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...
C minor, F major, D major; Op. 10. Composed by Ludwig van Beethoven (1770-1827...(+)
C minor, F major, D
major;
Op. 10. Composed by
Ludwig
van Beethoven
(1770-1827).
Edited by Jonathan Del
Mar.
This edition: urtext.
Paperback. Performance
score, anthology. 65
pages.
Published by Baerenreiter
Verlag
Piano SKU: SA.41342 Composed by Stenhammar. Suites, Original Works. Repri...(+)
Piano
SKU:
SA.41342
Composed by
Stenhammar. Suites,
Original Works. Reprint
Source: Copenhagen:
Nordisk Musikforlag,
n.d.(ca.1900). Plate N.F.
8309. Post-Romantic,
Scandinavian. Piano.
Composed 1895. 20 pages.
Duration 13 minutes.
Petrucci Library Press
#41342. Published by
Petrucci Library Press
(SA.41342).
ISBN
9781608741342. 9.5 x 12.5
inches.
Stenhammar'
s 1895 set of three
fantasies are among the
finest of the Swedish
composer's early-period
works. They are fairly
Brahms-like in their
musical language, but
nevertheless bear the
individual stamp of this
composer, whose music
stands as a unique voice
in a Scandinavian world
dominated by figures such
as Grieg and Sibelius.
This new score is a
digitally-restored
reissue of the one first
issued around 1900 by
Nordisk Musikforlag of
Copenhagen. Unlike so
many of the on-demand
scores now available,
this one comes with all
the pages and the images
have been thoroughly
checked to make sure it
is readable. The score is
beautifully printed on
large size (9 x 12)
off-white stock with a
quality cover, all
saddle-stitched in the
traditional sheet music
binding. As with all PLP
scores a percentage of
each sale is donated to
the amazing online
archive of free music
scores and recordings,
IMSLP - Petrucci Music
Library.
Composed by Ludwig van Beethoven (1770-1827). Edited by Jonathan Del Mar. This e...(+)
Composed by Ludwig van
Beethoven (1770-1827).
Edited by Jonathan Del
Mar. This edition: urtext
edition. Paperback.
Performance score,
anthology. Opus 2.
Published by Baerenreiter
Verlag (BA.BA10859).
Piano - Grade 7-8 SKU: ST.C463 Composed by Federico Ruiz. Edited by Clara...(+)
Piano - Grade 7-8
SKU:
ST.C463
Composed by
Federico Ruiz. Edited by
Clara Rodriguez. Piano
and keyboard music.
Collection. Clifton
Edition #C463. Published
by Clifton Edition
(ST.C463).
ISBN
9790570814633.
This
volume contains
contrasting works by
Federico Ruiz spanning
quite a large and rich
period of his
compositional output that
goes from his early
Micro-Suite (1971), to
lilting, sweet and
rhythmic Venezuelan
waltzes passing by the
mysterious, intimate, and
intense Nocturno (1994)
plus pieces originally
composed for film, and
theatre. Real eclecticism
in styles, moods and
atmospheres that show
Ruizâ??s talents and
scope.
The
Nocturno is a deep,
intriguing, substantial
piece presenting a
satisfying length which
moves from different
paths of the mind and the
heart written in an
abstract, chromatic
idiom, that does not
dissociate itself from
the Venezuelan waltz and
the joropo. One could
perhaps say that there is
a deconstruction of the
latter. For the
interpretation, the
composer has suggested to
me that it is allowed to
have some flexibility in
the tempo. Ruiz kindly
dedicated it to me, and I
have had the pleasure of
performing it in many
concerts.
Although
all highly expressive,
the Three Venezuelan
Waltzes present in this
collection as well as the
piece titled Aliseo, are
works that are close to
the colourful Venezuelan
folk tradition. Federico
Ruiz had given me two of
them when we first met:
â??Tu Presenciaâ??
(1981) and
â??EloÃsaâ?? (1989)
and then I attended a
performance of the play
â??Office Number Oneâ??
by Miguel Otero Silva
with a fantastic actor,
Elba Escobar in the role
of Carmen Rosa and, I
just fell in love and was
very moved by the
incidental music that I
later discovered, by
reading the programme,
had been written by
Federico Ruiz. Later that
evening, I called him and
asked to please make a
piano score of the
composition, so I could
have the desired piece in
my hands. That is how
â??Carmen Rosaâ?
waltz (1987) came to
exist in a piano
version.
â??Elois
aâ?? is another
Venezuelan waltz with
more jazzy harmonies
where precision in the
rhythm and elegant
playing is also
essential, as it is in
most of his
pieces.
â??Tu
Presenciaâ?? was
dedicated to his mother,
Margarita. It is written
with the structure of the
Venezuelan waltz, which
consists of a nostalgic
subject that leads to a
faster, happier middle
section where the typical
graceful rhythm is given
by the left-hand
accompaniment figure of a
dotted crotchet followed
by a quaver and a
crotchet.
The
craft and magic found in
the five movements of the
Micro-Suite is based on a
dodecaphonic row by Ernst
Krenek. They remind us of
the idiom of the Second
Viennese School. These
real miniatures seem to
tell short stories. The
â??Preludioâ?? is full
of humour. I imagine
dancing figures given by
the jumps all over the
keyboard and extreme
dynamics; the phrases
give the impression of a
conversation with many
questions and answers.
The â??Invenciónâ??
is a kaleidoscopic piece
where the hands mirror
each other. The
â??Passacagliaâ?? is
the longest movement, at
just over a minute where
the prime motif is
repeated three times on
the bass line. For its
construction Federico
Ruiz uses as well the
retrograde and the
retrograde inversion of
the twelve-tone series.
It must be played
expressively with dynamic
contrasts between
pianissimo and louder
events. The
â??Scherzoâ?? has
repetitive motifs of a
minor third in both hands
and the â??Finalâ??
displays virtuosic
passages for the
pianist.
Piano, Speaker - Level 4 Composed by Gideon Klein (1919-1945). Edited by Ondrej...(+)
Piano, Speaker - Level 4
Composed by Gideon Klein
(1919-1945). Edited by
Ondrej
Pivoda. This edition:
urtext
edition. Paperback.
Performance score.
Baerenreiter Verlag
#BA09580_00. Published by
Baerenreiter Verlag
Chamber Music Piano SKU: PR.110418380 Composed by Carlos Gardels. Full sc...(+)
Chamber Music Piano
SKU: PR.110418380
Composed by Carlos
Gardels. Full score. 12
pages. Duration 8
minutes, 40 seconds.
Theodore Presser Company
#110-41838. Published by
Theodore Presser Company
(PR.110418380).
ISBN
9781491135334. UPC:
680160687497.
THREE
FANTASIES is a
fantastical escape from
reality. The first
fantasy
(“Preludeâ€)
features a luscious and
expressive melody
accompanied by dark,
romantic harmonies. The
following fantasy
(“Cosmic
Lullabyâ€) begins
and ends in a serene and
introspective manner,
with a tumultuous and
harmonically rich middle
section. To end the set,
“Intermezzoâ€
provides reflection and a
lively resolution.
Gardels’ profound
lyricism and masterful
piano writing make this
set enjoyable for any
pianist to perform at
home or in the concert
hall. The three
fantasies here were
written during the height
of the 2020-21
Coronavirus lockdowns
– a time everyone
will forever recall as a
period of the world
standing still and
experiencing new degrees
of isolation, inactivity,
and apprehension.A
fantasy is a genre to
which a composer can turn
as a respite from the
constraints of form,
tradition, and
expectation. What the
genre may lack in
structure and design it
makes up for with
spontaneity,
capriciousness, and
improvisatory musical
gesture.I hope performers
feel free to take a
similarly
“fantasticalâ€
approach to the
interpretation of these
works, seeing the score
and notation as a point
of departure rather than
arrival, and proceed with
unabashed freedom of
spirit in their
playing.
Piano - Level 4 SKU: BA.BA06627 Klavierschule für den Gruppenunterr...(+)
Piano - Level 4
SKU:
BA.BA06627
Klavierschule für
den
Gruppenunterricht.
Composed by Rudolf
Kitzelmann. Stapled.
Schulen fur Klavier
(Piano Method).
Performance score,
anthology. 60 pages.
Baerenreiter Verlag
#BA06627_00. Published by
Baerenreiter Verlag
(BA.BA06627).
ISBN
9790006498529. 29 x 21 cm
inches. Language: German.
Preface: Rudolf
Kitzelmann.
This
volume follows the same
approach as volume 1,
with songs and exercises
for three children at one
piano. lt moves from the
simple fingering script
of volume 1 to standard
staff notation, and
offers entertaining
exercises to expand the
pupil's
technique.
Piano SKU: BT.EMBZ12718 Composed by Franz Liszt. EMB Liszt Works. Book On...(+)
Piano
SKU:
BT.EMBZ12718
Composed
by Franz Liszt. EMB Liszt
Works. Book Only.
Composed 1984. 36 pages.
Editio Musica Budapest
#EMBZ12718. Published by
Editio Musica Budapest
(BT.EMBZ12718).
I The sun, the sea - II The earth: her dance - III Clouds, winds, skies. Comp...(+)
I The sun, the sea - II
The
earth: her dance - III
Clouds, winds, skies.
Composed by Christian
Mason.
Breitkopf and Haertel #EB
9334. Published by
Breitkopf
and Haertel
Piano - Intermediate-Advanced SKU: YM.GTP01097337 Piano Pop & Vocal. Comb...(+)
Piano -
Intermediate-Advanced
SKU:
YM.GTP01097337
Piano
Pop & Vocal. Combination.
Sheet music. Yamaha Music
Media #GTP01097337.
Published by Yamaha Music
Media (YM.GTP01097337).
ISBN
9784636973372.
17
arrangements by 8 net
pianists. SNSShang Da
Ren Qi Yan Zou Shi Pin De
Le Pu Hua
1.
Japanese traditional song
Furusato(My home town) in
three different
atomosphere; 2. If Chopin
plays Happy Birthday to
You; 3. Twinkle Ode to
Joy; 4. Orpheus in the
Underworld in expiring
expression; 5. Japanese
children's song Soap
Bubble Flew Away on the
keyboard; 6. How to play
Theme from Vice General
Song in the bar; 7. How
to play the background
music from Summer Wars;
8. Chopsticks in cross
genre arrangement; 9.
Magic accompaniment; 10.
To understand tension of
the music through My
Grandfather's Clock; 11.
To explain Pachelbel's
Canon thoroughly; 12. If
Mozart is a student in
Yamaha music school; 13.
Brilliant Twinkle Twinkle
Little Star; 14. To play
a Japanese traditional
song Antagata
Dokosa(Where are you
born?) on the keyboard;
15. To explain the rhythm
patterns practically
through Marunouchi
Sadistic; 16. To study
how to make variations
with Four Season Songs
basically; 17. Japanese
children song
Zo-san(Elephant song) in
Jazz 1. <>
3Chong Fen Wei Gai Bian ;
2. Ru Guo Rang Xiao Bang
Lai Dan <> Geng Jia Hui
Huang Yi Dian ; 4. <> Gan Dong
Ban Bian Qu ; 5. Jiang
<> Gai Bian
Wei Gang Qin Qu ; 6. Ru
He Zai BarLi Bu Bei Cha
Jue Di Yan Zou <> ; 7. <> Ju Zhong Qu
; 8. <> Ge Chong Qu Feng
Bian Qu ; 9. Mo Fa De Ban
Zou ; 10. Jiao Ni Ru He
Shi Yong TensionDe <> ; 11.
<> Che Di Jie
Shuo ; 12. Ru Guo Mo Zha
Te Shi Ya Ma Ha Yin Le
Jiao Shi De Xue Sheng De
Hua ; 13. Rang <>
Shan Shan Fa Guang ; 14.
Xiong Ben Fang Yan Ge Yao
<>
Gang Qin Bian Qu ; 15.
<> Shi Yong Jie Zou
Xing Xiang Jie ; 16. Yong
<> Jiang
Jie Ji Ben Bian Zou Fa ;
17. <> Jue Shi Ban Bian
Qu.
By Ursula Gorsch. For piano. Piano (Harpsichord), 2-hands. Instrumental Music. L...(+)
By Ursula Gorsch. For
piano. Piano
(Harpsichord), 2-hands.
Instrumental Music.
Level: intermediate. Full
score. Composed 1986.
Duration 6'. Published by
Furore-Verlag (German
import). (fue 10014)
Piano SKU: BT.EMBZ14504 EMB Liszt Works. Book Only. Composed 2009. 252 pa...(+)
Piano
SKU:
BT.EMBZ14504
EMB
Liszt Works. Book Only.
Composed 2009. 252 pages.
Editio Musica Budapest
#EMBZ14504. Published by
Editio Musica Budapest
(BT.EMBZ14504).
English-German-Hungari
an.
Volume 9 in the
series of Supplements is
mainly devoted to
hitherto unpublished or
inaccessible works. Apart
from the piano score of
the Berlioz symphony it
contains smaller-scale
late masterpieces
(Excelsior!,
Resignazione), the Album
leaves written in
Woronince in 1847, the
large-scale but
unfinished and not fully
worked out Figaro and Don
Juan fantasia,
incorporating several
Mozart themes, the piano
piece No.1 in A flat
major, two unpublished
works incorrectly
identified up till now by
the special literature,
the Maometto fantasia and
the Siege de Corinthe
(both transcriptions of
Rossini works), and the
volume also includes
three other unpublished
works (the Piano piece in
Fmajor, the Cavatina from
Robert le Diable by
Meyerbeer, and Freudvoll
und leidvoll, written
down for Pauline von
Iwanowska. The Prefaces
preceding the scores,
which give very accurate,
detailed information
about the genesis of the
works, make interesting
reading in themselves,
but their true
significance consists in
the new scholarly
discoveries made by the
editors. Similarly to the
other NLE volumes, both
the cloth-bound (Z.
14504a) version and the
one bound in hard-paper
(Z. 14504) contain in
three languages the
series preface, the
preface to this volume,
and the captions below
the facsimiles, but the
critical notes in English
are to be found only in
the linen-bound edition.
Der Band
enthält neben der
Klavierpartitur der
Symphonie von Berlioz,
kleinere, spätere
Meisterwerke (Excelsior!,
Resignazione), die 1874
in Woronince entstandenen
Albumblätter, die
umfangreichen, mehrere
Mozart-Themen
aufgreifenden, aber
unbeendeten und
unausgearbeiteten Figaro-
und Don
Giovanni-Phantasien, das
schon seit langem
unzugängliche
Klavierstück No. 1 in
As-Dur, zwei von der
Fachliteratur verkannte,
unveröffentlichte
Werke, die
Maometto-Phantasie und
die ‚Siege de
Corinthe' (beide sind
Transkriptionen von
Rossini-Werken) und drei,
ebenfalls bisher nicht
erschienene Stücke,
das Klavierstück in
F-Dur, die Cavatina aus
Meyerbeers ‚Robert
der Teufel' und dasfür
Pauline von Iwanowska
komponierte
‚Freudvoll und
leidvoll'. Das Vorwort,
welches die
Entstehungsgeschichte der
Werke sehr genau und auf
jedes Detail eingehend
vorstellt, ist auch
selbst eine interessante
Lektüre. Seine wahre
Bedeutung machen aber die
neuen wissenschaftlichen
Entdeckungen aus.
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
Piano SKU: HL.14041307 Composed by Per Norgard. Music Sales America. Clas...(+)
Piano
SKU:
HL.14041307
Composed
by Per Norgard. Music
Sales America. Classical.
Book [Softcover]. 14
pages. Edition Wilhelm
Hansen #WH31073.
Published by Edition
Wilhelm Hansen
(HL.14041307).
ISBN
9788759819333.
10.25x14.5x0.052
inches.
Waterways
(Vandveje) -
Three Pieces for Piano by
Per
Nørgård
(2008-09).
Written
for Anne Marie Fjord
Abildskov.
Preface /
Programme
Note The
three small piano pieces
collectively called
WATERWAYS was composed in
2008-2009 for Anne Marie
Fjord Abildskov and they
are dedicated to
her. You will hear
traces of earlier piano
works of mine –
GROOVING from 1968 and
ACHILLEUS AND THE
TORTOISE from 1983
– in these new
pieces.
The first movement
is characterized by
echo-like sounds, which
also appear in GROOVING.
Semitones are overlayered
and soundsimultaniously,
and then they are muted
one by one to give a
reminiscence of the
initial sound. In this
new movement an extra
echo is added, like an
extra skim of the
stone across the
water surface –
three skims,
actually.
In the second
movement you may hear
traces of ACHILLEUS AND
THE TORTOISE. The left
and right hand both play
arpeggio-like scale
patterns. The music is
shimmering, like a
moiré on a water
surface, with constantly
changing, very short
durations. In the
third movement the
pattern of irregular
durations is maintained
and expanded, but only in
fragments – and you
may catch a glimpse of a
new melody
emerging.
Piano SKU: ST.R5138 Composed by Franz Schubert. Edited by Oscar Beringer....(+)
Piano
SKU:
ST.R5138
Composed by
Franz Schubert. Edited by
Oscar Beringer. Edited
Oscar Beringer. Score.
Stainer & Bell Ltd.
#R5138. Published by
Stainer & Bell Ltd.
(ST.R5138).
ISBN
9790220213243.
CONT
ENTS Landler D.420,
No.1; Landler D.734,
No.15; Andante from
Sonata in A minor, D.845;
Ecossaise D.529, No.8;
Ecossaise D.783, No.1;
No.2 of Three Keyboard
Pieces, D.946; Menuet
from Sonata in E flat,
D.568.
Easy Piano - Easy SKU: SP.TS302 Composed by Craig Stevens. Arranged by Cr...(+)
Easy Piano - Easy
SKU:
SP.TS302
Composed by
Craig Stevens. Arranged
by Craig Stevens. Solo;
Christmas. Best of
Christmas series.
Christmas. Score. With
Text Language: English. 8
pages. Santorella
Publications #TS302.
Published by Santorella
Publications (SP.TS302).
ISBN 9781585604029.
UPC:
649571003029.
Every
one at Santorella
Publications is extremely
sensitive to the costly
demands placed on piano
teachers and their
tenacious students. With
this in mind, we decided
to publish a series of
Christmas sheets for easy
piano with only those
specific titles that you
and/or your student(s)
have decided to perform
for their holiday
concert, recital or maybe
just for family and
friends. Rather than
purchase a large costly
collection of songs that
you may or may not have
the opportunity to
perform this year, we
have provided an
inexpensive alternative.
For just $4.95, you can
buy just that one, two or
three songs that you
truly want to learn this
holiday season. That's
three songs for the price
of one! Each arrangement
derives from our
best-selling Christmas
songbook, The Best Of
Christmas For Easy Piano
by Craig Stevens which is
also available with or
without a performance CD.
If cost is not an issue
and you'd like to buy
this fantastic
collection, be our guest,
but if a big songbook is
not in the budget this
year, that's quite
alright. Why not choose
only those titles you've
settled on for your
Christmas performance?
Here's your chance to
learn O Come All Ye
Faithful, Deck The Halls
and The Snow Lay On The
Ground published by
Santorella Publications.
Be sure to review our
entire list of songs
available for easy piano
and yes, every one
includes lyrics to sing
along. Merry Christmas!
Look at all the great
Christmas sheets to
choose from: (TS301 -
TS313) O Come All Ye
Faithful, Deck the Halls,
The Snow Lay on the
Ground - I Saw Three
Ships, Hark! The Herald
Angels Sing, Angels We
Have Heard on High - We
Wish You a Merry
Christmas, Angels From
the Realms of Glory, We
Three Kings - Jingle
Bells, Silver and Gold,
Away in The Manger -
Jingle, Jingle, Jingle,
Joy To The World,
Bringing the Season's
Cheer - O Christmas Tree,
It Came Upon a Midnight
Clear, The Coventry Carol
- Holly and the Ivy, Good
King Wenceslas, Away in a
Manger - The Most
Wonderful Day of the
Year, Up On the Housetop,
I Heard the Bells on
Christmas Day - Holly
Jolly Christmas, Silent
Night, O Little Town of
Bethlehem - Rudolph, the
Red-Nosed Reindeer, Jolly
Old St. Nicholas, What
Child Is This?
(Greensleeves) - Rockin'
Around the Christmas
Tree, Carol of the Bells
- O Holy Night, The First
Noel - 12 Days of
Christmas.
Piano SKU: BT.EMBZ8183 Années de Pelerinage. Composed by Franz Li...(+)
Piano
SKU:
BT.EMBZ8183
Années de
Pelerinage. Composed
by Franz Liszt. EMB Liszt
Works. Book Only.
Composed 1977. Editio
Musica Budapest
#EMBZ8183. Published by
Editio Musica Budapest
(BT.EMBZ8183).
English-German.
During his ''years of
pilgrimage'' spent in
Italy, the young Liszt
gained enough musical
inspiration from the
local musical, artistic,
and literary heritage to
last for decades. These
intense impressions are
recorded in Volume 2 of
Années de pelerinage,
whose sources range from
Raphael to Michelangelo,
Dante, and Petrarch.
Three of the latter's
sonnets (47: Benedetto
sia 'l giorno 104: Pace
non trovo and 123: I'
vidi in terra angelici
costumi) were first set
by Liszt as songs and,
shortly afterwards,
arranged for piano solo.
The songs and, as a
result, the piano pieces
as well, reflect the
style of Italian bel
canto - Donizetti and
Bellini - rather than
following the GermanLied
tradition. And while this
feature was criticized by
the contemporary press,
the broadly arching
melodic lines of these
pieces and their
Mediterranean passion
have always carried away
performer and listener
alike. This revised
(2018) edition contains
the Three Sonnets in two
versions: the first
version was published in
the course of 1846 and
1847, and the second, as
part of Volume 2 of
Années de pelerinage, in
1858. Based on the New
Liszt Edition, the
present volume provides a
revised score, a
facsimile reproduction,
and critical notes. The
new editorial preface
orientates the reader in
all the major questions
regarding the work's
genesis.
Piano SKU: BR.EB-8831 Urtext. Composed by Samuel Scheidt. Edited b...(+)
Piano
SKU:
BR.EB-8831
Urtext. Composed
by Samuel Scheidt. Edited
by Pieter Dirksen. Solo
instruments; Softbound.
Edition Breitkopf.
Whoever thinks that
Scheidt did not produce
any keyboard works worth
mentioning besides the
Tabulatura nova must
revise his judgment.
Pieter Dirksen presents
25 pieces here.
Renaissance/early
Baroque. Score. 120
pages. Breitkopf and
Haertel #EB 8831.
Published by Breitkopf
and Haertel (BR.EB-8831).
ISBN 9790004183953. 9
x 12 inches.
Twelve
pieces are ascertainably
by Scheidt, three are
early versions of pieces
from the Tabulatura nova,
and ten can be assigned
to Scheidt with absolute
certainty on the basis of
stylistic criteria. It
was long believed that
some of these works had
been written by
Sweelinck. But Dirksen,
as co-editor of the
Sweelinck Works for
Keyboard Instruments (EB
8741-44), applies his
vast stylistic knowledge
to this matter and, after
a detailed study of the
sources, separates the
pupil Scheidt from his
teacher Sweelinck. The
Urtext edition presents
the musical text in the
form of a practical
source edition. It
guarantees authenticity,
since it follows the
notation in the sources
as closely as possible
and reproduces several
characteristics of the
notational practice of
the time.
Whoever
thinks that Scheidt did
not produce any keyboard
works worth mentioning
besides the Tabulatura
nova must revise his
judgment. Pieter Dirksen
presents 25 pieces
here.
Piano solo - Level 4 SKU: FV.FUE-2600 Composed by Ruth Schonthal. Piano (...(+)
Piano solo - Level 4
SKU: FV.FUE-2600
Composed by Ruth
Schonthal. Piano
(Harpsichord), 2-hands.
Work premiere: February
1982 The Westchester
Concervatory of Music,
White Plains NY, Ruth
Schonthal, piano.
Instrumental Music. Full
score. Composed 1982.
Duration 6'. Furore
Verlag #FUE 2600.
Published by Furore
Verlag (FV.FUE-2600).
ISBN
979-0-50012-160-2.
Expresses sorrow in the
1st movement, anger in
the second and
reconcilation in the
third. Suitable for
lecture recitals,
memorial services or as a
recital piece. Grade
IV.
WP: February
1982 The Westchester
Concervatory of Music,
White Plains NY, Ruth
Schonthal,
piano
CONTENT 1
. Andante con moto, 2.
Allegro non troppo, 3.
Molto tranquillo.
For Piano. Contains a newly engraved, complete music score, printed on high-qual...(+)
For Piano. Contains a
newly engraved, complete
music score, printed on
high-quality ivory paper;
and a digital stereo
compact disc containing a
complete reference
version of the quartet,
then a recording of the
accompaniments minus you,
the soloist!. Published
by Music Minus One.
Piano (Piano) SKU: HL.50511990 Composed by Ferenc Liszt. Romantic. EMB. (...(+)
Piano (Piano)
SKU:
HL.50511990
Composed
by Ferenc Liszt.
Romantic. EMB. (Suppl.
9). Critical Complete
Edition. Book Only.
Composed 2009. Editio
Musica Budapest #Z14504.
Published by Editio
Musica Budapest
(HL.50511990).
ISBN
9790080145043. 23 x 30 cm
inches. Hungarian,
English, German. Ferenc
Liszt; Adrienne
Kaczmarczyk; Eszter
Mikusi.
Volume 9 in
the series of Supplements
is mainly devoted to
hitherto unpublished or
inaccessible works. Apart
from the piano score of
the Berlioz symphony it
contains smaller-scale
late masterpieces
(Excelsior!,
Resignazione), the Album
leaves written in
Woronince in 1847, the
large-scale but
unfinished and not fully
worked out Figaro and Don
Juan fantasia,
incorporating several
Mozart themes, the piano
piece No.1 in A flat
major, two unpublished
works incorrectly
identified up till now by
the special literature,
the Maometto fantasia and
the Siege de Corinthe
(both transcriptions of
Rossini works), and the
volume also includes
three other unpublished
works (the Piano piece in
F major, the Cavatina
from Robert le Diable by
Meyerbeer, and Freudvoll
und leidvoll, written
down for Pauline von
Iwanowska. The Prefaces
preceding the scores,
which give very accurate,
detailed information
about the genesis of the
works, make interesting
reading in themselves,
but their true
significance consists in
the new scholarly
discoveries made by the
editors. Similarly to the
other NLE volumes, both
the cloth-bound (Z.
14504a) version and the
one bound in hard-paper
(Z. 14504) contain in
three languages the
series preface, the
preface to this volume,
and the captions below
the facsimiles, but the
critical notes in English
are to be found only in
the linen-bound
edition.Territorial
restrictions may apply.
Please ask before
ordering.
(Scenes from Childhood). By Robert Schumann. Edited by Holger M. Stuewe. For...(+)
(Scenes from Childhood).
By
Robert Schumann. Edited
by
Holger M. Stuewe. For
solo
piano. This edition:
Urtext.
Performance score. Text
language: German,
English.
Opus 15. 20 pages.
Published
by Baerenreiter Verlag
Piano SKU: C4.9790902260329 Composed by Harold Darke. Edited by Daniel Mi...(+)
Piano
SKU:
C4.9790902260329
Composed by Harold Darke.
Edited by Daniel
Mitterdorfer and Harold
Fabrikant. Classical.
Score. Crescendo Music
Publications
#9790902260329. Published
by Crescendo Music
Publications
(C4.9790902260329).
ISBN 9790902260329.
8.27 x 11.7
inches.
Though
known nowadays for his
considerable corpus of
church music, Harold
Darke's earlier years saw
a proliferation of
compositions for many and
varied forces, a result
of his fruitful study at
the Royal College of
Music.
Written
towards the end of 1908,
these virtuosic Three
Concert Studies stand as
happy advocates of the
Post-Romanticism then in
vogue.
This
edition marks their first
publication and contains
a brief background on the
work's composition as
well as a full list of
editorial changes. These
Three Concert Studies
certainly deserve to be
more widely known and
enjoyed.
Piano SKU: ST.Y229 Composed by Morgan Hayes. 5 minutes. Score. Stainer & ...(+)
Piano
SKU: ST.Y229
Composed by Morgan Hayes.
5 minutes. Score. Stainer
& Bell Ltd. #Y229.
Published by Stainer &
Bell Ltd. (ST.Y229).
ISBN
9790220221729.
Morg
an Hayes is a noted young
British composer of piano
music, whose work has
been programmed by
leading contemporary
pianists including Andrew
Ball, Stephen Gutman,
Rolf Hind, Sarah Nicolls
and Ian Pace. For friends
and fellow performers he
often writes short,
celebratory bagatelles
entitled
Strides, and
three of them are
collected here in the
first book of an ongoing
series. Fugitive visions
that include 'Wisps of
Melody', a bright fanfare
and a disjointed march,
they are within the range
of younger pianists
possessing a confident
technique of around Grade
5 or above, and pianists
of any age with an
appetite for bold new
repertoire.
Piano SKU: BR.EB-9333 I The sun, the sea - II The earth: her dance - I...(+)
Piano
SKU:
BR.EB-9333
I The
sun, the sea - II The
earth: her dance - III
Clouds, winds, skies.
Composed by Christian
Mason. Solo instruments;
stapled. Edition
Breitkopf.
World
premiere of the piano
version: Orleans (8th
Int. Piano Competition of
Orleans ,,Brin d'herbe),
April 14, 2019
New
music (post-2000); Music
post-1945. Score.
Composed 2018/19. 28
pages. Duration 17'.
Breitkopf and Haertel #EB
9333. Published by
Breitkopf and Haertel
(BR.EB-9333).
ISBN
9790004187975. 9 x 12
inches.
Inspiring
Nature These three piano
pieces, composed for the
,,Concours, Brin d'Herbe
2019, may be performed
separately or as a
collection, in which case
they should be played in
the given order. Though
each piece is aimed at a
different technical level
(I. Elementary, II.
Advanced, III.
Intermediate), they have
a common artistic aim: to
connect musical
expression with poetic
inspiration. In
particular, these pieces
meditate on the emotional
connection between our
interior life and the
vast and varied
landscapes of the natural
world all around us.
While composing I found
myself re-reading
Kathleen Raine (one of my
favourite poets) and was
struck by her statement
(in the foreword to her
,,Selected Poems):
,,'Nature-poetry' is not
what we write about
nature, but rather the
language of images in
which nature daily speaks
to us of the timeless,
age-old mystery in which
we participate. Nature
communicates today what
it told the earliest of
humankind, and what it
will tell future
generations when our
modern high-rise cities
are no more. Meanings,
moods, the whole scale of
our inner experience,
finds in nature the
'correspondences' through
which we may know our
boundless selves. Nature
is the common, universal
language, understood by
all. What she says about
nature resonates with my
understanding of music,
which also sometimes
affords us an opportunity
to know 'our boundless
selves'. And I am
especially interested in
the way that sounds -
which, as vibrations in
the air, are another
aspect of nature - can
reveal and heighten our
sense of connectedness to
ourselves and our
surroundings. Each
movement is inspired by a
single stanza from the
poem ,,Amo Ergo Sum by
Kathleen Raine, and I
would encourage anyone
playing these pieces to
devote time to
internalising the words
as well as the music, for
they may contain the key
to an accurate
expression. As such, the
relevant words are quoted
at the start of each
score. ,,Inner Landscapes
is dedicated to Joe
Browning, Lexy Oliver and
Omar Shahryar. (Christian
Mason, 2018)
World
premiere of the piano
version: Orleans (8th
Int. Piano Competition of
Orleans ,,Brin d'herbe),
April 14, 2019.
Chamber Music Piano SKU: CF.PL1061 For Two Pianos. Composed by Pau...(+)
Chamber Music Piano
SKU: CF.PL1061
For Two Pianos.
Composed by Paul Lansky.
Sws. Set of Score and
Parts. 32 pages. Duration
10:58. Carl Fischer Music
#PL1061. Published by
Carl Fischer Music
(CF.PL1061).
ISBN
9781491158555. UPC:
680160917167. 9 x 12
inches.
The three
movements of Color Codas
can be played
individually or,
preferably, as a set. aIn
the Reda flirts with
extremes in dynamics and
register; aPurple
Passiona wears its heart
on its sleeve; aOut of
the Blue,a well what can
I say... (aOut of the
Bluea is an arrangement
of the fourth movement,
aKeep It Short,a of my
trio for horn, violin and
piano, Etudes and
Parodies.) The work is
written for the wonderful
piano duo, Quattro
Mani. The three
movements of Color Codas
can be played
individually or,
preferably, as a set. In
the Red flirts with
extremes in dynamics and
register; Purple Passion
wears its heart on its
sleeve; Out of the Blue,
well what can I say...
(Out of the Blue is an
arrangement of the fourth
movement, Keep It Short,
of my trio for horn,
violin and piano, Etudes
and Parodies.) The work
is written for the
wonderful piano duo,
Quattro Mani. The
three movements of Color
Codas can be played
individually or,
preferably, as a set.
“In the Redâ€
flirts with extremes in
dynamics and register;
“Purple
Passion†wears its
heart on its sleeve;
“Out of the
Blue,†well what
can I say... (“Out
of the Blue†is an
arrangement of the fourth
movement, “Keep It
Short,†of my trio
for horn, violin and
piano, Etudes and
Parodies.)The work is
written for the wonderful
piano duo, Quattro
Mani.
Piano SKU: FG.55011-681-8 Composed by Sami Juntunen. Score. Fennica Gehrm...(+)
Piano
SKU:
FG.55011-681-8
Composed by Sami
Juntunen. Score. Fennica
Gehrman #55011-681-8.
Published by Fennica
Gehrman (FG.55011-681-8).
ISBN
9790550116818.
New
bilingual edition (2021)
with texts in English and
Finnish. Getting' into
Groove is a tutor and
repertoire collection for
piano, exploring the
African-American popular
music genre, its origins
and building blocks.
Melodies, rhythms and
harmonies are introduced
all the way from 19th
century ragtime to 1980's
hip hop. Each genre
offers three distinct
compositions, concise
fact bulletins and
references for listening
the most important
examples and forerunners
of blues, stride, swing,
bebop, funk... The
recordings of all the
pieces of this collection
are available in YouTube,
and the arrangements
available for different
ensembles broaden the
spectacular view on the
continuously changing
music. Click sample /
table of contents to see
more.
By Erik Satie (1866-1925). Edited by Jens Rosteck. For piano. This edition: Stap...(+)
By Erik Satie
(1866-1925). Edited by
Jens Rosteck. For piano.
This edition: Stapled,
Urtext edition.
Performance score. Text
Language: German/English.
15 pages. Published by
Baerenreiter Verlag