Different Colours Piano seul [Partition + CD] - Intermédiaire De Haske Publications
Piano - intermediate SKU: BT.DHP-1084555-400 12 pieces for piano. ...(+)
Piano - intermediate
SKU:
BT.DHP-1084555-400
12 pieces for
piano. Composed by Ad
Wammes. Book with CD.
Composed 2008. 24 pages.
De Haske Publications
#DHP 1084555-400.
Published by De Haske
Publications
(BT.DHP-1084555-400).
ISBN 9789043130615.
9x12 inches.
English-German-French-Dut
ch.
Different
Colours contains pieces
in popular styles
together with works in
the style of world music.
It features various sound
colours, rhythms and time
signatures from other
countries and cultures,
such as Hungary, India
and Arabia. A versatile
and colourful book!
Different
Colours bevat zowel
stukken in populaire
stijlen als wereldmuziek.
Hierin komen diverse
klankkleuren, ritmes en
maatsoorten uit andere
landen en culturen aan
bod: onder meer
Hongarije, India en
Arabië. Een
veelzijdigen kleurrijk
boek!
In
Different Colours
sind zwölf Stücke
in populären Stilen
von Boogie bis Pop sowie
von fernen Ländern wie
Ungarn, Indien und
Arabien inspirierte Musik
zu entdecken.
Vielseitigkeit in
Klangfarben, Rhythmen und
Taktarten ist ein
essentielles Merkmal
dieser Sammlung - das
grö�te Anliegen des
Autors war jedoch,
Klavierschülern, die
meist vorwiegend
klassische Literatur
spielen, auch einmal
andere Stile und Genres
vorzustellen. Ein buntes
Buch, das jede Menge
SpielspaÃ?
verspricht!Auf der CD
werden alle Stücke
vorgespielt - das
bedeutet extra
Unterstützung und
Motivation beim
Ã?ben!
I dodici
brani riuniti in questo
volume fanno parte sia
della categoria della
musica moderna, sia di
quella proveniente da
tutto il mondo. Le
dinamiche, i ritmi e le
misure raccontano un
paese, una cultura, una
tradizione: l'Ungheria,
l'India o l'Arabia
Saudita. Different
Colours è una
pubblicazione per girare
il mondo suonando!
Piano - Grade 3 SKU: BT.WMP2215 2015-2016 Grades 1-3. Composed by ...(+)
Piano - Grade 3
SKU:
BT.WMP2215
2015-2016 Grades
1-3. Composed by
Josephine Koh. Teachers'
Choice. Method. Book
Only. 38 pages. Wells
Music Publishers
#WMP2215. Published by
Wells Music Publishers
(BT.WMP2215).
ISBN
9789810924089.
English.
Teachers’ Choice,
Selected Piano Repertory
& Studies for
grades 1, 2 and 3 is
compiled to provide
teachers and students
with good options for the
2015 & 2016 ABRSM Piano
examinations.
-
This collection
ofinteresting and
appealing Piano pieces
contains editorial
suggestions for
pedagogical purposes.
Most teachers will find
the performance points
helpful in developing
stylistic awareness in
the
students.
-Examinat
ionrequirements aside,
details on articulation,
dynamics, fingering,
pedal marks and tempo
serve to provide a
directed approach for
students to strive
towards achieving musical
excellence and
perfection.
-Effect
ivetechnicalstudies
suited to each level have
been carefully selected,
forming in themselves,
supplementary materials
to enhance technical
competence.
-Most
important of all, enjoy
the high standards of
music typography
suchclear, professionally
laid scores supported by
modern publishing
technology and musical
semiotics. The digital
print on quality
cream-coloured paper
ensures comfort in the
reading of musical
scores.
Piano - Grade 4 SKU: BT.WMP2213 Selected Piano Repertory and Studies(+)
Piano - Grade 4
SKU:
BT.WMP2213
Selected Piano
Repertory and
Studies. By Josephine
Koh. Teachers' Choice.
Exam Material. Book Only.
41 pages. Wells Music
Publishers #WMP2213.
Published by Wells Music
Publishers (BT.WMP2213).
ISBN 9789810751197.
English.
Teachers' Choice,
Selected Piano Repertory
& Studies for Grade 6
& 7 is
compiled to provide
teachers and students
with good options for the
2013-2014 ABRSM piano
examinations.
Thiscollection of
interesting and appealing
piano pieces contains
editorial suggestions for
pedagogical purposes.
Most piano teachers will
find the performance
points helpful in
developing stylistic
awareness in the
students.
Examina
tion requirements aside,
teaching details with
regards to articulation,
dynamics, fingering,
pedal marks and tempo
indications encourage
students to practise
diligently and thus
strive towards musical
excellenceandperfection.<
/li>
Effective
technical studies, suited
to the levels have been
carefully selected,
forming in themselves,
supplementary material to
enhance the learning
process.
Most
important of all, enjoy
the highstandards of
music typography - such
clear, professionally
laid scores, supported by
modern publishing
technology and musical
semiotics. The digital
print on quality
cream-coloured paper
ensures comfort in the
reading of
musicscores.
Piano - Grade 4 SKU: BT.WMP2217 2015-2016 Grades 6-7. Composed by ...(+)
Piano - Grade 4
SKU:
BT.WMP2217
2015-2016 Grades
6-7. Composed by
Josephine Koh. Teachers'
Choice. Method. Book
Only. 44 pages. Wells
Music Publishers
#WMP2217. Published by
Wells Music Publishers
(BT.WMP2217).
ISBN
9789810924102.
English.
Teachers’ Choice,
Selected Piano Repertory
& Studies for
grades 6-7 is compiled to
provide teachers and
students with good
options for the 2015 &
2016 ABRSM Piano
examinations.
-
This collection
ofinteresting and
appealing Piano pieces
contains editorial
suggestions for
pedagogical purposes.
Most teachers will find
the performance points
helpful in developing
stylistic awareness in
the
students.
-Examinat
ionrequirements aside,
details on articulation,
dynamics, fingering,
pedal marks and tempo
serve to provide a
directed approach for
students to strive
towards achieving musical
excellence and
perfection.
-Effect
ivetechnicalstudies
suited to each level have
been carefully selected,
forming in themselves,
supplementary materials
to enhance technical
competence.
-Most
important of all, enjoy
the high standards of
music typography
suchclear, professionally
laid scores supported by
modern publishing
technology and musical
semiotics. The digital
print on quality
cream-coloured paper
ensures comfort in the
reading of musical
scores.
Piano - Grade 3 SKU: BT.WMP2212 Selected Piano Repertory and Studies(+)
Piano - Grade 3
SKU:
BT.WMP2212
Selected Piano
Repertory and
Studies. By Josephine
Koh. Teachers' Choice.
Exam Material. Book Only.
41 pages. Wells Music
Publishers #WMP2212.
Published by Wells Music
Publishers (BT.WMP2212).
ISBN 9789810751180.
English.
Teachers’ Choice,
Selected Piano Repertory
& Studies for Grades
4 & 5 is
compiled to provide
teachers and students
with good options for the
2013-2014 ABRSM piano
examinations.
Avariety of
interesting and appealing
piano pieces with
up-to-date editorial
suggestions are presented
to assist students
achieve high standards of
musical performance.
Effective teaching
points are suggested
withrecommended technical
studies. Teachers will
find this approach very
helpful and effective,
thus enriching their
teaching process, leading
to a greatly successful
experience.
Examination
requirements aside,
finerdetailsin
interpretation and
stylistic performance are
strongly encouraged.
Beyond the printed page,
the editorial suggestions
are directed to provide
the impetus to strive
towards greater musical
creativity and
perfection.
Most
important of all, enjoy
the high standards of
music typography; with
clear, professionally
laid scores that combine
musical semiotics with
modern publishing
technology. Digital print
on quality cream-coloured
paperensures comfort in
reading and learning for
the students.
Piano - Grade 6 SKU: BT.WMP2113 12 Grade 6. Arranged by Josephine ...(+)
Piano - Grade 6
SKU:
BT.WMP2113
12
Grade 6. Arranged by
Josephine Koh. Teachers'
Choice. Exam Material.
Book Only. 41 pages.
Wells Music Publishers
#WMP2113. Published by
Wells Music Publishers
(BT.WMP2113).
ISBN
9789810884819.
T
eachers' Choice, Selected
Piano Repertory & Studies
for Grades 6 & 7 is
compiled to provide
teachers and students
with good options for the
2011-2012 ABRSM Piano
examinations.
A variety of interesting
andappealing Piano pieces
with up-to-date editorial
suggestions are presented
to assist students
achieve high standards of
musical
performance.
Effective teaching points
are suggested with
recommended technical
studies.Teachers will
find this approach very
helpful and effective,
thus enriching their
teaching process, leading
to a very successful
experience.
Examination requirements
aside, finer details in
interpretation
andstylisticperformance
are strongly encouraged.
Beyond the printed page,
the editorial suggestions
are directed to provide
the impetus to strive
towards greater musical
creativity and
perfection.
Most
important of all,enjoy
the high standard of
music typography; with
clear, professionally
laid scores that combine
musical semiotics with
modern publishing
technology. Digital print
on quality cream-coloured
paper ensures comfort in
reading andlearning for
all
students.
Piano - Grade 4 SKU: BT.WMP2112 12 Grade 4. Arranged by Josephine ...(+)
Piano - Grade 4
SKU:
BT.WMP2112
12
Grade 4. Arranged by
Josephine Koh. Teachers'
Choice. Exam Material.
Book Only. 38 pages.
Wells Music Publishers
#WMP2112. Published by
Wells Music Publishers
(BT.WMP2112).
ISBN
9789810884802.
T
eachers' Choice, Selected
Piano Repertory & Studies
for Grades 4 & 5 is
compiled to provide
teachers and students
with good options for the
2011-2012 ABRSM Piano
examinations.
A variety of interesting
andappealing Piano pieces
with up-to-date editorial
suggestions are presented
to assist students
achieve high standards of
musical
performance.
Effective teaching points
are suggested with
recommended technical
studies.Teachers will
find this approach very
helpful and effective,
thus enriching their
teaching process, leading
to a very successful
experience.
Examination requirements
aside, finer details in
interpretation
andstylisticperformance
are strongly encouraged.
Beyond the printed page,
the editorial suggestions
are directed to provide
the impetus to strive
towards greater musical
creativity and
perfection.
Most
important of all,enjoy
the high standard of
music typography; with
clear, professionally
laid scores that combine
musical semiotics with
modern publishing
technology. Digital print
on quality cream-coloured
paper ensures comfort in
reading andlearning for
all
students.
Piano - Grade 5 SKU: BT.WMP2218 2015-2016 Grade 8. Composed by Jos...(+)
Piano - Grade 5
SKU:
BT.WMP2218
2015-2016 Grade 8.
Composed by Josephine
Koh. Teachers' Choice.
Method. Book Only. 48
pages. Wells Music
Publishers #WMP2218.
Published by Wells Music
Publishers (BT.WMP2218).
ISBN 9789810924119.
English.
Teachers’ Choice,
Selected Piano Repertory
& Studies for
grade 8 is compiled to
provide teachers and
students with good
options for the 2015 &
2016 ABRSM Piano
examinations.
-
This collection
ofinteresting and
appealing Piano pieces
contains editorial
suggestions for
pedagogical purposes.
Most teachers will find
the performance points
helpful in developing
stylistic awareness in
the
students.
-Examinat
ionrequirements aside,
details on articulation,
dynamics, fingering,
pedal marks and tempo
serve to provide a
directed approach for
students to strive
towards achieving musical
excellence and
perfection.
-Effect
ivetechnicalstudies
suited to each level have
been carefully selected,
forming in themselves,
supplementary materials
to enhance technical
competence.
-Most
important of all, enjoy
the high standards of
music typography
suchclear, professionally
laid scores supported by
modern publishing
technology and musical
semiotics. The digital
print on quality
cream-coloured paper
ensures comfort in the
reading of musical
scores.
Piano (KL) - intermediate SKU: HL.49032978 Mit leichten Originalstucke...(+)
Piano (KL) - intermediate
SKU: HL.49032978
Mit leichten
Originalstucken und
Bearbeitungen.
Composed by Franz
Schubert. Edited by
Hans-Guenter Heumann.
This edition: Saddle
stitching. Sheet music.
Edition Schott. 48 pages.
Schott Music #ED 9255.
Published by Schott Music
(HL.49032978).
ISBN
9783795755645.
German.
The series
'Get to Know Composers'
presents works of famous
masters in easy
arrangements as well as
original compositions for
piano. A brief
biographical sketch with
contemporary colour
illustrations as well as
a list of the most
important works provide
easy access to the
respective composer.
Thus, amateur pianists
and young piano pupils
can embark on a vivid
excursion into the life
and work of important
composers.Tchaikovsky was
the first Russian
composer who gained
worldwide fame. His
symphonies, concertos and
ballets are part of the
standard repertoire of
the musical scene. In
addition to original
piano works, this volume
contains excerpts from
Tchaikovsky's best-known
compositions: the Violin
Concerto and his Piano
Concerto No. 1,
Symphonies Nos. 5 and 6,
the ballets 'SwanLake',
'The Sleeping Beauty' and
'Nutcracker', as well as
'Capriccio Italien' and
other works.
Piano Solo - Intermediate - Digital Download Composed by Jean-Philippe Rame...(+)
Piano Solo - Intermediate
-
Digital Download
Composed by Jean-Philippe
Rameau (1683-1764).
Arranged
by Transcribed by Flavio
Regis Cunha. Baroque
Period,
Early Music, Funeral,
Graduation, Recital.
Score. 9
pages. Published by
Flavio
Regis Cunha
By Wesley Schaum. Edited by Gail Lew. Arranged by John Schaum, Wesley Schaum. Pi...(+)
By Wesley Schaum. Edited
by Gail Lew. Arranged by
John Schaum, Wesley
Schaum. Piano
method/supplement (e int
pa). Level: early
intermediate, level 3. 23
pages. Published by
Belwin.
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: BT.ALF009834304846 Tuition. Book Only. Hal Leonard Europe #ALF...(+)
Piano
SKU:
BT.ALF009834304846
Tuition. Book Only. Hal
Leonard Europe
#ALF009834304846.
Published by Hal Leonard
Europe
(BT.ALF009834304846).
ISBN 9789834304843.
English.
With
its highly attractive,
full-colour,
age-appropriate layout,
Poco Piano For
Young Children
encourages young children
to take the first steps
on a difficult, but
thoroughly rewarding
journey. Together withthe
Music Theory for
Young Children
books, the Poco
Piano For Young
Children series
leads the child from the
very beginning to grade 1
level.
Poco Piano for
Young Children
includesexercises to help
the child develop
technique, rhythm and
reading, and it involves
the child in activities
such as pasting,
colouring, tracing,
circling and
clapping.
Book
3 introduces the
concepts ofkey,key
signature, scales,
triads, tones and
semitones in a novel and
exciting way: each key is
a group of characters or
objects with note-names
(i.e. a band, a birthday
party, a clothes-line
with garments). Certain
notes belong,while all
other notes (accidentals)
are outsiders.
Transposition is a
natural outcome of this
concept, with a tune
moving from one group to
another. The child
masters eight new notes
(up to Treble High G and
down to Bass Low F),which
facilitates the playing
of more adventurous
repertoire. The
semiquaver, semiquaver
rest, dotted crotchet and
dotted quaver are
introduced, and tempo
markings are now in
Italian. As in the
previous two books,
ensemble-playingis
encouraged.
Piano SKU: HL.49047286 Piano. Composed by Daniel Kidane. Piano Sol...(+)
Piano
SKU:
HL.49047286
Piano. Composed by
Daniel Kidane. Piano
Solo. Classical, Concert.
Softcover. Duration 480
seconds. Schott Music
#ED14144. Published by
Schott Music
(HL.49047286).
ISBN
9798350115772.
The
initial stimulus for this
set of pieces was a
painting by Kandinsky,
Composition VII (1913).
The painting represents a
period when he was
concerned with emotional,
abstract paintings of two
sorts: (a) improvisations
('unconscious,
spontaneous expression of
inner character, the
non-material nature' that
contain no recognizable
objects, but coloured
shapes that express
feelings) and (b)
compositions ('an
expression of a slowly
formed inner feeling,
tested and worked over
repeatedly' that include
recognizable objects,but
ones that have been
'stripped' and 'veiled').
Taking the latter idea as
a starting point I began
to mould and form a
tripartite piece which
conveyed the energy and
colour from canvas to
notes. The movement
titles are derived from
the number of notes in
the note rows for each
movement, i.e.
“Etude Fourâ€
uses a note row made up
of four notes.
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).
Edited by Amy Appleby. Collection and examples CD for solo piano. Over 125 great...(+)
Edited by Amy Appleby.
Collection and examples
CD for solo piano. Over
125 great masterpieces
from the Baroque,
Classical, Romantic, and
Modern eras. Series:
Piano Treasury Series.
399 pages. Published by
Music Sales.
Easy Transcriptions of Famous Classic Melodies. By Various. Arranged by Sauro Si...(+)
Easy Transcriptions of
Famous Classic Melodies.
By Various. Arranged by
Sauro Sili. Piano
Collection. Size 9x12
inches. 248 pages.
Published by Ricordi.
Edited by Maurice Hinson. Johann Sebastian Bach. For Piano. Piano Collection. Ma...(+)
Edited by Maurice Hinson.
Johann Sebastian Bach.
For Piano. Piano
Collection. Masterwork.
Level: Intermediate /
Late Intermediate (grade
4/5/6). Book. 48 pages.
Published by Alfred
Publishing.
By Various. Edited by Helen Marlais. Arranged by Various. For Piano. Succeeding ...(+)
By Various. Edited by
Helen Marlais. Arranged
by Various. For Piano.
Succeeding with the
Masters. Level:
Intermediate. Book.
Published by The FJH
Music Company Inc.
Piano (Study Score) SKU: HL.132293 Version for One Piano. Composed...(+)
Piano (Study Score)
SKU: HL.132293
Version for One
Piano. Composed by
Frederic Chopin. Edited
by Jan Ekier and Pawel
Kaminski. PWM. Classical.
Study Score. Polskie
Wydawnictwo Muzyczne
#51600915. Published by
Polskie Wydawnictwo
Muzyczne (HL.132293).
UPC:
884088971274.
Piano
concertos combine two
elements: pure playing
and full poetic
expression. Virtuosity
and romance. Pianistic
brilliance, educated in
the works in the stile
brillant, brought to
perfection, but at the
same time - a farewell.
Both are forms of direct
expression of the
personality of the
composer, which showed
itself in them for the
first time with so much
strength and is
manifested in a group of
characteristics of
forming Chopin's
individual style. Piano
Concerto in F minor In
terms of size,
substantially smaller
than the E minor concerto
and also a different kind
of expression: more
lyrical, drawn in
delicate pastel colours.
Especially famous is the
second movement, the
Larghetto, which Chopin
wrote under the
inspiration of his first
love. Critical
source-edition edited by
Jan Ekier and Pawel
Kaminski based on
manuscripts, copies
approved by Chopin
himself, and first
editions. Its purpose is
to present the works of
Chopin in authentic form.
The historical version of
the score of the
Concerto, based on the
semi-autograph and parts
from the first editions,
forms volume 21 A XVe,
and the concert version
of the score, recreated
by taking into
consideration also other
sources which present
Chopin's intention,
constitutes volume 34 B
VIIIb.
Christmas Classics for Easy Piano composed by Various. Arranged by Alexander Col...(+)
Christmas Classics for
Easy Piano composed by
Various. Arranged by
Alexander Cole. For easy
piano. This edition:
Paperback. Collection.
Christmas. Book. Text
Language: English. 48
pages. Published by
Santorella Publications
Piano (Piano) SKU: HL.14021076 Composed by John McCabe. Music Sales Ameri...(+)
Piano (Piano)
SKU:
HL.14021076
Composed
by John McCabe. Music
Sales America. Studies &
Exercises. Book
[Softcover]. 20 pages.
Music Sales #NOV090981.
Published by Music Sales
(HL.14021076).
8.25x11.75x0.102
inches.
English.
Epithalami
um was commissioned by
John Sell as a birthday
present for his wife
Jane, and is dedicated to
her and to Malcolm Binns.
It was written during
summer 2006 and derived
from the two great chords
that swing to and fro
during the Coronation
Scene in Mussorgsky's
opera Boris Godunov.
These provide a series of
seven notes (heard in the
quick flourishes after
the opening chords) which
provide the basis for the
tunes and the harmonies
through most of the work.
The idea of bell sounds
is carried through not
only the chords during
the piece but also some
of the techniques (e.g.
the gradually changing
repeated patterns, rather
like bell-ringing
changes, encountered
towards the end,or the
quiet and distant, uneven
tintinnabulation heard at
the end of the central
slow section). An
epithalamium (or
epithalamion) is a song
or poem in honour of a
bride and bridegroom -
though technically a
wedding piece, it seemed
an appropriate title for
a work honouring an
anniversary, especially
one where bell-sounds
provided the original
inspiration.