Piano SKU: BR.EB-9246 Composed by Christian Mason. Solo instruments; stap...(+)
Piano
SKU:
BR.EB-9246
Composed
by Christian Mason. Solo
instruments; stapled.
Edition Breitkopf.
World premiere: Passau
(Festspiele Europaische
Wochen), 26. Juni
2016
Music post-1945;
New music (post-2000).
Score. Composed 2016. 16
pages. Duration 7'.
Breitkopf and Haertel #EB
9246. Published by
Breitkopf and Haertel
(BR.EB-9246).
ISBN
9790004185469. 9 x 12
inches.
In a world
of invisible waves: a
butterfly is a response
to the idea of the
butterfly effect: that a
small cause can have a
disproportionately large
effect. Before composing
the music I wrote this
short poem in order to
focus my imagination and
help with shaping the
most appropriate sonic
gestures:In a world of
invisible waves: a
butterfly Flies into a
storm Which it
unknowingly created When
it took its first
flight.This narrative is
not literally translated,
but maybe you can hear
the resonances of
delicate flapping and
mercurial weather
somewhere amid the
rippling waves of the
music? It is warmly
dedicated to Catherine Le
Bris. (Christian Mason,
2016) Bibliography:
Whittall, Arnold:
Questioning the Sound:
the Music of Christian
Mason, in: The Musical
Times 161 (Summer 2017),
S. 85-99
World
premiere: Passau
(Festspiele Europaische
Wochen), 26. Juni
2016.
Composed by Samuel Adler. For piano solo. Contemporary. Score and Part. St...(+)
Composed by Samuel Adler.
For piano solo.
Contemporary. Score and
Part. Standard Notation.
8
pages. Duration 6
minutes.
Published by Theodore
Presser Company
Piano - Intermediate SKU: FJ.W9467 Composed by Mary Leaf. Piano Solo; Pia...(+)
Piano - Intermediate
SKU: FJ.W9467
Composed by Mary Leaf.
Piano Solo; Piano
Supplemental. Written For
You. Fall. Score. The FJH
Music Company Inc
#98-W9467. Published by
The FJH Music Company Inc
(FJ.W9467).
UPC:
241444406830.
English.
Breath of
Autumn can accompany
regular lesson
repertoire, or even serve
as a stand-alone
performance piece. It
combines Mary Leaf's
signature lyricism with
lush harmonies and
flowing, pianistic
interludes that set the
mood in this
seasonal-inspired
work.
Composed by Gabriel Faure (1845-1924). Edited by Jean- Pierre Bartoli. This edi...(+)
Composed by Gabriel Faure
(1845-1924). Edited by
Jean-
Pierre Bartoli. This
edition:
urtext edition. Stapled.
Performance score. Opus
50.
Baerenreiter Verlag
#BA11832.
Published by Baerenreiter
Verlag
Piano SKU: BR.EB-8990 After R (A Portrait for Piano and Orchestra)...(+)
Piano
SKU:
BR.EB-8990
After R
(A Portrait for Piano and
Orchestra). Composed
by Nicola Campogrande.
Solo instruments;
stapled. Edition
Breitkopf.
He
re you will find the
concerto R (A Portrait
for Piano and
Orchestra).
Solo
concerto; Music
post-1945; New music
(post-2000). Score.
Composed 2015. 36 pages.
Duration 15'. Breitkopf
and Haertel #EB 8990.
Published by Breitkopf
and Haertel (BR.EB-8990).
ISBN 9790004187197. 9
x 12 inches.
A
Musical Portrait In 2012
Nicola Campogrande
received a rather
singular commission when
a total stranger asked
him to compose a musical
portrait of his fiancee.
The man knew exactly what
he wanted: a concerto for
piano and orchestra.
After some reflection,
Campogrande realised that
he would be able to paint
with music. It would
never be possible, of
course, to recognise the
shape of the woman's face
or the colour of her
hair, but the score could
evoke the way in which
she occupied space and
time, and the different
movements of the
composition would be like
the faces on a rotating
prism. Campogrande thus
accepted the commission
and the stranger sent him
a few photos of his
fiancee, spoke to him
about her and, finally,
introduced him to her.
This is how R (A portrait
for piano and orchestra)
was born, first performed
in April 2013 by Lilya
Zilberstein with the
Orchestra Verdi in Milan.
Subsequently, following
other performances and a
TV documentary, a number
of different pianists
asked Campogrande to
write a version for solo
piano. Hence Nudo
emerged, a piece that
would be very similar to
R , were it not for the
fact that, as the title
suggests, the pianist is
naked, without orchestral
clothing. Information on
Nudo on the composer's
website Audio recording
of Nudo (YouTube) Un
portrait musical En 2012,
Nicola Campogrande s'est
vu proposer une
commission fort
singuliere ; un parfait
etranger lui demandait de
composer le portrait
musical de sa compagne.
L'homme savait exactement
ce qu'il voulait : un
concert pour piano et
orchestre. Apres quelques
hesitations, Campogrande
s'est rendu compte qu'il
pouvait se servir de la
musique comme d'un
pinceau. Bien entendu, il
ne serait jamais possible
de reconnaitre la forme
du visage de la femme ou
la couleur de ses
cheveux, mais la
partition pourrait
evoquer la facon dont
elle se deplacait dans
l'espace et dans le
temps, et les differents
mouvements de la piece
seraient comme les
figures d'un prisme en
rotation. Campogrande a
donc accepte la
commission ; l'etranger
lui a envoye des photos
de sa compagne, il lui a
parle d'elle, avant de
les faire se rencontrer
personnellement. Ainsi
est ne R (Un portrait
pour piano et orchestre)
, interprete pour la
premiere fois en avril
2013 par Lilya
Zilberstein et
l'orchestre Verdi de
Milan. D'autres
executions ont suivi,
ainsi qu'un documentaire
televise, apres quoi
plusieurs pianistes ont
prie Campogrande d'ecrire
une version pour piano
seul. C'est ainsi que
Nudo a vu le jour : un <<
nu >> tres semblable au
premier portrait, si ce
n'est que le piano s'y
trouve, comme le suggere
le titre, depouille de
son vetement orchestral.
Ritrarre con la musica
Nel 2012 Nicola
Campogrande ha ricevuto
la piu singolare delle
commissioni, quando un
perfetto sconosciuto gli
ha chiesto di comporre il
ritratto musicale della
sUrauffuhrung fidanzata.
L'uomo sapeva esattemente
cio che voleva: un
concerto per pianoforte e
orchestra. Dopo qualche
esitazione, Campogrande
si e reso conto di poter
dipingere con la musica;
certo, non sarebbe stato
possibile riconoscere la
forma del viso della
donna o il colore dei
suoi capelli, ma la
partitura avrebbe evocato
il modo nel quale lei si
muoveva nello spazio e
nel tempo, e i vari
movimenti del brano
sarebbero stati come le
facce di un prisma in
rotazione. Campogrande ha
dunque accettato la
commissione e lo
sconosciuto gli ha
mandato alcune foto della
sUrauffuhrung fidanzata,
gli ha parlato di lei e,
alla fine, gliela ha
presentata personalmente.
E cosi nato cosi R (Un
ritratto per pianoforte e
orchestra ), eseguito per
la prima volta
nell'aprile 2013 da Lilya
Zilberstein insieme
all'Orchestra Verdi di
Milano.In seguito, dopo
altre esecuzioni e un
documentario tv, diversi
pianisti hanno chiesto a
Campogrande di preparare
una versione per
pianoforte solo. E stato
cosi che ha preso forma
Nudo , un brano del tutto
simile a R tranne per il
fatto che, come
suggerisce il titolo, il
pianista e nudo, senza un
abito orchestrale. 'Nudo'
is a scintillating work
that paints a vivid and
fascinating sequence of
musical portraits of its
subject. And the
Breitkopf score is simply
superb.
(www.pianodao.com).
Piano SKU: HL.49044184 Klavierauszuge zu zwei und vier Handen. Com...(+)
Piano
SKU:
HL.49044184
Klavierauszuge zu zwei
und vier Handen.
Composed by Robert
Schumann. Edited by Armin
Koch. This edition:
Full-cloth binding. Sheet
music. Edition Schott.
Hardcover. 272 pages.
Schott Music #RSA1048.
Published by Schott Music
(HL.49044184).
ISBN
9783795794668.
10.0x13.5x1.09
inches.
The New
Robert Schumann Edition
(RSA) is intended as a
historico-critical
edition of the collected
works. They will be
carefully studied and
prepared according to
present-day musicological
and editorial techniques
and presented in their
entirety. Drafts,
sketches and fragments,
in short, everything that
has come down to us as
being authentically by
Schumann and which, in
most cases, has been
deliberately preserved by
him, will be brought
together, evaluated as to
its importance and
documented in some form
or other in the edition
of the complete works.It
is the aim of the edition
to reproduce authentic
texts which - having
corrected scribal,
copying and printing
errors and eradicated
later additions and other
textual corruptions -
will approach as closely
as is possible the
intention of the
originals.The critical
edition will form the
basis of accurate
performance material for
Robert Schumann's
work.
Composed by Frederic Chopin (1810-1849). Edited by Britta Schilling-Wang. Arra...(+)
Composed by Frederic
Chopin
(1810-1849). Edited by
Britta
Schilling-Wang. Arranged
by
Hardy Rittner. This
edition:
urtext edition. Stapled.
Performance score. Opus
57.
Baerenreiter Verlag
#BA11830_00. Published by
Baerenreiter Verlag
Piano - Grade 4 SKU: FA.MFRO001P Composed by Claude Debussy and Robert Or...(+)
Piano - Grade 4
SKU:
FA.MFRO001P
Composed
by Claude Debussy and
Robert Orledge.
Rediscoverd Debussy.
Classical :
Impressionistic. Score.
Musik Fabrik #MFRO001P.
Published by Musik Fabrik
(FA.MFRO001P).
8.27 x
11.69 inches.
Over
the years 1908-16,
Debussy had produced a
viable scenario for Usher
on his third attempt.
Butwhen he came to making
a complete draft of the
music, he seems to have
lost interest during
Roderick Usher's long
monologue, even though he
was setting his own text.
As in No-ja-li he jumped
to the next passage that
interested him, in this
case the exciting final
melodrama and the
collapse of the Usher
house itself. In the
process of completing the
missing half of the
score, I discovered that
by reusing Debussy's
material for similar
psychological situations
across the opera, and by
metamorphosing existing
ideas (as Debussy does
with Melisande's theme in
his opera Pelleas et
Melisande), the only
things I really needed to
add were linking material
and any passages where
fast music was required.
So the 'nightmare
scherzo', and Lady
Madeline's escape from
her coffin and her final
bloody revenge on her
brother are all mine, but
most of the rest is
existing Debussy in
changing contexts (in
which the Russian
technique of 'changing
backgrounds', both
harmonic and textural,
proved extremely useful,
as it did to Debussy in
his Prelude a
l'apres-midi d'un faune).
Eventually, both my
completed ballet No-ja-li
and the House of Usher
were successfully
premiered in 2006 and the
latter soon began to find
its way into the
established repertoire in
Europe and the US. To
further support this, I
transcribed some of the
highlights of Debussy's
score as A Night in the
House of Usher for organ,
and subsequently
piano--with a focus on
Scene 2 and the final,
horrific and maca-bre
melodrama. This climaxes
in the double deaths of
Roderick Usher and his
Sister Madeline, together
with the disintegration
of the ill-fated House of
Usher into the stagnant
lake-all beneath a
blood-red moon.In this
form it was first
performed by Ian Buckle
in the Howard Assembly
Rooms, Leeds in 2010.
New music
(post-2000). Score.
Composed 2016/17/20. 12
pages. Duration 8'.
Breitkopf and Haertel #EB
9253. Published by
Breitkopf and Haertel
(BR.EB-9253).
ISBN
9790004185537. 9 x 12
inches.
Marche
fatale is an incautiously
daring escapade that may
annoy the fans of my
compositions more than my
earlier works, many of
which have prevailed only
after scandals at their
world premieres. My
Marche fatale has,
though, little
stylistically to do with
my previous compositional
path; it presents itself
without restraint, if not
as a regression, then
still as a recourse to
those empty phrases to
which modern civilization
still clings in its daily
utility music, whereas
music in the 20th and
21st centuries has long
since advanced to new,
unfamiliar soundscapes
and expressive
possibilities. The key
term is banality. As
creators we despise it,
we try to avoid it -
though we are not safe
from the cheap banal even
within new aesthetic
achievements.Many
composers have
incidentally accepted the
banal. Mozart wrote Ein
musikalischer Spass [A
Musical Jape], a
deliberately amateurishly
miscarried sextet.
Beethoven's Bagatellen
op. 119 were rejected by
the publisher on the
grounds that few will
believe that this minor
work is by the famous
Beethoven. Mauricio Kagel
wrote, tongue in cheek,
so to speak, Marsche, um
den Sieg zu verfehlen
[Marches for being
Unvictorious], Ligeti
wrote Hungarian Rock; in
his Circus Polka
Stravinsky quoted and
distorted the famous, all
too popular Schubert
military march, composed
at the time for piano
duet. I myself do not
know, though, whether I
ought to rank my Marche
fatale alongside these
examples: I accept the
humor in daily life, the
more so as this daily
life for some of us is
not otherwise to be
borne. In music, I
mistrust it, considering
myself all the closer to
the profounder idea of
cheerfulness having
little to do with humor.
However: Isn't a march
with its compelling claim
to a collectively martial
or festive mood absurd, a
priori? Is it even music
at all? Can one march and
at the same time listen?
Eventually, I resolved to
take the absurd seriously
- perhaps bitterly
seriously - as a
debunking emblem of our
civilization that is
standing on the brink.
The way - seemingly
unstoppable - into the
black hole of all
debilitating demons: that
can become serene. My old
request of myself and my
music-creating
surroundings is to write
a non-music, whence the
familiar concept of music
is repeatedly re-defined
anew and differently, so
that derailed here -
perhaps? - in a
treacherous way, the
concert hall becomes the
place of mind-opening
adventures instead of a
refuge in illusory
security. How could that
happen? The rest is -
thinking.(Helmut
Lachenmann, 2017)CD
(Version for
Piano):Nicolas Hodges CD
Wergo WER 7393 2
Bibliography:Ich bin
nicht ,,pietistisch
verformt. Ein Gesprach
[von Jan Brachmann] mit
dem Komponisten Helmut
Lachenmann, in: FAZ vom
7. Juni 2018, p.
15.
World premiere
of the piano version:
Mito/Japan, June 17,
2017, World premiere of
the orchestral version:
Stuttgart, January 1,
2018, World premiere of
the ensemble version:
Frankfurt, December 9,
2020.
Chamber Music Piano SKU: PR.110418160 Composed by Stacy Garrop. Performan...(+)
Chamber Music Piano
SKU: PR.110418160
Composed by Stacy Garrop.
Performance score. With
Standard notation. 16
pages. Duration 8:30.
Theodore Presser Company
#110-41816. Published by
Theodore Presser Company
(PR.110418160).
ISBN
9781491114049. UPC:
680160640393. 9 x 12
inches.
Stacy
Garrop began hiking in
northern
Colorado’s Rocky
Mountain National Park in
her early 20s. From the
start, she was drawn to a
jagged stretch of rock
formations linking Longs
Peak to Pagoda Mountain,
at over 13,000 feet.
These formations are
called the
“Keyboard of the
Winds,†as their
thin, spindly peaks
suggest splintered keys
of an old, broken piano.
Inspired by one
particular journey the
composer took through the
Keyboard of the Winds en
route to Pagoda’s
summit, this work is a
tribute to the Keyboard
of the Winds. Its fast,
whirling gestures depict
swirling clouds above,
and the musical high
points represent a hiker
reaching the peak of
Pagoda Mountain. These
sections are set in
contrast with quiet,
introspective material
embodying the hiker
quietly surveying the
grandeur and beauty of
the valley below, as well
as the soaring pinnacle
of Longs Peak
overhead. I began
hiking in the Rocky
Mountain National Park in
northern Colorado when I
was in my early twenties.
RMNP is home to some of
the most gorgeous
mountains in North
America, encompassing
265,000 acres of
wilderness, flora, and
fauna. Among the
park’s numerous
summits is Longs Peak, a
mountain that is 14,259
feet high (the highest in
the region). From my
earliest days of hiking,
I was drawn to Longs
Peak, as well as to a
jagged stretch of rock
formations that link
Longs Peak to Pagoda
Mountain (which stands at
13,497 feet). These
formations are called the
Keyboard of the Winds, as
their thin, spindly peaks
loosely suggest the
splintered keys of an
old, broken piano.One
summer, I made the ascent
to Pagoda Mountain using
a route that took me
along the right side of
the Keyboard of the
Winds. My hiking partner
and I started up the
trail in the pre-dawn
hours, and the weather
was stormy. Dawn had
broken by the time we
reached the base of the
Keyboard, but its peaks
were still surrounded by
clouds. As we climbed
higher and higher, the
Keyboard’s thin
spires became visible,
along with the top of
Pagoda Mountain. We
reached the summit of
Pagoda, admired the view
(what we could see
through the clouds), and
made our descent.My piece
is a tribute to the
Keyboard of the Winds.
The fast, whirling
gestures depict swirling
clouds, and the musical
high points represent a
hiker reaching the peaks
of the Keyboard. I have
contrasted these sections
with quiet, introspective
material; these embody
the hiker quietly
surveying the grandeur
and beauty of the valley
below (on a cloudless
day), as well as the
soaring pinnacles of
Longs Peak and Pagoda
Mountain overhead.
Piano - Intermediate SKU: AP.48700 Composed by Martha Mier. Piano Suite; ...(+)
Piano - Intermediate
SKU: AP.48700
Composed by Martha Mier.
Piano Suite; Piano
Supplemental; Solo; Solo
Small Ensembles. Recital
Suite Series. Form:
Suite. Recital. Score. 12
pages. Alfred Music
#00-48700. Published by
Alfred Music (AP.48700).
ISBN 9781470643935.
UPC: 038081559773.
English.
The four
movements of Great Smoky
Mountains take the
listener on a visit to
scenic panoramas
throughout the national
park. The first movement,
Great Smoky Mountain
Splendor, captures the
vibrant colors of the
fall foliage with grand
gestures that span the
range of the keyboard. In
Towering Mount Mitchell,
the second movement, an
expressive legato
right-hand melody, with
interesting harmonic
support in the left hand,
captures the summit with
its forest and plants.
The third movement,
Ballad of Cades Cove, is
in the key of A minor
with melodic interest in
both hands and depicts
the historic buildings in
this green valley. A
left-hand ostinato figure
in the fourth movement,
The Potter's Wheel,
represents the turning of
the wheel when skilled
local craftsmen create
ceramic wares.
Piano SKU: BR.EB-8766 Lieder fur alle Jahreszeiten, immer wieder neu b...(+)
Piano
SKU:
BR.EB-8766
Lieder
fur alle Jahreszeiten,
immer wieder neu
begleiten. Composed
by Ulrike Wohlwender.
Solo instruments;
stapled. Edition
Breitkopf. The book
'grows' with its
contents: accompaniments
from very simple to
medium difficulty. Music
pedagogy. Score. 64
pages. Breitkopf and
Haertel #EB 8766.
Published by Breitkopf
and Haertel (BR.EB-8766).
ISBN 9790004182925. 9
x 12 inches.
A new
accompaniment for every
season There's definitely
more than spring in the
air in this new
publication by Ulrike
Wohlwender, since the
collection also comprises
songs for summer, fall
and winter as well.
Didactically, it follows
the successful concept of
the Christmas book Was
soll das bedeuten (EB
8747). The strikingly
illustrated book grows
with its contents: the
accompaniments begin very
simply and reach a level
of medium difficulty.
Particular care has been
placed on the
accompanying modules that
are intended to help
pianists develop their
part freely. The book can
be used in a variety of
ways: for private
lessons, training with a
partner, or for group
lessons. The selection
also offers songs in
different languages from
various countries for
every season. All the
songs can be heard on the
accompanying CD recorded
by Ulrike Wohlwender
(piano) and Regine
Neumuller (voice). Here's
the link to the immer
wieder neu begleiten
homepage.
The book
'grows' with its
contents: accompaniments
from very simple to
medium difficulty.
Piano SKU: HL.14030676 Ten Short Pieces for Piano. Composed by Rue...(+)
Piano
SKU:
HL.14030676
Ten
Short Pieces for
Piano. Composed by
Rued Langgaard. Music
Sales America. Classical.
Score. Composed 2020.
Duration 1200 seconds.
Edition Wilhelm Hansen
#KP00666. Published by
Edition Wilhelm Hansen
(HL.14030676).
ISBN
9788759863879.
Danish.
The 'Ten
short piano pieces' with
the title Sommerferie i
Blekinge (Summer Holiday
in Blekinge) (1916) have
not been preserved in
their complete form. The
only existing source is a
manuscript in Rued
Langgaard's hand that
lacks the first and last
pages with sections of
the music. This means
that the entire first
piano piece with the
title Paa rejse
(Travelling) is missing
as well as most of Piece
II, Mode (Meeting) (only
the conclusion of this
piece has been
preserved). A large
fragment exists of Piece
X, Aften med Dans
(Evening with Dancing),
but the conclusion is
missing. The manuscript
is to be found at the
Royal Danish Library in
Copenhagen (RLS 83,2). On
the first page,Langgaard
has merely written 'Piano
Pieces 1916': the real
title and titles of the
movements in the first
two pieces derives from
other sources. In 2008,
the Rued Langgaard
Society asked the Danish
composer Niels Marthinsen
(b. 1963) to add to the
work, the aim being to
create a 'performance
version'. Marthinsen
composed a complete new
first piece - Paa rejse
(Travelling) - and
allowed it to merge with
the preserved concluding
fragment of Langgaard's
second piece, Mode
(Meeting). Niels
Marthinsen further
composed a conclusion to
the incomplete Piece X,
Aften med Dans (Evening
with Dancing), and in it
incorporated a reference
to the first piece, so
that his additions came
to form a frame round
what hasbeen preserved of
Langgaard's work. This
supplemented version was
given its first
performance by Berit
Johansen Tange in 2008.
The overall title and
titles of the individual
pieces refer to a summer
stay in 1913, i.e. three
years before the work was
composed, when the then
20-year-old composed was
on holiday in Kyrkhult in
Blekinge (Sweden).
Piano/Keyboard SKU: SU.12800062 For Piano/Keyboard. Composed by Jo...(+)
Piano/Keyboard
SKU:
SU.12800062
For
Piano/Keyboard.
Composed by Johann
Sebastian Bach. Keyboard,
Piano/Harpsichord. Score.
Subito Music Corporation
#12800062. Published by
Subito Music Corporation
(SU.12800062).
Goldberg
Variations, BWV 988
(3-page Preface, 63
pages, edited for piano,
no fingerings). This
attractive Urtext of
Bach’s popular
variation cycle is not
only extremely
user-friendly and
extra-legible, but in
addition, presents
groundbreaking
performance practice
research that explains
Bach’s
never-before-revealed
plan of tempo
relationships between
variations. This
discovery is highly
significant with regards
to the tempi chosen for
the 30 variations in a
complete performance. The
first edition from 1741,
engraved by Bach himself,
shows fermatas after
some, but not all,
variations. Most editors
assume this was an
oversight by Bach, and
thus, add fermatas where
they do not belong.
Virtually all editions of
our time add fermatas
where Bach did not
indicate them. Perhaps
the only edition that
correctly reproduces
Bach’s fermata
indications is Peters
(ed. Kurt Soldan, 1937).
Mapping out Bach’s
fermata plan for the
complete cycle reveals an
ingenious and fascinating
symmetrical arrangement
of pairs and groups of
variations unified by
direct tempo
relationships.
Bach’s tempo plan
has never yet been
honored by commercial
artists because they have
been steeped in false,
19th-century tempo
traditions, they have
been too influenced by
Glenn Gould, and they
have never been made
aware of Bach’s
use of fermatas due to
faulty editions.
Bach’s master plan
is beautifully laid out
and all the tempo
relationships are
explained in the
three-page Preface, which
also contains a tempo
hierarchy matrix relevant
to Bach performance as
well as Bach’s
well-known Table of
Ornaments. This edition
is ideal for pianists
from the
late-intermediate levels
and higher as well as
concert artists,
scholars, and teachers
who seek an informative
edition of the Goldberg
Variations for the
concert hall or teaching
studio. Piano/Keyboard
Published by:
BachScholar.
(Solo Version (Printed Edition)). By Sergei Rachmaninoff (1873-1943). Arranged b...(+)
(Solo Version (Printed
Edition)). By Sergei
Rachmaninoff (1873-1943).
Arranged by Peng-Peng
Gong. LKM Music. Hal
Leonard #X410103.
Published by Hal Leonard
Piano SKU: BR.DV-31099 32 German Children's Songs for Beginners with U...(+)
Piano
SKU:
BR.DV-31099
32
German Children's Songs
for Beginners with Upper
Voice in C ad lib..
Composed by Manfred
Schmitz. Solo
instruments; Softcover.
Deutscher Verlag. Schmitz
added an easy piano part
to the most famous German
children's songs, along
with equally easy upper
parts which can be played
by a recorder, violin or
other melody instrument.
Music pedagogy. Score. 56
pages. Deutscher Verlag
fur Musik #DV 31099.
Published by Deutscher
Verlag fur Musik
(BR.DV-31099).
ISBN
9790200415735. 9 x 12
inches.
Experienced
piano instructor Manfred
Schmitz had already
ventured out into the
open air in his
Spielwiese (or
Playground, DV 30065). In
his Green
Childrens-Song-Piano, he
is now striking out on a
new path that will take
young performers to
another exciting new
playground: chamber
music. Schmitz added an
easy piano part to the
most famous German
childrens songs, along
with equally easy upper
parts which can be played
by a recorder, violin or
other melody instrument.
He selected the childrens
songs chiefly on the
basis of their
popularity: The Green
Childrens-Song-Piano is
something very special:
its songs are really
everGREEN!
Schmitz
added an easy piano part
to the most famous German
children's songs, along
with equally easy upper
parts which can be played
by a recorder, violin or
other melody
instrument.
Piano SKU: BR.EB-6761 Piano Lessons by Edvard Grieg. Composed by E...(+)
Piano
SKU:
BR.EB-6761
Piano
Lessons by Edvard
Grieg. Composed by
Edvard Grieg. Edited by
Heinz Walter. Solo
instruments; Softcover.
Edition Breitkopf.
Romantic period. Score.
16 pages. Breitkopf and
Haertel #EB 6761.
Published by Breitkopf
and Haertel (BR.EB-6761).
ISBN 9790004169629. 9
x 12 inches.
This
series of easy piano
pieces for teaching
purposes presents pupils
in the early and
early-middle stages with
a careful selection from
well-known and less-known
compositions by important
masters. The individual
volumes are deliberately
kept small in extent,
since it is more
stimulating for children
if the literature used
for instruction is
changed frequently. Of
all Grieg's piano music,
it is the Lyric Pieces
(EB 8832) that enjoy the
greatest popularity.
These character pieces,
which are very varied in
their difficulty and
their length, preoccupied
the composer throughout
his creative life. The
easiest pieces from the
first three books (op.
12, 38 and 43) have been
chosen for the present
volume. In the musical
sense, however, they are
by no means light-weight.
Only someone who has made
the art of playing
expressively in the
Romantic style his own
with the help of
Schumann's Scenes from
childhood (EB 8436) will
be able to interpret this
poetry filled with the
soul of nordic peoples
appropriately.
Interpretative
indications have been
partly added to;
fingerings and the
distribution of the music
between the hands have,
as far as possible, been
adapted to smaller hands.
Sensitive use of the
pedal and a tempo rubato
imbued with the sense of
the music are
prerequisites. Heinz
Walter, Salzburg, Summer
1977.
Chamber Music Piano SKU: PR.140401320 Composed by Eubie Blake. Edited by ...(+)
Chamber Music Piano
SKU: PR.140401320
Composed by Eubie Blake.
Edited by Lara Downes.
Arranged by Jeremy
Siskind. Sws. Score. 8
pages. Duration 3:45.
Theodore Presser Company
#140-40132. Published by
Theodore Presser Company
(PR.140401320).
ISBN
9781491134177. UPC:
680160684274. 9 x 12
inches. Key: F
major.
LOVE WILL
FIND A WAY is one of the
great hits of the 1920s
– an era of
remarkable cultural
growth giving rise to
“The Roaring
'20s,†“The
Harlem
Renaissance,†and a
fun-loving society known
for the Charleston dance
craze and the surge of
jazz into the mainstream
of American music. A song
from Shuffle Along, the
first all-Black Broadway
musical, LOVE WILL FIND A
WAY has been arranged by
pianist Jeremy Siskind
especially for Lara
Downes’ recording
that launches the Rising
Sun series. According
to Langston Hughes, Eubie
Blake’s 1921
Shuffle Along was the
real start of the Harlem
Renaissance. In
Hughes’ words:
“Everybody was in
the audience, including
me. It gave just the
proper push, a
pre-Charleston kick, to
that Negro vogue of the
'20s that spread to
books, African sculpture,
music, and
dancing.â€As
Broadway’s first
all-Black hit musical,
with an all-star cast
including Paul Robeson
and a young Josephine
Baker, Shuffle Along ran
for an unprecedented 504
performances in New York,
then toured nationally
for three years as the
first Black musical to
play in white theaters
across the United States.
The show’s appeal
to a multi-racial
audience, and its
integration of the jazz
and Broadway communities,
not only changed the
history of the American
musical theater, but made
important strides forward
in American race
relations.Love Will Find
a Way is one of the
show’s most
popular tunes. This
intimate, pensive
arrangement by Jeremy
Siskind celebrates the
song’s centenary
by making it a love song
for our own time as much
as its own – a
reminder that no matter
how dark the path or how
gray the skies, love will
always find a way.
Piano SKU: BR.EB-8033 Piano Lessons by Jean-Philippe Rameau. Compo...(+)
Piano
SKU:
BR.EB-8033
Piano
Lessons by Jean-Philippe
Rameau. Composed by
Jean-Philippe Rameau.
Edited by Heinz Walter.
Solo instruments;
stapled. Edition
Breitkopf. Suite;
Dances/marches; Baroque.
Score. 20 pages.
Breitkopf and Haertel #EB
8033. Published by
Breitkopf and Haertel
(BR.EB-8033).
ISBN
9790004174364. 9 x 12
inches.
This series
of easy piano music for
teaching purposes
presents pupils in the
lower and lower middle
grades with a carefully
chosen selection of
well-known and
lesser-known compositions
by important masters. The
volumes are deliberately
kept small in extant,
since it is more
stimulating for children
to change the teaching
material frequently.
Jean-Philippe Rameau
(1683-1764) is the second
great keyboard master of
the Baroque Age next to
Couperin. His works are
as unknown to pianists,
with few exceptions, as
they are famous among
harpsichord players. The
virtuosity and
imaginativeness of his
works lend themselves
especially well to the
sound of harpsichord,
which is why the piano
interpretation of works
by Couperin, Rameau,
Scarlatti and other
composers of that time
has been categorically
rejected. But, after all,
the works of Bach and
Handel were written for
the harpsichord and
clavichord, and no one
would dare question their
interpretation on the
pianoforte. In order to
introduce these
Impressionists of the
Baroque Era to piano
instructions, the editor
has added to this series
a folio of both
Couperin's (EB 8029) and
Rameau's music. The
selection of the pieces
is based on two criteria:
1. relatively modest
demands made on
technique, 2. various
musical forms of
expression. Baroque dance
forms and graceful
character pieces
(LaJoyeuse,
L'Indifferente) are
typical ofRameau's work.
Simplifications to a
small extent of the
harpsichord setting and
also of the omamentation
in the original version
were required, based on
the teaching experience
of the editor. The
indications for phrasing
and articulation are
those of the editor. The
Minuet on page 6 has been
precisely elaborated on
in this respect to serve
as a model, whereas the
remaining pieces contain
only suggestions. As in
other folios of this
series: what is here to
be stressed, is the
importance of working out
independently the
phrasing and the
dynamics. Directions for
this are given by the
espective footnotes;
these directions,
however, are not
obligatory. Indications
pertaining to dynamics
and tempo have been
omitted completely; the
clearly recognizable
character of the
individual pieces should
be direction enough. The
tonal possibilities of
the piano should in any
case by used subtly. The
very precise fingerings
have been adapted to the
suggested phrasings and
to the corresponding
realisation of trills
(according to the table).
Heinz Walter, Salzburg,
Spring 1980.
Piano SKU: HL.14003761 Vonbulow-Lebert. Composed by Ludwig van Bee...(+)
Piano
SKU:
HL.14003761
Vonbulow-Lebert.
Composed by Ludwig van
Beethoven. Music Sales
America. Classical.
Score. Composed 2002. 10
pages. Edition Wilhelm
Hansen #WH04370.
Published by Edition
Wilhelm Hansen
(HL.14003761).
8.25x11.75x0.118
inches.
English.
The Piano
Sonata No. 25 in G Major
(Op. 79) was written in
1809, and first published
in 1810. Sometimes
referred to as the Cuckoo
Sonata , it is scored in
three movements: Presto
Alla Tedesca - Andante -
Vivace . It is one of
Beethoven's shorter
sonatas, taking only ten
minutes to perform.
Ludwig van Beethoven
(1770 - 1827) was a
German composer and
pianist, and arguably the
most famous composer of
all time. He was the last
great figure of the
Classical era, and helped
pave the way for the
Romantic style that
followed. His
compositions include 9
Symphonies, 5 Piano
Concertos, 1 Violin
Concerto, 32 Piano
Sonatas, and 16 String
Quartets.
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.
Finer in Minor Piano seul [Conducteur] Breitkopf & Härtel
Piano SKU: BR.EB-9410 33 Original Pieces for Piano. Composed by Ma...(+)
Piano
SKU:
BR.EB-9410
33
Original Pieces for
Piano. Composed by
Martina Schneider. Solo
instruments; stapled.
Edition Breitkopf. The
editors of the Keyboard
Crocodile have delved
into music history's
treasure chest of piano
literature and come up
with some gems in the
minor mode that offer
major enjoyment.MP3
audiofiles, performed by
Aki Sakae, are to be
found on YouTube. Music
pedagogy. Score. 68
pages. Breitkopf and
Haertel #EB 9410.
Published by Breitkopf
and Haertel (BR.EB-9410).
ISBN 9790004188842. 9
x 12 inches.
The
new Finer in Minor With
beautiful, easy to
moderately difficult,
familiar and above all
not so familiar pieces,
our bestseller Finer in
Minor has now been a
companion for many
generations on their way
to the wonderful works of
major piano literature.
In the meantime, the
sister edition Greater in
Major (EB 8936) expands
the sound palette,
showing that playing the
piano in a major key is,
of course, just as
beautiful as playing in a
minor key! In the course
of preparing it, the
desire for freshness and
renewal of the
well-established
minor-key edition
developed. Editors and
publishing house finally
gave in and decided on a
revised and expanded new
edition. The outer
appearance has been
adapted to its major-key
twin, and inside the
edition, things look new
and different, too. New
composers and even more
pieces expand the range
of minor-key music to
include new worlds of
sound and feeling. Thus,
playing the piano is
simply great - with
Greater in Major and
Finer in Minor ! Voices
to the 1st edition: It is
a good collection of easy
pieces and well edited.
(Music Teacher) The
publisher began with a
novel idea and invested
their faith in its
success by producing a
bright, colorful album
that will easily catch
the eye of the potential
buyer. (Trevor Barnard,
Music Teacher)
The
editors of the Keyboard
Crocodile have delved
into music history's
treasure chest of piano
literature and come up
with some gems in the
minor mode that offer
major enjoyment.MP3
audiofiles, performed by
Aki Sakae, are to be
found in the download
section or on YouTube.
Here you can find the
sister edition Greater in
Major.
Piano - easy SKU: BT.ALHE33724 Facile - easy - leicht. By Kenneth ...(+)
Piano - easy
SKU:
BT.ALHE33724
Facile - easy -
leicht. By Kenneth
Gilbert. By Domenico
Scarlatti. Score Only. 46
pages. Heugel & Cie
#ALHE33724. Published by
Heugel & Cie
(BT.ALHE33724).
French.
Italian
composer, Domenico
Scarlatti (1685-1757) is
well-known for his
Keyboard compositions.
His 555 Keyboard Sonatas
remain ever popular to
this day, and it is for
this reason that this
first volume of Selected
Sonatas isindispensable
to performers of the
genre. Originally
composed for the
Harpsichord, Organ or
early Pianoforte, the
sonatas display the
riveting use of discords
and unconventional
modulations to remote
keys. It is also thought
thatmuch of Scarlatti's
Keyboard music contains
influences of Iberian
music, considering that
he spent much of his
working life in the
service of the Spanish
and Portuguese royal
families. The first
volume of Selected
Sonatas,compiled by
Kenneth Gilbert, includes
many of the popular and
recognised sonatas.
Bearing in mind that
Domenico Scarlatti was a
highly competent and
popular Keyboard player
in his day, so much so
that he was employed in
theservice of two royal
families, his sonatas are
composed with much
experience, understanding
and expertise, creating
an essential addition to
the repertoire of all
Keyboard players of the
Baroque genre.
Piano/Keyboard, Guitar and Voice SKU: AP.45150 From the Album Comfort ...(+)
Piano/Keyboard, Guitar
and Voice
SKU:
AP.45150
From the
Album Comfort and Joy
(Piano/Vocal/Guitar).
Composed by and recorded
by Jim Brickman. This
edition:
Piano/Vocal/Guitar.
Artist/Personality;
Piano/Vocal/Chords;
Sheet; Solo; Solo Small
Ensembles. Original Sheet
Music Edition. Christmas;
Sacred; Winter. Score. 4
pages. Alfred Music
#00-45150. Published by
Alfred Music (AP.45150).
ISBN 9781470632816.
UPC: 038081516288.
English.
The title
track from Jim Brickman's
2015 Christmas album,
Comfort and Joy actually
uses the holiday classic
God Rest Ye Merry,
Gentlemen as a
jumping-off point.
Brickman has explained
that while his Comfort
and Joy, a piano
instrumental, musically
quotes that mainstay, it
is its own self-contained
composition. This
original sheet music
edition presents a piano
solo arrangement of the
song, complete with
artwork.
About Original
Sheet Music
Edition
Ea
ch ORIGINAL SHEET MUSIC
EDITION has been arranged
for piano by Alfred's
talented staff of
arrangers. Every effort
has been made for the
arrangement to be
playable on the piano and
to sound as close to the
original recording as
possible. If there are
lyrics, a separate vocal
line is used so that
singers can easily sing
along, and all lyrics as
heard on the original
recording are always
included. Almost all
arrangements are written
in the original key in
which they were
recorded.
Piano SKU: BR.EB-8118 Composed by Richard Wagner. Solo instruments; Softc...(+)
Piano
SKU:
BR.EB-8118
Composed
by Richard Wagner. Solo
instruments; Softcover.
Edition Breitkopf.
Sonata; Romantic. Score.
Composed 1831. 24 pages.
Breitkopf and Haertel #EB
8118. Published by
Breitkopf and Haertel
(BR.EB-8118).
ISBN
9790004175019. 9 x 12
inches.
Richard
Wagner (1813-1883) is
rightly considered as the
19th-century music
dramatist whose formal
and harmonic originality,
for example in Tristan
and Isolde, provided a
significant impetus to
the development of
20th-century music.
Despite Wagner's fame,
his reuvre for piano
remains practically
unknown. Tobe sure, these
primarily early works and
occasional compositions
hardly even hint at the
outstanding
characteristics of the
later works such as
leit-motifs, flowing
transitions or original
forms. Nonetheless,
whoever is acquainted
with Wagner's later music
dramas will undoubtedly
not fail to be impressed
by the individual melodic
and harmonic traits of
his piano works. The
Sonata in B-flat Major
Op. 1 is of special
interest to us today
since it is Wagner's
first published work,
composed in 1831 and
printed in 1832 by
Breitkopf & Hartel. At
that time, Wagner was
studying counterpoint
with Theodor Weinlig, the
choral master and music
director of the
Thomasschule in Leipzig.
Weinlig, however, only
agreed to give Wagner
lessons if he promised to
refrain from composing
for half a year. In the
course of his studies,
Wagner was allowed to
compose the piano sonata
in B-flat Major as a kind
of journeyman-work. His
teacher Weinlig succeeded
in having the work
published by Breitkopf &
Hartel. Hence the
dedication of this piece
to Weinlig is not
surprising, since the
18-year-old Wagner would
otherwise have had great
difficulty finding a
publisher. This Sonata in
B-flat Major, which has
long been out of print,
is a reproduction of the
first edition by
Breitkopf & Hartel (plate
number 10433). For this
reprint, obvious
typographical errors have
been corrected (missing
or wrong accidentals and
dynamic indications). The
work presents a
four-movement classical
sonata form and is
stylistically reminiscent
of Mozart and Beethoven.
Shortly before composing
this sonata, Wagner wrote
a piano reduction of
Beethoven's Ninth
Symphony, which was
easily playable and yet
gratifying to hear. This
helps explain the
octave-doublings typical
of piano reductions.
Wiesbaden, Fall
1980
Respectfully
dedicated to Theodor
Weinlig, the choral
master and music director
of the Thomasschule in
Leipzig.
Piano solo (Study Score) SKU: HL.51489928 Study Score. Composed by...(+)
Piano solo (Study Score)
SKU: HL.51489928
Study Score.
Composed by Robert
Schumann. Edited by Ernst
Herttrich. Study Score.
Paperbound. Henle Study
Scores. Classical. Study
score (paperbound). 312
pages. G. Henle #HN9928.
Published by G. Henle
(HL.51489928).
ISBN
9790201899282. UPC:
884088519018.
6.75x9.5x0.769 inches.
Eds. Wolf-Dieter
Seiffert, Wiltrud
Haug-Freienstein, Ernst
Herttrich & Robert
Munster.
On the
200th anniversary of
Robert Schumann's birth,
an ambitious project is
coming to a close: For
the first time since
Clara Schumann's Complete
Edition of
1879–93, all of
the works for piano solo
are appearing as one
editorial project.
Spanning almost ten years
of painstaking work, all
of the Schumann titles
published by G. Henle
Publishers have undergone
a careful revision. The
Schumann expert Ernst
Herttrich has closely
examined each edition and
also dedicated himself to
those works that were
previously missing from
our catalogue. Arranged
clearly according to opus
numbers, it includes not
only all of Schumann's
piano works, revised to
reflect the latest
scholarly findings, but
also informative
accompanying texts,
alternative versions and
much more besides.
Contents:
Faschingsschwank aus Wien
op. 26; 3 Romanzen op.
28; Scherzo, Gigue,
Romanze und Fughette op.
32; Album für die
Jugend op. 68 ; Vier
Fugen op. 72; Vier
Märsche op. 76;
Waldszenen op. 82.