Sir Nicolas Hodges His Gagliarda. By Konrad Boehmer. For Piano solo. Published by Tonos (German import).

Piano

SKU: HL.14045508

Composed by Camilo Williart. CARISCH - MUSIC SALES. Tuition. General Merchandise. Real Musical #MK16388. Published by Real Musical (HL.14045508).

ISBN 9788850714209. Spanish.

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: HL.268908

Composed by Tormod Vinsand. Music Sales America. Chords, Jazz Instruction. Softcover. 98 pages. Edition Wilhelm Hansen #WH33063. Published by Edition Wilhelm Hansen (HL.268908).

This book is a follow-up on Jazz Chords on Piano (WH32971) and it is definitely an advantage if you have familiarized yourself with the techniques and terms used in Jazz Chords on Piano. There are many ways in which to play jazz on a piano. In Jazz Chords on Piano I describe some guidelines for how to prepare accompaniment and melody playing, but admittedly, there are of course many other ways to play or other techniques to use. In Jazz Chords on Piano - 2 I have chosen to focus on four typical techniques: Part 1 - Playing Arpeggio in left hand Part 2 - 4-stacked chords in a piano movement Part 3 - Left-hand chords Part 4 - Overlying triads when accompanying To illustrate the various techniques, I have made compositions that are stylistically adjusted so that the various techniques make musical sense and are playable. -Tormod Vinsand.

20 Enchanting Easy Piano Pieces. Composed by Hans-Guenter Heumann. This edition: Saddle stitching. Sheet music with CD. Piano. Fantasy Piano umfasst 20 fantasievolle, leicht spielbare Klavierstucke mit 'Ohrwurm-Charakter', wie Regenbogen-Fee, Drachenreiter oder Traumfanger. Recital. Edition with CD. 80 pages. Schott Music #ED22111. Published by Schott Music

Piano - Grade 6;Grade 7;Grade 8

SKU: TL.TCL020502

Classical. Textbook. Trinity College London #TCL020502. Published by Trinity College London (TL.TCL020502).

ISBN 9780857369277. 12 x 9 inches.

This progressive method provides a carefully paced approach to the sight reading requirements of Trinity grade exams at Grades 6 to 8. For each grade there are ten lessons, each with a clear area of focus. Stage-appropriate sight reading tips, both general and specific to the instrument, are given along the way.

Each lesson presents four or five preparatory exercises leading to a duet, included to encourage the development of ensemble sight reading skills. While duets are not required for grade exams, they are vital in building confidence and rhythmic fluency. Each duet builds on the same musical ideas as the preceding exercises, consolidating the learning and assisting the student through familiarity.

Official Trinity specimen sight reading tests from Trinity's Sound at Sight Piano (original series) conclude each grade section. By the time the student has completed the ten lessons they should be well prepared to cope with the demands of these tests. Further specimen tests are available separately in Sound at Sight Piano (2nd series).

Classical. Textbook. Trinity College London #TCL020482. Published by Trinity College London

Piano

SKU: BT.ME0350

Play Music France. Tuition. Book and DVD. Composed 2018. Play Music Publishing #ME0350. Published by Play Music Publishing (BT.ME0350).

English.

This coursebook explains in a clear and practical way how chords should be handled. This first volume, dedicated to the principal three- and four-tone major, minor and seventh (maj7, 7, m7 and dim7) chords, contains numerous pedagogically valuable, meticulously precise and nonetheless melodic examples, which will lead you through harmony, chord progressions, accompanying and composing. By practicing the examples proposed in this coursebook, you will gradually familiarize yourself with the basics of harmony and will discover step by step the astoundingly malleable world of chords. You will thus approach the theme in an empirical way, and by doing so, you will understand howindividual components should be put together to form a well-made musical piece. The accompanying data disk (with mp3 audios and mp4 videos) provides demonstration videos of all the examples played on the piano, as well as numerous audio recordings, which will allow you to play along to backing tracks specially designed for each of them.

Classical. Textbook. Trinity College London #TCL020499. Published by Trinity College London

A Fresh Approach. By John Kember. Schott. Book only. Size 9x12 inches. 64 pages. Published by Schott.

Piano

SKU: BT.PWM5945

Composed by Zbigniew Drzewiecki. Tuition. Book Only. Composed 2007. 68 pages. Polskie Wydawnictwo Muzyczne #PWM5945. Published by Polskie Wydawnictwo Muzyczne (BT.PWM5945).

Polish.

Book 1 comprises scales and passages at the elementary teaching level, up to two octaves. Its aim is to familiarize the pupil with the major-minor system, basic for European music and to encourage the pupil to acquire the most frequently encountered figurations and corresponding co-ordination of hand movements.

Composed by John Bull (1562-1628). Masterworks; Piano Collection. Kalmus Edition. Masterwork; Renaissance. Book. 32 pages. Kalmus Classic Edition #00-K03273. Published by Kalmus Classic Edition

Piano solo - Level 4

SKU: FV.FUE-2570

Composed by Ruth Schonthal. Piano (Harpsichord), 2-hands. Work premiere: 23.5.1975 Paul Hall, The Juilliard, New York, Gary Steigerwalt, piano. Instrumental Music. Full score. Composed 1973. Duration 7'30. Furore Verlag #FUE 2570. Published by Furore Verlag (FV.FUE-2570).

ISBN 979-0-50012-157-2.

Expressive, romantic-contemporary. Contrasting dynamics, gestures, textures, and registers make this an effective concert piece. Also suitable for graduate student recitals.

WP: 23.5.1975 Paul Hall, The Juilliard, New York, Gary Steigerwalt, piano.

Composed by Rudolph Ganz. Performance scores. With Standard notation. 30 pages. Carl Fischer #O002221. Published by Carl Fischer (CF.O2221).

Piano

SKU: BT.WH33063

Tuition. Book Only. 98 pages. Edition Wilhelm Hansen #WH33063. Published by Edition Wilhelm Hansen (BT.WH33063).

ISBN 9788759840535. English.

Jazz Chords On Piano -2 by Tormod Vinsand (2017). This book is a follow-up on Jazz Chords on Piano (WH32971) and it is definitely an advantage if you have familiarised yourself with the techniques and terms used in Jazz Chords on Piano . There are many ways in which to play jazz on a piano. In Jazz Chords on Piano I describe some guidelines for how to prepare accompaniment and melody playing, but admittedly, there are of course many other ways to play or other techniques to use. In Jazz Chords on Piano - 2 I have chosen to focus on four typical techniques: Part 1 - Playing Arpeggio in left hand Part 2 - 4-stacked chords in a piano movement Part 3 - Left-hand chords Part 4 -Overlying triads when accompanying To illustrate the various techniques, I have made compositions that are stylistically adjusted so that the various techniques make musical sense and are playable. (Tormod Vinsand) Tormod Vinsand (born 1958) has a Master's Degree in Musicology from University of Copenhagen. Since 1988 Tormod has been a jazz piano lecturer at The Rhythmic Music Conservatory, Copenhagen, The Institute of Musicology at University of Copenhagen, and the Royal Danish Academy of Music, Copenhagen. The material you fi nd in this book has been used at the above three educational institutions and is primarily targeted to music students that do not have the piano as their primary instrument at these schools. But others may also benefi t from this book, provided you have an elementary theoretical background in music. Since 2013 Tormod has also been Music School Manager at the Rødovre School of Music.

By Marty C. Flinn And Jennifer B. Flinn. For Piano. Textbook - Piano. Complete Idiot's Guide. Book. Published by Alfred Publishing.

Piano

SKU: HL.14010480

Piano Solo. Composed by Per Norgard. Music Sales America. Classical. Book [Softcover]. 7 pages. Music Sales #KP00717. Published by Music Sales (HL.14010480).

ISBN 9788759870082. Danish.

Esperanza - Eremitkrebs-Tango (1997) Hermit Crab Tango, Esperanza is part of Norgard's Animals in Concert, a suite of piano pieces, so far comprised of:  1. A Tortoise's Tango (1984) - dur.: 4'  2. Light of a Night - Paul meets bird (1989) - dur.: 6'  3. Hermit Crab Tango - Esperanza (1997) - dur.: 5'  The pieces can be performed together or one by one.  In the1980s, quite a few “finds” turned up in Per Norgard's music. The material could be, say, a number of song birds' equilibrist melodic lines, the overtones of the ocean surf, or waltzing themes by the schizophrenic artist Adolf Wolfli (1864-1930). Or again, as heard here, it can be the rhythms and motifs of the tango and a Beatles song (with bird), explored in three independent piano pieces that form the Animals in Concert suite, about which the composer writes:  Programme note for Animals in Concert:  1. A Tortoise's Tango (1984) - dur.: 4'  2. Light of a Night - Paul meets bird (1989) - dur.: 6'  3. Hermit Crab Tango - Esperanza (1997) - dur.: 5'  The pieces can be performed together or one by one.  In the1980s, quite a few “finds” turned up in Per Norgard's music. The material could be, say, a number of song birds' equilibrist melodic lines, the overtones of the ocean surf, or waltzing themes by the schizophrenic artist Adolf Wolfli (1864-1930). Or again, as heard here, it can be the rhythms and motifs of the tango and a Beatles song (with bird), explored in three independent piano pieces that form the Animals in Concert suite, about which the composer writes:  “A Tortoise's Tango”: The tortoise as tango dancer must presumably possess certain rhythmic peculiarities, which I have chosen to express by letting the tune of the tortoise shuffle broadly, tripartite through the strict four partite time of tango.  Tortoise Tango was the original title of this piece, “written for Achilles” (the pianist Yvar Mikhashoff), for his so called tango project”, including new tangos for piano by composers from all over the world.  “Light of a Night (Paul meets bird)” was commissioned by pianist Aki Takahashi. It is a “reworked” arrangement for piano of the Beatles song ”Blackbird”. As some of us will recall, the Beatles on “The White Album” let the beautiful song to the blackbird be accompanied by an (apparently) live blackbird song. It is this authentic bird-motif world that in “Light of a Night” weaves itself into the Beatles melody and in turn is gradually infected by it, so that a completely new third entity ensues: a kind of Bird-rock ballad (or maybe it is a Beatle-bird?).  “Hermit Crab Tango (Esperanza)”: The tango situation is quite special for a Hermit Crab. It is a well-known fact that the hermit crab - this soft animal - must run the gauntlet among the many perils at the bottom of the sea when it must move hose. I have chosen to express the angers by a.

Piano - Grade 5

SKU: ET.PNO104

Composed by Richard Lane. Contemporary. Editions BIM #PNO104. Published by Editions BIM (ET.PNO104).

ISBN 9790207009784.

Pers istently melodic, with constant forward movement, accompanied by densely chromatic harmonies and many polyrhythmic sections, creating an intensely dramatic work.
In 1975 Lane composed his Piano Sonata 4 for piano, which he dedicated to his former student and graduate of both the Eastman and Juilliard schools, Karl Tricomi. Lane composed five other works in 1975, including a suite for two pianos, and instrumental and vocal solos. A year later in 1976, Tricomi performed the world premiere of Piano Sonata 4, Piano Sonata 3 as well as Fantasy No. 1 for piano (1976) in an all-Lane concert at Carnegie Hall.

Piano - intermediate to advanced

SKU: HL.49046022

Composed by Alexis Weissenberg. Edited by Lev Vinocour. This edition: Saddle stitching. Sheet music. Piano Solo. Classical. Softcover. 104 pages. Schott Music #ED22923. Published by Schott Music (HL.49046022).

ISBN 9790001167970. UPC: 841886033832. 9x12 inches.

This book presents pianists and ambitious amateur musicians with unfamiliar, surprisingly flamboyant and often witty compositions. These piano works are by one of the greatest pianists of the twentieth Century, one of the most recent all-roundmusical grand masters: Alexis Weissenberg, who was born in Sofia on 26 July 1929 and died in Lugano on 8 January 2012.

This first edition includes all Weissenberg's surviving completed piano works, apart from those written for two pianos and for pianoduet, stage works and the Romance for piano and violin. Fingerings and pedal markings by Alexis Weissenberg are printed in italics (fingerings and allocation of notes between hands, too) or in large type (pedal markings); recommendations added by the editor are shown in roman font (fingerings and allocation of notes between hands) or in smaller type (pedal markings).

Piano (Piano Solo)

SKU: HL.354338

For Solo Piano. Composed by Richard Wilson. Peermusic Classical. Classical. Softcover. Duration 600 seconds. Peermusic Classical #70303-501. Published by Peermusic Classical (HL.354338).

ISBN 9781705107669. UPC: 840126936964. 9.0x12.0x0.109 inches.

Richard Wilson was born in Cleveland on May 15, 1941. He studied piano with Roslyn Pettibone, Egbert Fischer, and Leonard Shure, andcello with Robert Ripley and Ernst Silberstein. After beginning composition studies with Roslyn Pettibone and Howard Whittaker, he went on in 1959 to Harvard, studying with Randall Thompson, G.W. Woodworth, and principally with Robert Moevs, and graduating in 1963 magna cum laude. Awarded the Frank Huntington Beebe Award for study abroad, he continued studying piano with Friedrich Wührer in Munich, and composition, again with Moevs, in Rome, where he also gave piano recitals. Wilson joined the faculty of Vassar College in 1966. He was appointed to the Mary Conover Mellon Professorship of Music there in 1988, and he has served three times as chairman of the Department of Music. Wilson has been commissioned by the San Francisco Symphony, the American Symphony, the New Juilliard Ensemble, the Koussevitzky Foundation, the Fromm Foundation, Chamber Music America, the Chicago Chamber Musicians, the Walter W. Naumburg Foundation, and the Library of Congress. His works have been heard in such American musical centers as New York, Philadelphia, Washington, Boston, Cleveland, and Los Angeles and at the Aspen Music Festival, but also in London, Berlin, Frankfurt, Zurich, Milan, Amsterdam, Graz, Leningrad, Stockholm, Tokyo, Bogota, and a number of Australian cities. The recipient in 1992 of a Guggenheim Fellowship, he was awarded the Elise L. Stoeger Prize of the Chamber Music Society of Lincoln Center in 1994, the Academy Award from the American Academy of Arts and Letters in 2004, and has served as composer in residence with the American Symphony Orchestra since 1992. Wilson has been praised by 21st Century Music as a “splendidly talented and highly accomplished composer whose music rewards seeking out” and by the New York Sun as “possessed of a hard-won idiom that has grown and developed over the years into a probing blend of wit, classic form, modern harmony, and impressionistic color.” Writing in the New Yorker, Andrew Porter called his String Quartet No. 3 a “richly wrought and unusual composition,” while the New York Times called it “a work of substance and expressivity ... [that] merits a place in the active repertory.”.

(37 Original Piano Pieces Schott Piano Classics Series). Composed by Various. Edited by Monika Twelsiek. For Piano. Piano Collection. 84 pages. Schott Music #ED9044. Published by Schott Music

Piano - very easy to intermediate

SKU: HL.49019759

76 Piano Pieces. Composed by Barbara Heller. This edition: Saddle stitching. Sheet music. Piano. Softcover. Composed 2012. 44 pages. Schott Music #ED21577. Published by Schott Music (HL.49019759).

ISBN 9790001191692. UPC: 840126938760. 9.0x12.0x0.157 inches.

The anthology 'Klangspuren' by Barbara Heller contains 76 works for piano which have been written for the Barbara Heller Piano Competition. Each title has its own personal message: Music can show an image or remind of something, be a short story and put one in a special mood.Arranged in a progressive order, the pieces are divided into two volumes: Vol. 1 contains easy to intermediate pieces, Vol. 2 intermediate to difficult pieces.

Piano

SKU: HL.48185769

Leduc. CD only. 44 pages. Alphonse Leduc #AL29490. Published by Alphonse Leduc (HL.48185769).

UPC: 888680832209. 9x12 inches.

“Conc eived for Piano beginners who have already been introduced to music reading, Piano Discoveries, Theory - Level 3A, Adventurer is the fifth of a series of eight, completing the Piano method of the same name. It familiarises the young pianist to theory, including harmonious sixths, intervals, rhythms, perfect chords, broken chords and additional notes and techniques of playing. This volume uses the same characters as the previous books, who evolves through new illustrations to guide the young pianists. Le Voyage magique is the translation and adaptation by Stéphane Blet of the American series Piano Discoveries by Janet Vogt and Leon Bates. The pedagogy of this book has been studied to be quite close to the language of children, in order to develop their interest and concentration. Janet Vogt is an American pianist, professor at the College-Conservatory of Music. She also composed pieces for Keyboards, for Choirs, and some pop music. Leon Bates (born 1949) is a renowned American pianist who performed with the New York Symphony, the Cleveland Symphony and many others. He is also a professor and participated to the conception of this method. Stéphane Blet is an international Solo Pianist who decided to focus on the composition of pieces and on teaching. He is currently professor in the École Normale de Musique 'Alfred Cortot'.&rdquo.

Piano

SKU: BR.EB-9253

Composed by Helmut Lachenmann. Solo instruments; stapled. Edition Breitkopf.

World premiere of the orchestral version: Stuttgart, January 1, 2018World premiere of the piano version: Mito, June 17, 2017

Have a look into EB 9283.

New music (post-2000). Score. Composed 2016/17/20. 12 pages. Duration 8'. Breitkopf and Haertel #EB 9253. Published by Breitkopf and Haertel (BR.EB-9253).

ISBN 9790004185537. 9 x 12 inches.

Marche fatale is an incautiously daring escapade that may annoy the fans of my compositions more than my earlier works, many of which have prevailed only after scandals at their world premieres. My Marche fatale has, though, little stylistically to do with my previous compositional path; it presents itself without restraint, if not as a regression, then still as a recourse to those empty phrases to which modern civilization still clings in its daily utility music, whereas music in the 20th and 21st centuries has long since advanced to new, unfamiliar soundscapes and expressive possibilities. The key term is banality. As creators we despise it, we try to avoid it - though we are not safe from the cheap banal even within new aesthetic achievements.Many composers have incidentally accepted the banal. Mozart wrote Ein musikalischer Spass [A Musical Jape], a deliberately amateurishly miscarried sextet. Beethoven's Bagatellen op. 119 were rejected by the publisher on the grounds that few will believe that this minor work is by the famous Beethoven. Mauricio Kagel wrote, tongue in cheek, so to speak, Marsche, um den Sieg zu verfehlen [Marches for being Unvictorious], Ligeti wrote Hungarian Rock; in his Circus Polka Stravinsky quoted and distorted the famous, all too popular Schubert military march, composed at the time for piano duet. I myself do not know, though, whether I ought to rank my Marche fatale alongside these examples: I accept the humor in daily life, the more so as this daily life for some of us is not otherwise to be borne. In music, I mistrust it, considering myself all the closer to the profounder idea of cheerfulness having little to do with humor. However: Isn't a march with its compelling claim to a collectively martial or festive mood absurd, a priori? Is it even music at all? Can one march and at the same time listen? Eventually, I resolved to take the absurd seriously - perhaps bitterly seriously - as a debunking emblem of our civilization that is standing on the brink. The way - seemingly unstoppable - into the black hole of all debilitating demons: that can become serene. My old request of myself and my music-creating surroundings is to write a non-music, whence the familiar concept of music is repeatedly re-defined anew and differently, so that derailed here - perhaps? - in a treacherous way, the concert hall becomes the place of mind-opening adventures instead of a refuge in illusory security. How could that happen? The rest is - thinking.(Helmut Lachenmann, 2017)CD (Version for Piano):Nicolas Hodges CD Wergo WER 7393 2 Bibliography:Ich bin nicht ,,pietistisch verformt. Ein Gesprach [von Jan Brachmann] mit dem Komponisten Helmut Lachenmann, in: FAZ vom 7. Juni 2018, p. 15.

World premiere of the piano version: Mito/Japan, June 17, 2017, World premiere of the orchestral version: Stuttgart, January 1, 2018, World premiere of the ensemble version: Frankfurt, December 9, 2020.

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: EI.FD12093

Piano / Keyboard. Windows/Mac CD-ROM. Published by eMedia Music (EI.FD12093).

UPC: 746290120935. 5.25 x 7.5 x 1.75 inches.

EMedia Piano For Dummies CD-ROM offers everything you need to learn how to play. Learn from over 150 step-by-step lessons with full-motion video demonstrations. Piano teacher Irma Irene Justicia, M.A., has taught at the renowned Juilliard School of Music. Learn from either the music notation or our Animated Keyboard. Songs include recorded audio, variable-speed MIDI keyboard tracks, and colorful MIDI accompaniments. When used with an electronic MIDI keyboard, you can get specific feedback on playing mistakes. Also includes a digital metronome and recorder. System Requirements: Windows Windows XP/Vista/Windows 7 32 MB free RAM, CD-ROM Macintosh Mac OS X 10.4 or later 32 MB free RAM, CD-ROM.