Adults will enjoy the ease with which they master these well-known tunes skillfully arranged at the beginner level. Optional duet accompaniment parts enhance the richness of the musical color. Titles: Annie's Song * Arabian Nights * As Time Goes By * Beauty and the Beast * Dancing Queen * Five Foot Two, Eyes of Blue * I Could Write a Book * I Only Want to Be with You * Killing Me Softly With His Song * The Lion Sleeps Tonight * Summertime. 24 pages. / Instrumental Music, Miscellaneous, Piano Music / Recueil / Piano

Par DVORAK ANTONIN. Arranged for congregational singing with accompaniments for Organ and Brass Quartet(Two Trumpets, Two Trombones). Includes: Jesus Christ Is Risen Today Easter Hymn/Lyra Davidica/Worgan He Is Risen! He Is Risen Neander/Unser Herrscher The Strife Is O'er Victory/Palestrina Parts include: Trumpets I and II Trombones I and II Note: Purchase of Parts Packet entitles purchaser to duplicate copies of instrumental parts - for purchaser's needs only - as necessary for rehearsal and performance./ Répertoire / Piano

Sonata for Piano N 5 /Three Romances Without Words op. 17 N 52 / Mazurka N 8 / Prelude [and Fugue] N 17 / Gavotte N 14 / Short Pieces op. 84 N 147 / Mazurka op. 32 N 75 / Five Impromptus. Par FAURE GABRIEL. Centering on the important series of the “Impromptus”, the collection of “Pièces brèves”, and the “Trois Romances sans paroles”, the present volume also gathers piano works by Gabriel Fauré that are either unpublished or little-known. It is of additional interest insofar as it draws attention to a series of pieces dating from his earliest creative period. The young composer’s progress can thus be followed, from his student work at the “École de musique classique et religieuse” to the earliest masterpieces for piano born between 1875 and 1880. These scores show Fauré’s ability to imitate styles of the past, crafting preludes and fugues, a sonata in the Viennese tradition, and character pieces deriving straight from Mendelssohn, Schumann, and Chopin. Through them, a musical personality emerges little by little: its signs are tenuous in the “Sonate”, in the early versions of the “Fugues”, and in the “Trois Romances”, but they are more in evidence in the “Mazurke”, the “Gavotte”, and the “Prélude” in E minor. Of his early compositions, Fauré, to be sure, retained only what is included in this volume, namely those pieces which he deemed most personal and suitable for publication. All of these compositions are remarkable for their individual flavour. Despite the diverse origin of its constituent parts the contrasted “Pièces brèves” collection is unjustly neglected, as it forms an ensemble of high quality, with a search for concision that anticipates the “Neuf Préludes”. Next to the “Nocturnes” and “Barcarolles”, the five “Impromptus”, vigorously crafted between 1881 and 1906, show a composer with ever increasing creative powers who crosses borders in the pursuit of his artistic ideas. Beside the first versions of the 3rd “Romance” and two “Pièces brèves”, the appendices to the present volume include the interesting piano solo version of the “Pavane” doubtlessly penned by the composer, as well as the cadenzas to piano concertos by Beethoven and Mozart which he wrote for his students and, later, for the pianist Marguerite Hasselmans. These cadenzas’ originality has aroused the interest of pianists again and again./ Recueil / Piano

Par MOMPOU FEDERICO. Composed by Federico Mompou, Preludes Pour Piano is a set of four pieces with two hands for upper intermediate players. It covers the Preludes n° 1 to 4 written in 1928. Each of these preludes is written on one to four pages and can be played separately. The first one is short, to be played like a romance, with chords only. The second one lasts longer and features distinctive parts, starting with an energetic section followed by a sudden musical burst, the rest of it being slower until the animated close. The third prelude is quite slow and very expressive while the last piece of this book is quite short and simple. Federico Mompou was a Spanish pianist and composer. He composed numerous pieces for Piano and some songs./ Répertoire / Piano

PIANO SONATA NO. 3 was written in 1960 during the composer?s studies at HAMU (Music Faculty of the Academy of Performing Arts in Prague) under Emil Hlobil. The first half of the 1960s was the period during which Fiser?s musical language underwent fundamental change as he rapidly cultivated his own, distinctive style, established in Fifteen Prints after Dürer?s Apocalypse. This sonata thus also includes several essential traits which shift his compositional development further. The work has two movements, however, its internal structure abandons traditional form. The piece is divided into several short, mutually contrasting sections, whereby the distinctions between the adjacent parts are emphasised by the thematic and chordal treatment. These contrasts are also supported by the chosen dynamics, tempo and other expressional means. The harmony is largely based on traditional chords or their condensed form while, in certain passages, we will nevertheless come across semitone clusters or fourth chords. The melody is still chiefly diatonic at times Fiser uses chromatic sequences. These new elements in Sonata No. 3 indicate an attempt to simplify his writing and ensure greatest transparency and impact. This endeavour became a basic characteristic of Fiser?s compositions from the mid-1960s onwards. The sonata originally bore the postscript Fantasia, which was subsequently taken out by the composer. It was first performed by Ales Bílek in 1961. The new setting for this piece is based on the single edition to date (Panton, 1967) only with regard to a few inconsistencies in the score was it necessary to consult the composer?s manuscript (kept at the National Museum ? Czech Museum of Music, acquisition number 297/2006). H 7957, ISMN 979-2601-0446-4