Piano - easy to intermediate SKU: HL.49045014 For Piano. Composed ...(+)
Piano - easy to
intermediate
SKU:
HL.49045014
For
Piano. Composed by
Nicholas Lens. This
edition: Saddle
stitching. Sheet music.
Piano. Classical, Etude.
Softcover. 86 pages.
Duration 75'. Schott
Music #ED 22049.
Published by Schott Music
(HL.49045014).
ISBN
9790001202114. 9.0x12.0
inches.
The Belgian
composer Nicholas Lens
presents extremely varied
etudes, exercises and
simple phrases with
wonderfully telling
titles from poetry and
everyday world for
children and adults. For
the most part the studies
are tonal and simple and
have no constructed line.
They are not based on any
educational concept but
leave the musical
dramatization to the
pupils and teachers:
'Notes and rhythms are
just notes and rhythms,
they do not have that
many rules, they do not
have any pretension, they
are just tools for you to
use to express what you
want to share'.
Composed by Various. For Piano/Keyboard. Hal Leonard Fake Books. Classical. Diff...(+)
Composed by Various. For
Piano/Keyboard. Hal
Leonard Fake Books.
Classical. Difficulty:
medium to
medium-difficult.
Fakebook. Melody line,
chord names and lyrics
(on some songs). 413
pages. Published by Hal
Leonard
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: HL.368695 Composed by Herbert Howells. Piano. Classical. Softc...(+)
Piano
SKU:
HL.368695
Composed by
Herbert Howells. Piano.
Classical. Softcover. 132
pages. Novello & Co Ltd.
#NOV100463. Published by
Novello & Co Ltd.
(HL.368695).
ISBN
9781705141779. UPC:
840126969085.
9.0x12.0x0.289
inches.
This
collection of 27 pieces,
transcribed and edited by
the Howells scholar
Jonathan Clinch and
published for the first
time to coincide with
Matthew Schellhorn's
recording of the complete
piano music by Howells
for Naxos, reveals a
previously neglected
aspect of this celebrated
English composer. The
pieces chart the musical
development of Howells,
from his earliest known
work “The Arab's
Song,†written when
he as 16, to the
“Petrus
Suite,†completed
in his 80s, as well as
demonstrating his
fascination with French
music
(“Phantasy,â€
“Harlequin
Dreamingâ€) and the
Tudor period
(“Pavane†and
“Galliard.â€)
The volume also includes
the moving tribute to his
friend and fellow
composer Finzi.
Comprising a wide array
of pieces from
characterful miniatures
to more substantial
suites, the collection
will appeal to Howells
devotees and lovers of
20th century English
music, as well as to
anyone seeking fresh and
distinctive piano
repertoire. Includes: The
Arab's Song • To a
Wild Flower •
Romance • Melody
• Legend •
Summer Idyls: I.
Meadow-Rest • II.
Summer-Song • III.
June-Haze • IV.
Down the Hills • V.
Quiet Woods • VI.
Near Midnight •
VII. In the Morning
• Phantasy •
Harlequin Dreaming
• Minuet for Ursula
• My Lord
Harewood's Galliard
• Finzi: His Rest
• Siciliana •
“Comme le cerf
soupire...†•
Pavane and Galliard
• Petrus Suite:
Finnicle's Scherzo
• Gavotte •
Vagrant Flute •
Minuet • 'Sine
Nomine' •
Bassoonic's Dance •
Odd's Minuet •
Toccatina.
Piano SKU: AP.6-493717 Book 1. 48 Preludes and Fugues (Piano)(+)
Piano
SKU:
AP.6-493717
Book
1. 48 Preludes and
Fugues (Piano).
Composed by Johann
Sebastian Bach and with
commentaries by Donald
Francis Tovey.
Masterworks; Piano
Collection. Dover
Edition. Baroque;
Masterwork. Book. Dover
Publications #06-493717.
Published by Dover
Publications
(AP.6-493717).
ISBN
9780486493718.
English.
A monument
in the history of Western
music, The Well-Tempered
Clavier represents not
only the culmination of
J. S. Bach's own
maturation process but
also the impetus for the
emerging style and
structure of modern
keyboard music. Mozart,
Beethoven, and Chopin
were influenced by its
polyphonic richness and
depth of harmony, and
Schumann counseled young
musicians to make The
Well-Tempered Clavier
your daily bread. Modern
pianists can follow
Schumann's advice with
this new edition of an
authoritative and
long-out-of-print score
that offers illuminating
perspectives from a pair
of eminent musical
interpreters. Book 1 of
this two-volume set
features Sir Donald
Francis Tovey's analyses
of 24 preludes and
fugues, including
suggestions for
performance. In addition
to commentaries by Tovey,
a lauded Bach scholar and
world-famous
musicologist, the pieces
are complemented by
fingerings devised by
Harold Samuel, a major
Bach interpreter.
Students, teachers, and
professionals will
appreciate this finely
engraved and modestly
priced version of Bach's
enduring works.
Orchestra Piano SKU: PR.11641861SP Composed by William Kraft. Part. 35 pa...(+)
Orchestra Piano
SKU:
PR.11641861SP
Composed by William
Kraft. Part. 35 pages.
Duration 21 minutes.
Theodore Presser Company
#116-41861SP. Published
by Theodore Presser
Company (PR.11641861SP).
UPC:
680160685202.
What?
! - my composer
colleagues said - A
concerto for the piano?
It's a 19th century
instrument! Admittedly we
are in an age when
originally created
timbres and/or
musico-technological
formulations are often
the modus operandi of a
piece. Actually, this
Concerto began about two
years ago when, during
one of my creative jogs,
the sound of the
uppermost register of the
piano mingled with wind
chimes penetrated my
inner ear. The challenge
and fascination of
exploring and developing
this idea into an
orchestral situation
determined that some day
soon I would be writing a
work for piano and
orchestra. So it was a
very happy coincidence
when Mona Golabek phoned
to tell me she would like
discuss the Ford
Foundation commission.
After covering areas of
aesthetics and
compositional styles, we
found that we had a good
working rapport, and she
asked if I would accept
the commission. The
answer was obvious. Then
began the intensive
thought process on the
stylistic essence and
organization of the work.
Along with this went a
renewed study of
idiomatic writing for the
piano, of the kind
Stravinsky undertook with
the violin when he began
his Violin Concerto. By a
stroke of great fortune,
the day in February 1972
that I received official
notice from the Ford
Foundation of the
commission, I also
received a letter from
the Guggenheim Foundation
informing me I had been
awarded my second
fellowship. With the good
graces of Zubin Mehta and
Ernest Fleischmann,
masters of my destiny as
a member of the Los
Angeles Philharmonic, I
was relieved of my
orchestral duties during
the Hollywood Bowl
season. Thus I was able
to go to Europe to work
and to view the latest
trends in music
concentrating in London
(the current musical
melting pot and showcase
par excellence), Oslo,
Norway, for the Festival
of Scandinavian Music
called Nordic Days, and
Warsaw, Poland, for its
prestigious Autumn
Festival. Over half the
Concerto was completed in
that summer and most of
the rest during the 72-73
season with the final
touches put on during a
month as Resident Scholar
at the Rockefeller
Foundation's Villa
Serbelloni in Bellagio,
Italy. So much for the
external and
environmental influences,
except perhaps to mention
the birds of Sussex in
the first movement, the
bells of Arhus (Denmark)
in the second movement
and the bells of Bellagio
at the end of the
Concerto. Primary in the
conception was the
personality of Miss
Golabek: she is a
wonderfully vital and
dynamic person and a real
virtuoso. Therefore, the
soloist in the Concerto
is truly the protagonist;
it is she (for once we
can do away with the
generic he) who unfolds
the character and intent
of the piece. The first
section is constructed in
the manner of a
recitative - completely
unmeasured - with letters
and numbers by which the
conductor signals the
orchestra for its
participation. This
allows the soloist the
freedom to interpret the
patterns and control the
flow and development of
the music. The Concerto
is actually in one
continuous movement but
with three large
divisions of sufficiently
contrasting character to
be called movements in
themselves. The first
'movement' is based on a
few timbral elements: 1)
a cluster of very low
pitches which at the
beginning are practically
inaudibly depressed, and
sustained silently by the
sostenuto pedal, which
causes sympathetic
vibrating pitches to ring
when strong notes are
struck; 2) a single
powerful note indicated
by a black note-head with
a line through it
indicating the strongest
possible sforzando; 3)
short figures of various
colors sometimes ominous,
sometimes as splashes of
light or as elements of
transition; 4) trills and
tremolos which are the
actual controlling
organic thread starting
as single axial tremolos
and gradually expanding
to trills of increasingly
larger and more powerful
scope. The 'movement'
begins in quiescent
repose but unceasingly
grows in energy and
tension as the stretching
of a string or rubber
band. When it can no
longer be restrained, it
bursts into the next
section. The second
'movement,' propelled by
the released tension, is
a brilliant virtuosic
display, which begins
with a long solo of wispy
percussion, later joined
in duet with the piano.
Not to be ignored, the
orchestra takes over
shooting the material
throughout all its
sections like a small
agile bird deftly
maneuvering through
nothing but air, while
the piano counterposes
moments of lyricism. The
orchestra reaches a
climax, thrusting us into
the third 'movement'
which begins with a
cadenza-like section for
the piano. This moves
gently into an expressive
section (expressive is
not a negative term to
me) in which duets are
formed with various
instruments. There are
fleeting glimpses of
remembrances past, as a
fragmented
recapitulation. One
glimpse is hazily
expressed by strings and
percussion in a moment of
simultaneous contrasting
levels of activity, a
technique of which I have
been fond and have
utilized in various
fixed-free relationships,
particularly in my
Percussion Concerto,
Contextures and Games:
Collage No. 1. The second
half of the third
'movement; is a large
coda - akin to those in
Beethoven - which brings
about another display of
virtuosity, this time
gutsy and driving,
raising the Concerto to a
final climax, the soloist
completing the fragmented
recapitulation concept as
well as the work with the
single-note sforzando and
low cluster from the very
opening of the first
movement.
Piano SKU: BT.ESZ-01490700 Edizione critica in due volumi. By Paul...(+)
Piano
SKU:
BT.ESZ-01490700
Edizione critica in
due volumi. By Paul
Kenyon. By Ercole
Pasquini. Set of Books.
Composed 2016. Edizioni
Suvini Zerboni #ESZ
01490700. Published by
Edizioni Suvini Zerboni
(BT.ESZ-01490700).
Italian-English.
Ercole Pasquini (1550
ca-ante 1620), working
for many years in
Ferrara, then
Frescobaldi’s
predecessor as organist
of the Cappella Giulia,
leaves a considerable
corpus of keyboard music
that identify him as a
link between Frescobaldi
and Naples. It is half a
century since the first
critical edition of
Ercole Pasquinis keyboard
music was published
(CEKM, vol. 12). This new
edition (in two volumes)
appears in the light of
subsequent scholarship.
It offers new solutions
for some troublesome
passages. It includes a
number of pieces that
were not included in the
previous edition, but
which do seem to have
been attributed to
Pasquini, as well as
unattributed pieces which
maywell have been by him.
It also takes account of
a source (ms. Naples 48,
dated ca.1600) which has
come to light in the
intervening years. This
manuscript includes a
copy of a Canzona by
Pasquini that is older
and generally superior to
the other surviving
copies of this piece. The
preface contains detailed
discussion of the
composers biography, the
provenance of the
sources, and the
performance implications
of the notation. Both
preface and commentary
are in English and
Italian.
Attivo
per molti anni in
Ferrara, poi predecessore
di Frescobaldi come
organista della Cappella
Giulia, Ercole Pasquini
(1550 ca-ante 1620)
lascia un consistente
corpus di musica per
tastiera che si pone come
punto di raccordo tra
Frescobaldi
el’ambiente
napoletano.Dopo mezzo
secolo dalla
pubblicazione della prima
edizione critica della
sua musica per tastiera
(CEKM, vol. 12), il
volume che qui si
presenta (primo di due)
appare alla luce degli
studi più recenti e
offre nuove soluzioni per
alcuni
passaggiproblematici.
Comprende altresì una
serie di pezzi non
inclusi nella precedente
edizioni, ma ascritti a
Pasquini, così come
pezzi non attribuiti, ma
probabilmente da lui
composti. Si tiene conto
anche di una fonte (ms.
Napoli 48, databile ca
1600),venuta alla luce in
anni recenti,
particolarmente
autorevole nella
trasmissione di una
Canzona. La prefazione
contiene la presentazione
dettagliata della
biografia del
compositore, la
provenienza delle fonti e
le questioni notazionali
in rapporto
all’esecuzione.
Prefazione e commento
sono in italiano e in
inglese.
Piano - intermediate to difficult SKU: HL.49045232 For Piano. Comp...(+)
Piano - intermediate to
difficult
SKU:
HL.49045232
For
Piano. Composed by
Renato de Grandis. This
edition: Saddle
stitching. Sheet music.
Piano. The 48 Preludi are
either short sketches or
expansive concert pieces
which also allude to
types of setting or
themes from the piano
music since Scarlatti.
Suitable for music
lessons and competitions,
either individually, in
freely formed groups or
as a cy. Classical.
Softcover. Composed
1999-2000. 46 pages.
Duration 32'. Schott
Music #ED22099. Published
by Schott Music
(HL.49045232).
ISBN
9790001201667. UPC:
841886029330.
9.0x12.0x0.166
inches.
The 48
Preludes by the Venetian
composer Renato de
Grandis (1927-2008) were
composed, largely,
between 1998-2002. It was
only subsequently that he
arranged them into 4
cycles of 12 preludes,
drawing also from earlier
compositions. Written in
a traditional pianistic
style, they are short
sketches which are
sometimes characterized
by musical thoughts,
sometimes by moods or by
natural phenomena. The
fourth volume presented
here is once again
divided into two cycles
of 6 preludes each, with
the first cycle paying
tribute to the landscapes
and towns of Friuli north
of Venice.
Piano SKU: HL.14030976 Piano. Composed by Bent Sorensen. Music Sal...(+)
Piano
SKU:
HL.14030976
Piano. Composed by
Bent Sorensen. Music
Sales America. Classical.
Book [Softcover]. 24
pages. Edition Wilhelm
Hansen #KP01588.
Published by Edition
Wilhelm Hansen
(HL.14030976).
ISBN
9788759853757.
9.5x14.25x0.086 inches.
English.
The
composer writes, 'Quite
some time ago I heard -
through a conversation in
a mobile phone - a
wonderful concert of
ringing church bells from
an European capital. I
found it very hard to
concentrate about the
conversation, because I
was so engrossed by the
chaotic world of bell
sound. The night after, I
dreamt that the sound of
those low singing bells
was rising up from a
piano in a huge empty
concert hall. That
experience became the
starting point for my
piano piece, 'The Shadows
of Silence'. But before
the piece gets to the
ringing bells it moves
through a landscape of
shadows - Shadows of the
silence before the bells
- Silence before the
storm - Shadows of
melodies which all the
time leaves traces even
in the short passages of
storm. After the passage
with the low ringing
bells the shadows of
silence returns melted in
to a lament, which are
sending two regards. One
to two small beautiful -
not very well known -
bars by Mozart, and one
to the sextet in my own
opera, 'Under the
Sky'.
Piano SKU: BR.EB-8990 After R (A Portrait for Piano and Orchestra)...(+)
Piano
SKU:
BR.EB-8990
After R
(A Portrait for Piano and
Orchestra). Composed
by Nicola Campogrande.
Solo instruments;
stapled. Edition
Breitkopf.
He
re you will find the
concerto R (A Portrait
for Piano and
Orchestra).
Solo
concerto; Music
post-1945; New music
(post-2000). Score.
Composed 2015. 36 pages.
Duration 15'. Breitkopf
and Haertel #EB 8990.
Published by Breitkopf
and Haertel (BR.EB-8990).
ISBN 9790004187197. 9
x 12 inches.
A
Musical Portrait In 2012
Nicola Campogrande
received a rather
singular commission when
a total stranger asked
him to compose a musical
portrait of his fiancee.
The man knew exactly what
he wanted: a concerto for
piano and orchestra.
After some reflection,
Campogrande realised that
he would be able to paint
with music. It would
never be possible, of
course, to recognise the
shape of the woman's face
or the colour of her
hair, but the score could
evoke the way in which
she occupied space and
time, and the different
movements of the
composition would be like
the faces on a rotating
prism. Campogrande thus
accepted the commission
and the stranger sent him
a few photos of his
fiancee, spoke to him
about her and, finally,
introduced him to her.
This is how R (A portrait
for piano and orchestra)
was born, first performed
in April 2013 by Lilya
Zilberstein with the
Orchestra Verdi in Milan.
Subsequently, following
other performances and a
TV documentary, a number
of different pianists
asked Campogrande to
write a version for solo
piano. Hence Nudo
emerged, a piece that
would be very similar to
R , were it not for the
fact that, as the title
suggests, the pianist is
naked, without orchestral
clothing. Information on
Nudo on the composer's
website Audio recording
of Nudo (YouTube) Un
portrait musical En 2012,
Nicola Campogrande s'est
vu proposer une
commission fort
singuliere ; un parfait
etranger lui demandait de
composer le portrait
musical de sa compagne.
L'homme savait exactement
ce qu'il voulait : un
concert pour piano et
orchestre. Apres quelques
hesitations, Campogrande
s'est rendu compte qu'il
pouvait se servir de la
musique comme d'un
pinceau. Bien entendu, il
ne serait jamais possible
de reconnaitre la forme
du visage de la femme ou
la couleur de ses
cheveux, mais la
partition pourrait
evoquer la facon dont
elle se deplacait dans
l'espace et dans le
temps, et les differents
mouvements de la piece
seraient comme les
figures d'un prisme en
rotation. Campogrande a
donc accepte la
commission ; l'etranger
lui a envoye des photos
de sa compagne, il lui a
parle d'elle, avant de
les faire se rencontrer
personnellement. Ainsi
est ne R (Un portrait
pour piano et orchestre)
, interprete pour la
premiere fois en avril
2013 par Lilya
Zilberstein et
l'orchestre Verdi de
Milan. D'autres
executions ont suivi,
ainsi qu'un documentaire
televise, apres quoi
plusieurs pianistes ont
prie Campogrande d'ecrire
une version pour piano
seul. C'est ainsi que
Nudo a vu le jour : un <<
nu >> tres semblable au
premier portrait, si ce
n'est que le piano s'y
trouve, comme le suggere
le titre, depouille de
son vetement orchestral.
Ritrarre con la musica
Nel 2012 Nicola
Campogrande ha ricevuto
la piu singolare delle
commissioni, quando un
perfetto sconosciuto gli
ha chiesto di comporre il
ritratto musicale della
sUrauffuhrung fidanzata.
L'uomo sapeva esattemente
cio che voleva: un
concerto per pianoforte e
orchestra. Dopo qualche
esitazione, Campogrande
si e reso conto di poter
dipingere con la musica;
certo, non sarebbe stato
possibile riconoscere la
forma del viso della
donna o il colore dei
suoi capelli, ma la
partitura avrebbe evocato
il modo nel quale lei si
muoveva nello spazio e
nel tempo, e i vari
movimenti del brano
sarebbero stati come le
facce di un prisma in
rotazione. Campogrande ha
dunque accettato la
commissione e lo
sconosciuto gli ha
mandato alcune foto della
sUrauffuhrung fidanzata,
gli ha parlato di lei e,
alla fine, gliela ha
presentata personalmente.
E cosi nato cosi R (Un
ritratto per pianoforte e
orchestra ), eseguito per
la prima volta
nell'aprile 2013 da Lilya
Zilberstein insieme
all'Orchestra Verdi di
Milano.In seguito, dopo
altre esecuzioni e un
documentario tv, diversi
pianisti hanno chiesto a
Campogrande di preparare
una versione per
pianoforte solo. E stato
cosi che ha preso forma
Nudo , un brano del tutto
simile a R tranne per il
fatto che, come
suggerisce il titolo, il
pianista e nudo, senza un
abito orchestrale. 'Nudo'
is a scintillating work
that paints a vivid and
fascinating sequence of
musical portraits of its
subject. And the
Breitkopf score is simply
superb.
(www.pianodao.com).
For Piano. Composed by Vincent Persichetti (1915- 1987). Contemporary. Solo Pa...(+)
For Piano. Composed by
Vincent Persichetti
(1915-
1987). Contemporary. Solo
Part. With Standard
Notation. Composed 1926.
8
pages. Duration 2
minutes,
30 seconds. Theodore
Presser
Company #160-00224.
Published by Theodore
Presser Company
Most Wonderful Day Of The Year, Up On The Housetop, I Heard The Bells On Christm...(+)
Most Wonderful Day Of The
Year, Up On The Housetop,
I Heard The Bells On
Christmas Day composed by
Various. Arranged by
Craig Stevens. For easy
piano solo. Solo. Best of
Christmas series.
Christmas. Easy. Sheet
Music. Text Language:
English. 8 pages.
Published by Santorella
Publications
Composed by Andrew D. Gordon. Arranged by Andrew D. Gordon. 100 Ultimate Blue...(+)
Composed by Andrew D.
Gordon. Arranged by
Andrew
D. Gordon. 100 Ultimate
Blues Riffs. Blues.
Book/digital audio. ADG
Productions #ADG175.
Published by ADG
Productions