By Fred Hersch. For Piano Solo. Modern. Sheet Music. Composed Composed: 2001. Duration circa 2.5 minutes. Published by Edition Peters

By Dr. Martha Baker-Jordan. For Piano. Textbook - Keyboard. Book and CD-ROM. 456 pages. Published by Alfred Publishing.

(Op. 9, No. 2). By Frédéric Chopin. Edited by Ingrid Jacobson Clarfield. For Piano. Masterworks; Piano Solo; Solo. Artistic Preparation and Performance Series. Masterwork; Romantic. Late Intermediate. Book. 24 pages. Published by Alfred Music Publishing

The Anthology of Baroque Keyboard Music is paired with the DVD Performance Practices in Baroque Keyboard Music for a comprehensive look at the literature and performing conventions of the Baroque era. On the DVD, Dr. Hinson performs music from the Anthology, and relates invaluable information on basic touches, articulations, dynamics and ornamentation that will help the performer create a more historically-informed performance. Also on this DVD is a lecture on the history of Baroque dance and the relationship between dance and music, with nine of the most popular court dances performed to Dr. Hinson's keyboard accompaniment by dancers in Baroque costume

Piano

SKU: HL.49046204

Composed by Daniel Gottlieb Tü and rk. Edited by Erich Doflein and Samantha Ward. Piano Collection. Classical. Softcover. 24 pages. Schott Music #SE1021. Published by Schott Music (HL.49046204).

ISBN 9781540052889. UPC: 888680940836.

After composing his piano method, the piano teacher Daniel Gottlieb Turk, a contemporary of Haydn and Mozart, composed a large collection of little Handstucke, or instructive pieces, for beginners with poetic titles. This volume contains the easiest of these pieces, in such order that they constitute a little course which gradually introduces all keys of up to three accidentals, increasing independence of the hands, different ways of playing and various rhythms. This edition is part of the new Schott Student Edition series which offers varied literature at five different levels of difficulty,from 1 (easy) to 5 (difficult), for instrumental lessons. For more information see www.schott-student-editio n.com.

With 30 further Exercises, most of which published for the first time. Composed by Johannes Brahms (1833-1897). Edited by Johannes Behr. Arranged by Johannes Behr. Most of the 30 further exercises published for the first time. Romantic. Full score. With Standard notation. 112 pages. Wiener Urtext/Vienna Urtext #UT50231. Published by Wiener Urtext/Vienna Urtext

Composers in the Baroque period (1600-1750) produced some of the greatest and most exciting keyboard music ever. This captivating DVD looks at conventions and knowledge that help the performer create a more historically informed performance. Organized as a practical aid to today's performers and teachers, basic touches, articulations, dynamics and ornamentation are discussed in detail. Also on this DVD is a lecture on the history of Baroque dance and the relationship between dance movements and the performance of keyboard music. The dances are broken down into component steps for learning by the viewer. Nine of the most popular court dances (minuet, sarabande, gigue, allemande, bourree, polonaise, courante, gavotte and rigaudon) are performed to Dr. Hinson's keyboard accompaniment by dancers in Baroque costume. Approx. 107 minutes.

Piano

SKU: BT.EMBZ20083

Urtext (1932-1939). Composed by Bela Bartok. Arranged by Yusuke Nakahara. EMB Music of Bela Bartok. Educational Tool. Book Only. Composed 2021. 72 pages. Editio Musica Budapest #EMBZ20083. Published by Editio Musica Budapest (BT.EMBZ20083).

English-Hungarian.

Bartók's Mikrokosmos has been one of the milestones in pedagogical piano repertoire for 80 years - and yet it is also far more than a classical piano primer. These 153 piano pieces, organized in ascending order of difficulty, engage not only with technical aspects of piano playing but also with the fundamentals of composition - from Imitation and Inversion, Ostinato, and Free Variations, concerning compositional technique, to mood pieces and pieces with programmatic ideas such as Notturno, Boating, From the Diary of a Fly, or the famous Six Dances in Bulgarian Rhythm. Mikrokosmos first appeared in 1940 in six volumes. Based on volume 40 of the Bartók CompleteEdition published in 2020(Z. 15040), the present Urtext edition offers the series gathered in three volumes. This edition includes Bartók's preface, exercises, and notes written for the first edition. Furthermore, it also features a preface and comments by the editor, which not only discuss the genesis and the compositional sources but also provide performers, teachers and pupils alike, with authentic and detailed information about Bartók's notation and the specific performing problems of Mikrokosmos.

(A Fresh Approach to Interpreting a Piano Score). For Piano/Keyboard. Educational Piano Library. Softcover. Published by Hal Leonard

Piano

SKU: BT.EMBZ20084

Urtext (1932-1939). Composed by Bela Bartok. Arranged by Yusuke Nakahara. EMB Music of Bela Bartok. Educational Tool. Book Only. Composed 2021. 112 pages. Editio Musica Budapest #EMBZ20084. Published by Editio Musica Budapest (BT.EMBZ20084).

English-Hungarian.

Bartók's Mikrokosmos has been one of the milestones in pedagogical piano repertoire for 80 years - and yet it is also far more than a classical piano primer. These 153 piano pieces, organized in ascending order of difficulty, engage not only with technical aspects of piano playing but also with the fundamentals of composition - from Imitation and Inversion, Ostinato, and Free Variations, concerning compositional technique, to mood pieces and pieces with programmatic ideas such as Notturno, Boating, From the Diary of a Fly, or the famous Six Dances in Bulgarian Rhythm. Mikrokosmos first appeared in 1940 in six volumes. Based on volume 40 of the Bartók CompleteEdition published in 2020(Z. 15040), the present Urtext edition offers the series gathered in three volumes. This edition includes Bartók's preface, exercises, and notes written for the first edition. Furthermore, it also features a preface and comments by the editor, which not only discuss the genesis and the compositional sources but also provide performers, teachers and pupils alike, with authentic and detailed information about Bartók's notation and the specific performing problems of Mikrokosmos.

This book is dedicated to my students, who were eager to play new music and who inspired me to write it! Also very suitable for playing on the harp! To give you an impression of how the pieces might sound like, I put all music of this book on Youtube, but you can also visit my website www.donnaverdell.com for more information.

Leuke pianomuziek in de stijl van Einaudi en Tiersen, echter eenvoudiger speelbaar.Dit boek is opgedragen aan mijn leerlingen, die graag nieuwe muziek wilden spelen, en mij inspireerden om het te schrijven! Het boekje leent zich ook prima voor deharp!Om je een indruk te geven hoe de stukken klinken, heb ik de muziek uit dit boek op youtube gezet, maar je kunt ook mijn website www.donnaverdell.com bezoeken voor meer informatie

Arrangement for Piano. Composed by Johann Sebastian Bach (1685-1750). Edited by Christian Schaper, Ullrich Scheideler, and Marc-Andre Hamelin. Arranged by Feruccio Busoni. Henle Music Folios. Classical. Softcover. 28 pages. G. Henle #HN1479. Published by G. Henle

Includes access to online audio of full performances. Composed by Carl Czerny (1791-1857). Edited by Matthew Edwards. Schirmer Performance Editions. Classical. Softcover Audio Online. 64 pages. Published by G. Schirmer

Composed by Robert Schumann. Edited by Holger M. Stüwe. This edition: urtext edition. Stapled. Barenreiter Urtext. Performance score, anthology. Opus 19, 18. Baerenreiter Verlag #BA10865. Published by Baerenreiter Verlag

Piano

SKU: BA.BA11854

Premier livre. Composed by Camille Saint-Saens. Edited by Catherine Massip. This edition: urtext edition. Stapled. Performance score. Opus 52. Baerenreiter Verlag #BA11854. Published by Baerenreiter Verlag (BA.BA11854).

ISBN 9790006576067. 31 x 24.3 cm inches.

One of Saint-Saëns' mature works, the Six Ã?tudes pour piano op. 52, appeared in 1877 around the same time as his opera Samson et Dalila. The second etude of the cycle was originally written in 1868 for the â??Ã?cole du pianisteâ?, the French edition of the piano method by Lebert and Stark. With his collection, the composer who had embarked on a compilation of piano etudes for the first time, evidently wanted to deliberately? distinguish the cycle from the character of the brilliant concert etude: Each of the etudes is devoted to one or more specific difficulties or compositional techniques, as in the fugues. He assigned the individual pieces to famous virtuosos of his time, such as Anton or Nikolai Rubinstein or Marie Jaëll.

The new Urtext editions are based on the ground-breaking musical text of the Å?uvres instrumentales complètes by Camille Saint-Saëns, for which the editor has meticulously evaluated all known sources. A detailed Foreword provides information on the genesis and significance of the etudes. Readings and variants are precisely documented in the Critical Commentary (Eng). Notes on interpretation (Fr/Eng/Ger) as well as an elegant music engraving provide the pianist with optimal conditions for studying these virtuosic etudes.

About Barenreiter Urtext

What can I expect from a Barenreiter Urtext edition?< /p>

MUSICOLOGICA LLY SOUND
- A reliable musical text based on all available sources
- A description of the sources
- Information on the genesis and history of the work
- Valuable notes on performance practice
- Includes an introduction with critical commentary explaining source discrepancies and editorial decisions

... AND PRACTICAL
- Page-turns, fold-out pages, and cues where you need them
- A well-presented layout and a user-friendly format
- Excellent print quality
- Superior paper and binding

Piano - Level 3

SKU: BA.BA10811

Composed by Erik Satie. Edited by Jens Rosteck. This edition: urtext edition. Stapled. Barenreiter Urtext. Notes on Performance Practice by Steffen Schleiermacher. Performance score. Baerenreiter Verlag #BA10811_00. Published by Baerenreiter Verlag (BA.BA10811).

ISBN 9790006521067. 31 x 24.3 cm inches. Language: German/English. Preface: Jens Rosteck.

In the summer of 1913 Satie once more poked fun at himself and the world of music with a set of parodic piano pieces on various marine animals, giving it the grotesque title “Embryons desschs” (Desiccated Embryos).
The notation without barlines, the ‘stories’ beneath the music and the spoofsof well-known pieces of music, most strikingly the Funeral March from Chopin’s Piano “Sonata in B-flat minor”, make the work a barrel of musical fun.

This Urtext edition faithfully adheres to the sources and reflects the latest findings of Satie scholarship. It contains translations of all of Satie’s French texts, practical page-turns, notes on performance practice by Satie specialist Steffen Schleiermacher and an informative Foreword.
The pieces range from an easy to moderate level of difficulty and provide an ideal additional varied repertoire for teaching purposes.

About Barenreiter Urtext

What can I expect from a Barenreiter Urtext edition?< /p>

MUSICOLOGICA LLY SOUND
- A reliable musical text based on all available sources
- A description of the sources
- Information on the genesis and history of the work
- Valuable notes on performance practice
- Includes an introduction with critical commentary explaining source discrepancies and editorial decisions

... AND PRACTICAL
- Page-turns, fold-out pages, and cues where you need them
- A well-presented layout and a user-friendly format
- Excellent print quality
- Superior paper and binding

By Wolfgang Amadeus Mozart. Edited by Maurice Hinson. For Piano. Piano Solo. Masterwork. Level: Early Advanced (grade 6 ). 24 pages. Published by Alfred Publishing.

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.

Composed by Johann Sebastian Bach (1685-1750). Piano (Solo). Hard Cover Premium Edition. 184 pages. Edition Peters #EP11500. Published by Edition Peters

Piano

SKU: HL.1303127

Trios Book 2. Composed by Elena Cobb. Piano. Performance, Recital. Softcover. 28 pages. Hal Leonard #EVC025. Published by Hal Leonard (HL.1303127).

UPC: 196288173311.

Like its companion volume, Book 1, Book 2 of the London series was inspired by the cityÂ’s great landmarks. It features 15 engaging piano trios which will serve as a great introduction to ensemble playing, recital performances, as well as providing sight-reading resources for more Advanced students. All pieces are well laid out on one or two pages. Each includes parts for three levels of difficulty for the Beginner stages. Entertaining information about famous London landmarks has been added for interest. There are original compositions as well as arrangements of classics, including the Dance of the Sugar Plum Fairy, Greensleeves, Lavender's Blue and more.

Arranged by Carol Matz. For Piano. In Tune Withandseries. Contents include: The Easy Winners; Cleanin' Up in Georgia; Original Rags; Maple Leaf Rag; The Entertainer; Bohemia; Echoes from the Snowball Club; Evergreen Rag; Doc Brown's Cake Walk; Elite Syncopations; Funny Folks; Sunburst Rag; One o' Them Tings!; Meteor Rag; syncopation exercises, historical information and more. Ragtime. Level: Early Intermediate/Intermediate . Book. Published by The FJH Music Company, Inc.

Edited by June C. Montgomery And Kenon D. Renfrow. For Piano. Piano Collection. Level: Late Elementary / Early Intermediate. Book. 56 pages. Published by Alfred Publishing.

Orchestra Piano

SKU: PR.11641861SP

Composed by William Kraft. Part. 35 pages. Duration 21 minutes. Theodore Presser Company #116-41861SP. Published by Theodore Presser Company (PR.11641861SP).

UPC: 680160685202.

What? ! - my composer colleagues said - A concerto for the piano? It's a 19th century instrument! Admittedly we are in an age when originally created timbres and/or musico-technological formulations are often the modus operandi of a piece. Actually, this Concerto began about two years ago when, during one of my creative jogs, the sound of the uppermost register of the piano mingled with wind chimes penetrated my inner ear. The challenge and fascination of exploring and developing this idea into an orchestral situation determined that some day soon I would be writing a work for piano and orchestra. So it was a very happy coincidence when Mona Golabek phoned to tell me she would like discuss the Ford Foundation commission. After covering areas of aesthetics and compositional styles, we found that we had a good working rapport, and she asked if I would accept the commission. The answer was obvious. Then began the intensive thought process on the stylistic essence and organization of the work. Along with this went a renewed study of idiomatic writing for the piano, of the kind Stravinsky undertook with the violin when he began his Violin Concerto. By a stroke of great fortune, the day in February 1972 that I received official notice from the Ford Foundation of the commission, I also received a letter from the Guggenheim Foundation informing me I had been awarded my second fellowship. With the good graces of Zubin Mehta and Ernest Fleischmann, masters of my destiny as a member of the Los Angeles Philharmonic, I was relieved of my orchestral duties during the Hollywood Bowl season. Thus I was able to go to Europe to work and to view the latest trends in music concentrating in London (the current musical melting pot and showcase par excellence), Oslo, Norway, for the Festival of Scandinavian Music called Nordic Days, and Warsaw, Poland, for its prestigious Autumn Festival. Over half the Concerto was completed in that summer and most of the rest during the 72-73 season with the final touches put on during a month as Resident Scholar at the Rockefeller Foundation's Villa Serbelloni in Bellagio, Italy. So much for the external and environmental influences, except perhaps to mention the birds of Sussex in the first movement, the bells of Arhus (Denmark) in the second movement and the bells of Bellagio at the end of the Concerto. Primary in the conception was the personality of Miss Golabek: she is a wonderfully vital and dynamic person and a real virtuoso. Therefore, the soloist in the Concerto is truly the protagonist; it is she (for once we can do away with the generic he) who unfolds the character and intent of the piece. The first section is constructed in the manner of a recitative - completely unmeasured - with letters and numbers by which the conductor signals the orchestra for its participation. This allows the soloist the freedom to interpret the patterns and control the flow and development of the music. The Concerto is actually in one continuous movement but with three large divisions of sufficiently contrasting character to be called movements in themselves. The first 'movement' is based on a few timbral elements: 1) a cluster of very low pitches which at the beginning are practically inaudibly depressed, and sustained silently by the sostenuto pedal, which causes sympathetic vibrating pitches to ring when strong notes are struck; 2) a single powerful note indicated by a black note-head with a line through it indicating the strongest possible sforzando; 3) short figures of various colors sometimes ominous, sometimes as splashes of light or as elements of transition; 4) trills and tremolos which are the actual controlling organic thread starting as single axial tremolos and gradually expanding to trills of increasingly larger and more powerful scope. The 'movement' begins in quiescent repose but unceasingly grows in energy and tension as the stretching of a string or rubber band. When it can no longer be restrained, it bursts into the next section. The second 'movement,' propelled by the released tension, is a brilliant virtuosic display, which begins with a long solo of wispy percussion, later joined in duet with the piano. Not to be ignored, the orchestra takes over shooting the material throughout all its sections like a small agile bird deftly maneuvering through nothing but air, while the piano counterposes moments of lyricism. The orchestra reaches a climax, thrusting us into the third 'movement' which begins with a cadenza-like section for the piano. This moves gently into an expressive section (expressive is not a negative term to me) in which duets are formed with various instruments. There are fleeting glimpses of remembrances past, as a fragmented recapitulation. One glimpse is hazily expressed by strings and percussion in a moment of simultaneous contrasting levels of activity, a technique of which I have been fond and have utilized in various fixed-free relationships, particularly in my Percussion Concerto, Contextures and Games: Collage No. 1. The second half of the third 'movement; is a large coda - akin to those in Beethoven - which brings about another display of virtuosity, this time gutsy and driving, raising the Concerto to a final climax, the soloist completing the fragmented recapitulation concept as well as the work with the single-note sforzando and low cluster from the very opening of the first movement.

21 pieces plus exercises for Trinity College London exams 2021-2023. Composed by Various. Classical. Textbook. Trinity College London #TCL020574. Published by Trinity College London