
text-book-like at all,
but are deliberately
personal and subjective,
full of lessons and
individual associations
taken from his practice
as a composer. They were
written in the same
spirit as the works
themselves - whilethey
perfectly fulfil their
educational purpose they
are equally individual,
witty and inspired pieces
of music that are a joy
to play.
Piano - Early Intermediate; Intermediate SKU: FJ.FJH2327 Composed by Mary...(+)
Piano - Early
Intermediate;
Intermediate
SKU:
FJ.FJH2327
Composed
by Mary Leaf. Piano
Collection; Piano
Supplemental. Composers
in Focus. Book. The FJH
Music Company Inc
#98-FJH2327. Published by
The FJH Music Company Inc
(FJ.FJH2327).
ISBN
9781619282674. UPC:
241444406076.
English.
In this
collection, Mary Leaf has
written pieces about
journeys, quests and the
mysterious places found
along the way. The eight
pieces in this collection
explore beautiful
melodies, and tell
fantastic tales.
Performers can truly play
a musical story as they
learn these exciting
pieces that focus on
voicing a melody and
projecting harmonic
colors.
Beatmüller Piano seul [Partition + Accès audio] - Intermédiaire De Haske Publications
Piano - intermediate SKU: BT.DHP-1064042-404 25 Piano pieces in swing,...(+)
Piano - intermediate
SKU:
BT.DHP-1064042-404
25 Piano pieces in
swing, rock and
latin. Composed by
Fons Van Gorp. Book with
Online Audio. Composed
2022. 52 pages. De Haske
Publications #DHP
1064042-404. Published by
De Haske Publications
(BT.DHP-1064042-404).
ISBN 9789043164511.
English-German-French-Dut
ch.
The 25 pieces
in Beatmüller
have been composed by
Fons van Gorp as an
alternative or homage to
the popular 25
romantic studies
Opus 100 by good old
Friedrich Burgmüller.
They are written in
twentieth centuryidioms:
rock, swing, latin and
funk styles are all
there, but romance is
also present. All the
pieces in
Beatmüller are
meant to be played solo,
but the audio tracks
available online in MP3
format are a perfect tool
tohelp develop the right
drive and beat.
De 25 stukken in
Beatmüller zijn
gecomponeerd als
alternatief voor of
aanvulling op de aloude,
geliefde 25
romantische etudes
(opus 100) van
Friedrich Burgmüller.
Ze zijn geschreven in
idiomen van de
twintigsteeeuw: de
stijlen rock, swing,
latin en funk passeren de
revue, maar ook de
romantiek is present.
Alle stukken in
Beatmüller zijn
bedoeld om solo te
spelen, maar de online in
mp3-formaat beschikbare
audiotracks zijn eenprima
hulpmiddel om de juiste
‘drive’ en
‘beat’ te
ontwikkelen.
Die
25 Stücke in
Beatmüller
wurden als Alternative
oder Ergänzung zu den
beliebten 25
romantischen
Etüden
opus 100 des guten
alten Friedrich
Burgmüller komponiert.
Fons van Gorp ist es
gelungen, die
wertvollenklaviertechnisc
hen Lerninhalte aus
Burgmüllers Etüden
in neue Stücke zu
übertragen. Diese
wurden alle in
Stilidiomen des 20.
Jahrhunderts geschrieben:
Rock, Swing, Latin und
Funk sind vertreten, aber
ebenso auch die Romantik.
AlleStücke in
Beatmüller sind
für das Solospiel
gedacht die online im
MP3-Format verfügbaren
Audiotracks sind jedoch
die perfekte
Unterstützung, um den
richtigen Drive und Beat
zu entwickeln.
I 25
studi contenuti in
Beatmüller sono
stati composti come
alternativa o supplemento
ai famosi 25 romantici
Studi Opus 100 di
Friedrich Bergmüller.
Sono stati scritti negli
stili cardini del XX
secolo: rock, swing,latin
e funk, non dimenticando
lo stile romantico. Tutti
i pezzi di questo libro
sono pensati per
l’esecuzione in
assolo. Le tracce audio
disponibili online in
formato MP3 fornisce il
giusto supporto per
sviluppare il
“Drive
andBeatâ€.
Piano Solo SKU: YM.GTP01100585 Composed by Various. Anime. Anime, J-POP. ...(+)
Piano Solo
SKU:
YM.GTP01100585
Composed by Various.
Anime. Anime, J-POP.
Score. Yamaha Music Media
#GTP01100585. Published
by Yamaha Music Media
(YM.GTP01100585).
ISBN
9784636104004. 8.5 x 12
inches.
Play your
favorite Anime hit songs
right away with this
book! This is a
collection of solo piano
arrangements that can be
enjoyed by younger
players. Easy
arrangements that even
small hands can play
without difficulty. 5
songs are arranged for
the chorus only, so they
can be played easily with
just one hand.
24 Traditional Folk Songs for Intermediate Piano Solo. Arranged by James Wildi...(+)
24 Traditional Folk Songs
for
Intermediate Piano Solo.
Arranged by James Wilding
and
Nkululeko Zungu.
Educational
Piano Solo. Folk, Solos.
Softcover. Published by
Hal
Leonard