Chamber Music Piano SKU: PR.110418370 Composed by Charles Ives. Arranged ...(+)
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
“shockingâ€
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 Sal...(+)
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 O...(+)
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...(+)
(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 Moschel...(+)
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 Ph...(+)
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.
Eight Pieces by Fritz Kreisler Transcribed for Solo Piano. Composed by Fritz ...(+)
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
Viollin & piano SKU: HH.HH052-KBD Composed by Antonio Vivaldi. Edited by ...(+)
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 M...(+)
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 Domin...(+)
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
('Grande Sonate' - Revised Edition). Composed by Franz Liszt (1811-1886). For Pi...(+)
('Grande Sonate' -
Revised Edition).
Composed by Franz Liszt
(1811-1886). For Piano.
Henle Facsimile.
Hardcover. G. Henle
#HN3227. Published by G.
Henle
Graded Pianoforte Studies Second Series Preliminary by Various. For Piano. Studi...(+)
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. Furo...(+)
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.
Uptown Rag Piano seul - Intermédiaire Alfred Publishing
Piano - Intermediate SKU: AP.47362 Composed by Judy East Wells. Piano Sol...(+)
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...(+)
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.
(Chopin National Edition Vol. VIIIA). Composed by Frederic Chopin (1810-1849). E...(+)
(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. S...(+)
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).