By Kathy Holmes. For piano. Spotlight Solo Sheets. Ragtime. Early Intermediate. Single sheet

Mid-Elementary Level. By Carolyn C. Setliff. Willis. 4 pages. Published by Willis Music.

Chamber Music Piano

SKU: PR.110418370

Composed by Charles Ives. Arranged by Danny Holt. Performance Score. 20 pages. Duration 8 minutes. Theodore Presser Company #110-41837. Published by Theodore Presser Company (PR.110418370).

ISBN 9781491135075. UPC: 680160686247.

Compo sed as an organ solo by the 17-year-old Ives for his own performance purposes, the beloved Variations on America is a treat for any occasion, whether a holiday concert, a serious recital, or other special event. Danny Holt’s transcription for Piano, Four Hands adds a dazzling new option to play at home or on stage, taking best advantage of Ives’ tremendous contrasts in color, dynamics, and texture.
Composed when Charles Ives was a teenager, Variations on “America” is both a convenient introduction to Ives’ body of work, and an early example of his iconoclastic musical voice and creative genius. Just a few years after composing this piece, Ives would leave home to study music at Yale. But until then he had been taught by his father, George (who had been a bandmaster in the Civil War). George subjected the young Ives to experiments such as singing a song in one key while being accompanied in another, or arranging for two marching bands to converge on a town center, with the resulting cacophony that ensued.The Variations exemplifies an early period of experimentation in Ives’ work, spurred on by the unusual pedagogy of his father. The piece is particularly notable for its use of bitonality in the two interludes, subtly foreshadowing more well-known examples by Stravinsky, Bartók, and others by approximately two decades.The bitonal interludes were so ahead of their time, in fact, they were omitted from the first copy that was submitted to a publisher in 1892. (Alas, the piece was rejected even despite these “shocking” elements having been left out, and it wasn’t published until more than five decades later.) There is some ambiguity about when exactly Ives added the interludes into his manuscript copy, though ample evidence suggests he had performed the piece with the interludes around the time he notated the piece in 1891-92. In any case, in light of this piece and his other polytonal explorations from the last decade of the 19th century, it seems fair to give Ives credit for being a pioneer in this area!This arrangement for Piano, Four Hands, closely follows Ives’ original version for organ, setting aside William Schuman’s popular adaptation for symphony orchestra and William Rhoads’ band transcription of the Schuman orchestration. Pianists will find that the piece translates well to the instrument. Ideally, the choreography and logistics of elbow-to-elbow four-hands playing approximates the wild joy one gets from watching an organist play the piece (e.g., the elaborate pedal part in the final variation).In preparing this publication, attention was paid to details in the dual Critical Editions (Presser 443-41003) of both Ives’ manuscript edition and the 1949 publication edited by organist E. Power Biggs (who is credited with discovering what had been a long-lost, forgotten work.) But as with much of Ives’ output, attempting to create a true ‘urtext’ score is a futile endeavor, and especially with a piece such as this one – in which Ives incorporated improvisation in live performance – seems unnecessary anyhow. True die-hards are of course encouraged to consult the critical editions and even find inspiration in the orchestrated version. Generally, performers are advised to be wild, have fun, and not to be too rigid in their interpretive choices.Dynamics in this arrangement mostly follow the organ score closely. Pianists will use good judgment about pedaling throughout, which should be straightforward and intuitive. Courtesy accidentals have been provided frequently – without parentheses – balancing the need for extra clarity in the context of Ives’ murky musical language, and a desire to avoid unnecessary clutter.A few notes that might inform interpretive decisions:mm. 15-16: There are inconsistencies here between Ives’ original manuscript and the 1949 Biggs edition, regarding the top voice in m. 15, beat 3 (C# vs. Cn) and m. 16 (D Major vs. D Minor).mm. 76-84 & 143-146: In both Interludes, Ives emphatically notates extreme dynamic contrast, in order to highlight the bitonality. Although it may seem counterintuitive (or even a misprint, as has apparently been misconstrued by some), performers are urged to follow the composer’s marking!m. 109: Two-note slurs have been added here for clarity and consistency with other similar passages, though they do not appear in either the original manuscript or Biggs.m. 112: The last two eighth notes of Primo appear as 16ths in the original manuscript.mm. 183-186: The original manuscript has a slightly different bass line.mm. 184 & 186: Primo gestures have been re-written to be slightly more idiomatic for Piano, Four Hands.m. 186: The breath mark at the end of this bar does not appear in either the manuscript or Biggs, but is an editorial suggestion – aside from being appropriately dramatic, it will indeed be necessary in a reverberant hall!I would like to thank Steven Vanhauwaert, the other half of my piano duo, 4handsLA, for his input on early drafts of this arrangement.— Danny Holt, April 2022.

Piano

SKU: HL.14030976

Piano. Composed by Bent Sorensen. Music Sales America. Classical. Book [Softcover]. 24 pages. Edition Wilhelm Hansen #KP01588. Published by Edition Wilhelm Hansen (HL.14030976).

ISBN 9788759853757. 9.5x14.25x0.086 inches. English.

The composer writes, 'Quite some time ago I heard - through a conversation in a mobile phone - a wonderful concert of ringing church bells from an European capital. I found it very hard to concentrate about the conversation, because I was so engrossed by the chaotic world of bell sound. The night after, I dreamt that the sound of those low singing bells was rising up from a piano in a huge empty concert hall. That experience became the starting point for my piano piece, 'The Shadows of Silence'. But before the piece gets to the ringing bells it moves through a landscape of shadows - Shadows of the silence before the bells - Silence before the storm - Shadows of melodies which all the time leaves traces even in the short passages of storm. After the passage with the low ringing bells the shadows of silence returns melted in to a lament, which are sending two regards. One to two small beautiful - not very well known - bars by Mozart, and one to the sextet in my own opera, 'Under the Sky'.

Piano

SKU: HL.49017574

Composed by Christian Sinding. Edited by Wilhelm Ohmen. This edition: Saddle stitching. Sheet music. Piano Solo. Op. 97. 52 pages. Schott Music #ED20432. Published by Schott Music (HL.49017574).

ISBN 9790001153195. UPC: 884088566425. 9.0x12.0x0.232 inches.

Christian Sinding (1856-1941) gained worldwide fame with his piano piece 'Fruhlingsrauschen', which is likely to be his most famous work still today. The '5 Klavierstucke' Op. 97, created in 1909, are bravura pieces the late Romantic harmony of which is sometimes reminiscent of Richard Strauss. The effective brilliant piano setting is characterised by a widely elaborated melody and can be easily mastered by the advanced player.Large arpeggios characterise the first piece 'Des Morgens'. 'Auf dem Wasser' is an evocative tone painting in swaying 12/8 time with powerful unison passages in the middle section. 'Intermezzo' appears capricious, with dance-like figures. 'Gewitter' is a brilliant concert study in the style of Liszt. The work concludes with the piece 'Aquarell', a poetic salon piece revelling in harmonies, notated as a clear piano setting.

(for Solo Piano). Composed by Maurice Ravel (1875- 1937). Arranged by Mattieu Cognet. For Piano. LKM Music. 24 pages. Lauren Keiser Music Publishing #S410026. Published by Lauren Keiser Music Publishing

Reprint, edited and newly commented by Wilhelm Ohmen.. Composed by Ignaz Moscheles (1794-1870). Edited by Wilhelm Ohmen. Arranged by Adolphe F. Wouters. This edition: Paperback/Soft Cover. Sheet music. Piano. Classical. Softcover. Op. 70. 88 pages. Schott Music #SF6717. Published by Schott Music

Composer Showcase Hal Leonard Student Piano Library Late Elementary Level. By Phillip Keveren. Educational Piano Library. Size 9x12 inches. 16 pages. Published by Hal Leonard.

By Nancy O'Neill Breth. Educational Piano Library. Book only. Published by Hal Leonard.

Eight Pieces by Fritz Kreisler Transcribed for Solo Piano. Composed by Fritz Kreisler (1875-1962). Collection. Carl Fischer Music #PL1060. Published by Carl Fischer Music

By Melody Bober. For Piano. Piano Solo. Written For You. Level: Intermediate. Sheet. 4 pages. Published by Alfred Publishing.

Viollin & piano

SKU: HH.HH052-KBD

Composed by Antonio Vivaldi. Edited by Rebecca Kan. Viollin & Piano. Keybarod score & solo part. Edition HH Music Publishers #HH052-KBD. Published by Edition HH Music Publishers (HH.HH052-KBD).

ISBN 9790708041023.

This critical edition sheds light on the special qualities linking RV 198 (here published for the first time) to the musicians of the Saxon court, and offers the first detailed comparison between two versions of the concerto. Passages of brilliant figuration and finely spun diminutions characterize the solo episodes in the fast movements. An alternative Adagio is included in each of the various formats (scores, keyboard reduction and parts).

Solo Piano

SKU: AP.36-M381591

Composed by Cecile Chaminade. Performance Music Ensemble; Solo Piano. Ludwig Masters. Score and Part(s). LudwigMasters Publications #36-M381591. Published by LudwigMasters Publications (AP.36-M381591).

UPC: 660355172717. English.

With evolving colors and quickly shifting moods, Cecile Chaminade's "Etude Humoristique" is certain to amuse audiences, as the title implies. With technically challenging passages and a folk dance-esque B section, this piece would be a perfect opening for a recital.

These products are currently being prepared by a new publisher. While many items are ready and will ship on time, some others may see delays of several months.

Op. Post 147, D 575. Composed by Franz Schubert (1797-1828). Edited by Dominik Rahmer. Henle Music Folios. Classical. Softcover. 26 pages. G. Henle #HN1558. Published by G. Henle

Collection 3D (Play Music). Tuition. Book CD and DVD. Hal Leonard Europe #MUSME0190. Published by Hal Leonard Europe

('Grande Sonate' - Revised Edition). Composed by Franz Liszt (1811-1886). For Piano. Henle Facsimile. Hardcover. G. Henle #HN3227. Published by G. Henle

By Myra Brooks-Turner. For Piano. Spotlight Solo Sheets. Sheet. Published by The FJH Music Company Inc.
Level: Late Intermediate.

By Mary K. Sallee. For piano solo. The FJH Performance Solos Series. Intermediate. Single. 4 pages. Published by The FJH Music Company Inc

Graded Pianoforte Studies Second Series Preliminary by Various. For Piano. Studies. Preliminary. Sheet Music. Published by ABRSM (Associated Board of the Royal Schools of Music)

Piano - Level 4

SKU: FV.FUE-10088

Composed by Vivienne Olive. Score. Furore Verlag #FUE 10088. Published by Furore Verlag (FV.FUE-10088).

ISBN 979-0-50182-088-7.

The work was written for the pianist Uta Walther.
I have used the title Toccata in the older sense of the word: the piece is free in its form and alternates between motoric, driving sections, elaborate passage work and freer very fast passages that flash by. The fugue, with its several subjects, was inspired by the text on the various pillars of a wooden sculpture in Brixworth Country Park, England. I often gor for walks there and stand for a long time in front of the sculpture and look at the lake spread out before it. Vivienne Olive.

Piano - Intermediate

SKU: AP.47362

Composed by Judy East Wells. Piano Solo. Signature Series. Ragtime. Score. 4 pages. Alfred Music #00-47362. Published by Alfred Music (AP.47362).

ISBN 9781470641115. UPC: 038081545172. English.

Written in A-B-A form, the melody of this lively intermediate piece is filled with chromatic-scale passages. Steady quarter notes in the left hand avoid the difficult jump-bass patterns found in many rags.

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??Eloísaâ?? (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.

Aliseo was originally written for the film â??Aire libreâ? (1995), by Luis Armando Roche. It contains elements of diverse types of Venezuelan joropo. In the film, the character of Aliseo Carvallo is played by the composer himself who performs this piece on a harpsichord to welcome scientists Alexander von Humboldt and Aimé Bonpland one day at the turn of the 1800â??s, as a sample of the new music from the South American land. It presents the refinement of the late European classical era in fusion with Venezuelan folk music.

(Chopin National Edition Vol. VIIIA). Composed by Frederic Chopin (1810-1849). Edited by Jan Ekier and Pawel Kaminski. For Piano. PWM. Polskie Wydawnictwo Muzyczne #51600014. Published by Polskie Wydawnictwo Muzyczne

Piano

SKU: PA.H07957

Fur Klavier. Composed by Luboš Fišer. Stapled. Performance score. With Text Language: Czech/German/English. Editio Baerenreiter Praha #H07957_00. Published by Editio Baerenreiter Praha (PA.H07957).

ISBN 9790260104464. 31 x 23.5 cm inches.

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 Durer'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 Bilek 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).

Composed by Libby Larsen (1950-). 16 pages. Duration 8'. Published by Oxford University Press (OU.9780193865891).