| Dichterliebe Piano, Voix [Vocal Score] Barenreiter
By Robert Schumann. Edited by Hansjorg Ewert. For Voice, Piano. Singing score. O...(+)
By Robert Schumann.
Edited by Hansjorg Ewert.
For Voice, Piano. Singing
score. Op. 48. Published
by Baerenreiter Verlag
$30.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Great Piano Works Robert Schumann Mini Series Piano seul - Intermédiaire Belwin
Composed by Robert Schumann. Masterworks; Piano Collection. Belwin Edition: Grea...(+)
Composed by Robert
Schumann. Masterworks;
Piano Collection. Belwin
Edition: Great Piano
Works -- The Mini Series.
Masterwork; Romantic.
Book. 32 pages. Belwin
Music #00-0253B.
Published by Belwin Music
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| Transcriptions of Lieder Piano seul Carl Fischer
Chamber Music Piano SKU: CF.PL1056 Composed by Clara Wieck-Schumann, Fran...(+)
Chamber Music Piano
SKU: CF.PL1056
Composed by Clara
Wieck-Schumann, Franz
Schubert, and Robert
Schumann. Edited by
Nicholas Hopkins.
Collection. With Standard
notation. 128 pages. Carl
Fischer Music #PL1056.
Published by Carl Fischer
Music (CF.PL1056).
ISBN 9781491153390.
UPC: 680160910892.
Transcribed by Franz
Liszt. Introduction
It is true that Schubert
himself is somewhat to
blame for the very
unsatisfactory manner in
which his admirable piano
pieces are treated. He
was too immoderately
productive, wrote
incessantly, mixing
insignificant with
important things, grand
things with mediocre
work, paid no heed to
criticism, and always
soared on his wings. Like
a bird in the air, he
lived in music and sang
in angelic fashion.
--Franz Liszt, letter to
Dr. S. Lebert (1868) Of
those compositions that
greatly interest me,
there are only Chopin's
and yours. --Franz Liszt,
letter to Robert Schumann
(1838) She [Clara
Schumann] was astounded
at hearing me. Her
compositions are really
very remarkable,
especially for a woman.
There is a hundred times
more creativity and real
feeling in them than in
all the past and present
fantasias by Thalberg.
--Franz Liszt, letter to
Marie d'Agoult (1838)
Chretien Urhan
(1790-1845) was a
Belgian-born violinist,
organist and composer who
flourished in the musical
life of Paris in the
early nineteenth century.
According to various
accounts, he was deeply
religious, harshly
ascetic and wildly
eccentric, though revered
by many important and
influential members of
the Parisian musical
community. Regrettably,
history has forgotten
Urhan's many musical
achievements, the most
important of which was
arguably his pioneering
work in promoting the
music of Franz Schubert.
He devoted much of his
energies to championing
Schubert's music, which
at the time was unknown
outside of Vienna.
Undoubtedly, Urhan was
responsible for
stimulating this
enthusiasm in Franz
Liszt; Liszt regularly
heard Urhan's organ
playing in the
St.-Vincent-de-Paul
church in Paris, and the
two became personal
acquaintances. At
eighteen years of age,
Liszt was on the verge of
establishing himself as
the foremost pianist in
Europe, and this
awakening to Schubert's
music would prove to be a
profound experience.
Liszt's first travels
outside of his native
provincial Hungary were
to Vienna in 1821-1823,
where his father enrolled
him in studies with Carl
Czerny (piano) and
Antonio Salieri (music
theory). Both men had
important involvements
with Schubert; Czerny
(like Urhan) as performer
and advocate of
Schubert's music and
Salieri as his theory and
composition teacher from
1813-1817. Curiously,
Liszt and Schubert never
met personally, despite
their geographical
proximity in Vienna
during these years.
Inevitably, legends later
arose that the two had
been personal
acquaintances, although
Liszt would dismiss these
as fallacious: I never
knew Schubert personally,
he was once quoted as
saying. Liszt's initial
exposure to Schubert's
music was the Lieder,
what Urhan prized most of
all. He accompanied the
tenor Benedict
Randhartinger in numerous
performances of
Schubert's Lieder and
then, perhaps realizing
that he could benefit the
composer more on his own
terms, transcribed a
number of the Lieder for
piano solo. Many of these
transcriptions he would
perform himself on
concert tour during the
so-called Glanzzeit, or
time of splendor from
1839-1847. This publicity
did much to promote
reception of Schubert's
music throughout Europe.
Once Liszt retired from
the concert stage and
settled in Weimar as a
conductor in the 1840s,
he continued to perform
Schubert's orchestral
music, his Symphony No. 9
being a particular
favorite, and is credited
with giving the world
premiere performance of
Schubert's opera Alfonso
und Estrella in 1854. At
this time, he
contemplated writing a
biography of the
composer, which
regrettably remained
uncompleted. Liszt's
devotion to Schubert
would never waver.
Liszt's relationship with
Robert and Clara Schumann
was far different and far
more complicated; by
contrast, they were all
personal acquaintances.
What began as a
relationship of mutual
respect and admiration
soon deteriorated into
one of jealousy and
hostility, particularly
on the Schumann's part.
Liszt's initial contact
with Robert's music
happened long before they
had met personally, when
Liszt published an
analysis of Schumann's
piano music for the
Gazette musicale in 1837,
a gesture that earned
Robert's deep
appreciation. In the
following year Clara met
Liszt during a concert
tour in Vienna and
presented him with more
of Schumann's piano
music. Clara and her
father Friedrich Wieck,
who accompanied Clara on
her concert tours, were
quite taken by Liszt: We
have heard Liszt. He can
be compared to no other
player...he arouses
fright and astonishment.
His appearance at the
piano is indescribable.
He is an original...he is
absorbed by the piano.
Liszt, too, was impressed
with Clara--at first the
energy, intelligence and
accuracy of her piano
playing and later her
compositions--to the
extent that he dedicated
to her the 1838 version
of his Etudes d'execution
transcendante d'apres
Paganini. Liszt had a
closer personal
relationship with Clara
than with Robert until
the two men finally met
in 1840. Schumann was
astounded by Liszt's
piano playing. He wrote
to Clara that Liszt had
played like a god and had
inspired indescribable
furor of applause. His
review of Liszt even
included a heroic
personification with
Napoleon. In Leipzig,
Schumann was deeply
impressed with Liszt's
interpretations of his
Noveletten, Op. 21 and
Fantasy in C Major, Op.
17 (dedicated to Liszt),
enthusiastically
observing that, I feel as
if I had known you twenty
years. Yet a variety of
events followed that
diminished Liszt's glory
in the eyes of the
Schumanns. They became
critical of the cult-like
atmosphere that arose
around his recitals, or
Lisztomania as it came to
be called; conceivably,
this could be attributed
to professional jealousy.
Clara, in particular,
came to loathe Liszt,
noting in a letter to
Joseph Joachim, I despise
Liszt from the depths of
my soul. She recorded a
stunning diary entry a
day after Liszt's death,
in which she noted, He
was an eminent keyboard
virtuoso, but a dangerous
example for the
young...As a composer he
was terrible. By
contrast, Liszt did not
share in these negative
sentiments; no evidence
suggests that he had any
ill-regard for the
Schumanns. In Weimar, he
did much to promote
Schumann's music,
conducting performances
of his Scenes from Faust
and Manfred, during a
time in which few
orchestras expressed
interest, and premiered
his opera Genoveva. He
later arranged a benefit
concert for Clara
following Robert's death,
featuring Clara as
soloist in Robert's Piano
Concerto, an event that
must have been
exhilarating to witness.
Regardless, her opinion
of him would never
change, despite his
repeated gestures of
courtesy and respect.
Liszt's relationship with
Schubert was a spiritual
one, with music being the
one and only link between
the two men. That with
the Schumanns was
personal, with music
influenced by a hero
worship that would
aggravate the
relationship over time.
Nonetheless, Liszt would
remain devoted to and
enthusiastic for the
music and achievements of
these composers. He would
be a vital force in
disseminating their music
to a wider audience, as
he would be with many
other composers
throughout his career.
His primary means for
accomplishing this was
the piano transcription.
Liszt and the
Transcription
Transcription versus
Paraphrase Transcription
and paraphrase were
popular terms in
nineteenth-century music,
although certainly not
unique to this period.
Musicians understood that
there were clear
distinctions between
these two terms, but as
is often the case these
distinctions could be
blurred. Transcription,
literally writing over,
entails reworking or
adapting a piece of music
for a performance medium
different from that of
its original; arrangement
is a possible synonym.
Adapting is a key part of
this process, for the
success of a
transcription relies on
the transcriber's ability
to adapt the piece to the
different medium. As a
result, the pre-existing
material is generally
kept intact, recognizable
and intelligible; it is
strict, literal,
objective. Contextual
meaning is maintained in
the process, as are
elements of style and
form. Paraphrase, by
contrast, implies
restating something in a
different manner, as in a
rewording of a document
for reasons of clarity.
In nineteenth-century
music, paraphrasing
indicated elaborating a
piece for purposes of
expressive virtuosity,
often as a vehicle for
showmanship. Variation is
an important element, for
the source material may
be varied as much as the
paraphraser's imagination
will allow; its purpose
is metamorphosis.
Transcription is adapting
and arranging;
paraphrasing is
transforming and
reworking. Transcription
preserves the style of
the original; paraphrase
absorbs the original into
a different style.
Transcription highlights
the original composer;
paraphrase highlights the
paraphraser.
Approximately half of
Liszt's compositional
output falls under the
category of transcription
and paraphrase; it is
noteworthy that he never
used the term
arrangement. Much of his
early compositional
activities were
transcriptions and
paraphrases of works of
other composers, such as
the symphonies of
Beethoven and Berlioz,
vocal music by Schubert,
and operas by Donizetti
and Bellini. It is
conceivable that he
focused so intently on
work of this nature early
in his career as a means
to perfect his
compositional technique,
although transcription
and paraphrase continued
well after the technique
had been mastered; this
might explain why he
drastically revised and
rewrote many of his
original compositions
from the 1830s (such as
the Transcendental Etudes
and Paganini Etudes) in
the 1850s. Charles Rosen,
a sympathetic interpreter
of Liszt's piano works,
observes, The new
revisions of the
Transcendental Etudes are
not revisions but concert
paraphrases of the old,
and their art lies in the
technique of
transformation. The
Paganini etudes are piano
transcriptions of violin
etudes, and the
Transcendental Etudes are
piano transcriptions of
piano etudes. The
principles are the same.
He concludes by noting,
Paraphrase has shaded off
into
composition...Composition
and paraphrase were not
identical for him, but
they were so closely
interwoven that
separation is impossible.
The significance of
transcription and
paraphrase for Liszt the
composer cannot be
overstated, and the
mutual influence of each
needs to be better
understood. Undoubtedly,
Liszt the composer as we
know him today would be
far different had he not
devoted so much of his
career to transcribing
and paraphrasing the
music of others. He was
perhaps one of the first
composers to contend that
transcription and
paraphrase could be
genuine art forms on
equal par with original
pieces; he even claimed
to be the first to use
these two terms to
describe these classes of
arrangements. Despite the
success that Liszt
achieved with this type
of work, others viewed it
with circumspection and
criticism. Robert
Schumann, although deeply
impressed with Liszt's
keyboard virtuosity, was
harsh in his criticisms
of the transcriptions.
Schumann interpreted them
as indicators that
Liszt's virtuosity had
hindered his
compositional development
and suggested that Liszt
transcribed the music of
others to compensate for
his own compositional
deficiencies.
Nonetheless, Liszt's
piano transcriptions,
what he sometimes called
partitions de piano (or
piano scores), were
instrumental in promoting
composers whose music was
unknown at the time or
inaccessible in areas
outside of major European
capitals, areas that
Liszt willingly toured
during his Glanzzeit. To
this end, the
transcriptions had to be
literal arrangements for
the piano; a Beethoven
symphony could not be
introduced to an
unknowing audience if its
music had been subjected
to imaginative
elaborations and
variations. The same
would be true of the 1833
transcription of
Berlioz's Symphonie
fantastique (composed
only three years
earlier), the
astonishingly novel
content of which would
necessitate a literal and
intelligible rendering.
Opera, usually more
popular and accessible
for the general public,
was a different matter,
and in this realm Liszt
could paraphrase the
original and manipulate
it as his imagination
would allow without
jeopardizing its
reception; hence, the
paraphrases on the operas
of Bellini, Donizetti,
Mozart, Meyerbeer and
Verdi. Reminiscence was
another term coined by
Liszt for the opera
paraphrases, as if the
composer were reminiscing
at the keyboard following
a memorable evening at
the opera. Illustration
(reserved on two
occasions for Meyerbeer)
and fantasy were
additional terms. The
operas of Wagner were
exceptions. His music was
less suited to paraphrase
due to its general lack
of familiarity at the
time. Transcription of
Wagner's music was thus
obligatory, as it was of
Beethoven's and Berlioz's
music; perhaps the
composer himself insisted
on this approach. Liszt's
Lieder Transcriptions
Liszt's initial
encounters with
Schubert's music, as
mentioned previously,
were with the Lieder. His
first transcription of a
Schubert Lied was Die
Rose in 1833, followed by
Lob der Tranen in 1837.
Thirty-nine additional
transcriptions appeared
at a rapid pace over the
following three years,
and in 1846, the Schubert
Lieder transcriptions
would conclude, by which
point he had completed
fifty-eight, the most of
any composer. Critical
response to these
transcriptions was highly
favorable--aside from the
view held by
Schumann--particularly
when Liszt himself played
these pieces in concert.
Some were published
immediately by Anton
Diabelli, famous for the
theme that inspired
Beethoven's variations.
Others were published by
the Viennese publisher
Tobias Haslinger (one of
Beethoven's and
Schubert's publishers in
the 1820s), who sold his
reserves so quickly that
he would repeatedly plead
for more. However,
Liszt's enthusiasm for
work of this nature soon
became exhausted, as he
noted in a letter of 1839
to the publisher
Breitkopf und Hartel:
That good Haslinger
overwhelms me with
Schubert. I have just
sent him twenty-four new
songs (Schwanengesang and
Winterreise), and for the
moment I am rather tired
of this work. Haslinger
was justified in his
demands, for the Schubert
transcriptions were
received with great
enthusiasm. One Gottfried
Wilhelm Fink, then editor
of the Allgemeine
musikalische Zeitung,
observed of these
transcriptions: Nothing
in recent memory has
caused such sensation and
enjoyment in both
pianists and audiences as
these arrangements...The
demand for them has in no
way been satisfied; and
it will not be until
these arrangements are
seen on pianos
everywhere. They have
indeed made quite a
splash. Eduard Hanslick,
never a sympathetic
critic of Liszt's music,
acknowledged thirty years
after the fact that,
Liszt's transcriptions of
Schubert Lieder were
epoch-making. There was
hardly a concert in which
Liszt did not have to
play one or two of
them--even when they were
not listed on the
program. These
transcriptions quickly
became some of his most
sough-after pieces,
despite their extreme
technical demands.
Leading pianists of the
day, such as Clara Wieck
and Sigismond Thalberg,
incorporated them into
their concert programs
immediately upon
publication. Moreover,
the transcriptions would
serve as inspirations for
other composers, such as
Stephen Heller, Cesar
Franck and later Leopold
Godowsky, all of whom
produced their own
transcriptions of
Schubert's Lieder. Liszt
would transcribe the
Lieder of other composers
as well, including those
by Mendelssohn, Chopin,
Anton Rubinstein and even
himself. Robert Schumann,
of course, would not be
ignored. The first
transcription of a
Schumann Lied was the
celebrated Widmung from
Myrten in 1848, the only
Schumann transcription
that Liszt completed
during the composer's
lifetime. (Regrettably,
there is no evidence of
Schumann's regard of this
transcription, or even if
he was aware of it.) From
the years 1848-1881,
Liszt transcribed twelve
of Robert Schumann's
Lieder (including one
orchestral Lied) and
three of Clara (one from
each of her three
published Lieder cycles);
he would transcribe no
other works of these two
composers. The Schumann
Lieder transcriptions,
contrary to those of
Schubert, are literal
arrangements, posing, in
general, far fewer
demands on the pianist's
technique. They are
comparatively less
imaginative in their
treatment of the original
material. Additionally,
they seem to have been
less valued in their day
than the Schubert
transcriptions, and it is
noteworthy that none of
the Schumann
transcriptions bear
dedications, as most of
the Schubert
transcriptions do. The
greatest challenge posed
by Lieder transcriptions,
regardless of the
composer or the nature of
the transcription, was to
combine the vocal and
piano parts of the
original such that the
character of each would
be preserved, a challenge
unique to this form of
transcription. Each part
had to be intact and
aurally recognizable, the
vocal line in particular.
Complications could be
manifold in a Lied that
featured dissimilar
parts, such as Schubert's
Auf dem Wasser zu singen,
whose piano accompaniment
depicts the rocking of
the boat on the
shimmering waves while
the vocal line reflects
on the passing of time.
Similar complications
would be encountered in
Gretchen am Spinnrade, in
which the ubiquitous
sixteenth-note pattern in
the piano's right hand
epitomizes the
ever-turning spinning
wheel over which the
soprano voice expresses
feelings of longing and
heartache. The resulting
transcriptions for solo
piano would place
exceptional demands on
the pianist. The
complications would be
far less imposing in
instances in which voice
and piano were less
differentiated, as in
many of Schumann's Lieder
that Liszt transcribed.
The piano parts in these
Lieder are true
accompaniments for the
voice, providing harmonic
foundation and rhythmic
support by doubling the
vocal line throughout.
The transcriptions, thus,
are strict and literal,
with far fewer demands on
both pianist and
transcriber. In all of
Liszt's Lieder
transcriptions,
regardless of the way in
which the two parts are
combined, the melody
(i.e. the vocal line) is
invariably the focal
point; the melody should
sing on the piano, as if
it were the voice. The
piano part, although
integral to contributing
to the character of the
music, is designed to
function as
accompaniment. A singing
melody was a crucial
objective in
nineteenth-century piano
performance, which in
part might explain the
zeal in transcribing and
paraphrasing vocal music
for the piano. Friedrich
Wieck, father and teacher
of Clara Schumann,
stressed this point
repeatedly in his 1853
treatise Clavier und
Gesang (Piano and Song):
When I speak in general
of singing, I refer to
that species of singing
which is a form of
beauty, and which is a
foundation for the most
refined and most perfect
interpretation of music;
and, above all things, I
consider the culture of
beautiful tones the basis
for the finest possible
touch on the piano. In
many respects, the piano
and singing should
explain and supplement
each other. They should
mutually assist in
expressing the sublime
and the noble, in forms
of unclouded beauty. Much
of Liszt's piano music
should be interpreted
with this concept in
mind, the Lieder
transcriptions and opera
paraphrases, in
particular. To this end,
Liszt provided numerous
written instructions to
the performer to
emphasize the vocal line
in performance, with
Italian directives such
as un poco marcato il
canto, accentuato assai
il canto and ben
pronunziato il canto.
Repeated indications of
cantando,singend and
espressivo il canto
stress the significance
of the singing tone. As
an additional means of
achieving this and
providing the performer
with access to the
poetry, Liszt insisted,
at what must have been a
publishing novelty at the
time, on printing the
words of the Lied in the
music itself. Haslinger,
seemingly oblivious to
Liszt's intent, initially
printed the poems of the
early Schubert
transcriptions separately
inside the front covers.
Liszt argued that the
transcriptions must be
reprinted with the words
underlying the notes,
exactly as Schubert had
done, a request that was
honored by printing the
words above the
right-hand staff. Liszt
also incorporated a
visual scheme for
distinguishing voice and
accompaniment, influenced
perhaps by Chopin, by
notating the
accompaniment in cue
size. His transcription
of Robert Schumann's
Fruhlings Ankunft
features the vocal line
in normal size, the piano
accompaniment in reduced
size, an unmistakable
guide in a busy texture
as to which part should
be emphasized: Example 1.
Schumann-Liszt Fruhlings
Ankunft, mm. 1-2. The
same practice may be
found in the
transcription of
Schumann's An die Turen
will ich schleichen. In
this piece, the performer
must read three staves,
in which the baritone
line in the central staff
is to be shared between
the two hands based on
the stem direction of the
notes: Example 2.
Schumann-Liszt An die
Turen will ich
schleichen, mm. 1-5. This
notational practice is
extremely beneficial in
this instance, given the
challenge of reading
three staves and the
manner in which the vocal
line is performed by the
two hands. Curiously,
Liszt did not use this
practice in other
transcriptions.
Approaches in Lieder
Transcription Liszt
adopted a variety of
approaches in his Lieder
transcriptions, based on
the nature of the source
material, the ways in
which the vocal and piano
parts could be combined
and the ways in which the
vocal part could sing.
One approach, common with
strophic Lieder, in which
the vocal line would be
identical in each verse,
was to vary the register
of the vocal part. The
transcription of Lob der
Tranen, for example,
incorporates three of the
four verses of the
original Lied, with the
register of the vocal
line ascending one octave
with each verse (from low
to high), as if three
different voices were
participating. By the
conclusion, the music
encompasses the entire
range of Liszt's keyboard
to produce a stunning
climactic effect, and the
variety of register of
the vocal line provides a
welcome textural variety
in the absence of the
words. The three verses
of the transcription of
Auf dem Wasser zu singen
follow the same approach,
in which the vocal line
ascends from the tenor,
to the alto and to the
soprano registers with
each verse.
Fruhlingsglaube adopts
the opposite approach, in
which the vocal line
descends from soprano in
verse 1 to tenor in verse
2, with the second part
of verse 2 again resuming
the soprano register;
this is also the case in
Das Wandern from
Mullerlieder. Gretchen am
Spinnrade posed a unique
problem. Since the poem's
narrator is female, and
the poem represents an
expression of her longing
for her lover Faust,
variation of the vocal
line's register, strictly
speaking, would have been
impractical. For this
reason, the vocal line
remains in its original
register throughout,
relentlessly colliding
with the sixteenth-note
pattern of the
accompaniment. One
exception may be found in
the fifth and final verse
in mm. 93-112, at which
point the vocal line is
notated in a higher
register and doubled in
octaves. This sudden
textural change, one that
is readily audible, was a
strategic means to
underscore Gretchen's
mounting anxiety (My
bosom urges itself toward
him. Ah, might I grasp
and hold him! And kiss
him as I would wish, at
his kisses I should
die!). The transcription,
thus, becomes a vehicle
for maximizing the
emotional content of the
poem, an exceptional
undertaking with the
general intent of a
transcription. Registral
variation of the vocal
part also plays a crucial
role in the transcription
of Erlkonig. Goethe's
poem depicts the death of
a child who is
apprehended by a
supernatural Erlking, and
Schubert, recognizing the
dramatic nature of the
poem, carefully depicted
the characters (father,
son and Erlking) through
unique vocal writing and
accompaniment patterns:
the Lied is a dramatic
entity. Liszt, in turn,
followed Schubert's
characterization in this
literal transcription,
yet took it an additional
step by placing the
register of the father's
vocal line in the
baritone range, that of
the son in the soprano
range and that of the
Erlking in the highest
register, options that
would not have been
available in the version
for voice and piano.
Additionally, Liszt
labeled each appearance
of each character in the
score, a means for
guiding the performer in
interpreting the dramatic
qualities of the Lied. As
a result, the drama and
energy of the poem are
enhanced in this
transcription; as with
Gretchen am Spinnrade,
the transcriber has
maximized the content of
the original. Elaboration
may be found in certain
Lieder transcriptions
that expand the
performance to a level of
virtuosity not found in
the original; in such
cases, the transcription
approximates the
paraphrase. Schubert's Du
bist die Ruh, a paradigm
of musical simplicity,
features an uncomplicated
piano accompaniment that
is virtually identical in
each verse. In Liszt's
transcription, the
material is subjected to
a highly virtuosic
treatment that far
exceeds the original,
including a demanding
passage for the left hand
alone in the opening
measures and unique
textural writing in each
verse. The piece is a
transcription in
virtuosity; its art, as
Rosen noted, lies in the
technique of
transformation.
Elaboration may entail an
expansion of the musical
form, as in the extensive
introduction to Die
Forelle and a virtuosic
middle section (mm.
63-85), both of which are
not in the original. Also
unique to this
transcription are two
cadenzas that Liszt
composed in response to
the poetic content. The
first, in m. 93 on the
words und eh ich es
gedacht (and before I
could guess it), features
a twisted chromatic
passage that prolongs and
thereby heightens the
listener's suspense as to
the fate of the trout
(which is ultimately
caught). The second, in
m. 108 on the words
Betrogne an (and my blood
boiled as I saw the
betrayed one), features a
rush of
diminished-seventh
arpeggios in both hands,
epitomizing the poet's
rage at the fisherman for
catching the trout. Less
frequent are instances in
which the length of the
original Lied was
shortened in the
transcription, a tendency
that may be found with
certain strophic Lieder
(e.g., Der Leiermann,
Wasserflut and Das
Wandern). Another
transcription that
demonstrates Liszt's
readiness to modify the
original in the interests
of the poetic content is
Standchen, the seventh
transcription from
Schubert's
Schwanengesang. Adapted
from Act II of
Shakespeare's Cymbeline,
the poem represents the
repeated beckoning of a
man to his lover. Liszt
transformed the Lied into
a miniature drama by
transcribing the vocal
line of the first verse
in the soprano register,
that of the second verse
in the baritone register,
in effect, creating a
dialogue between the two
lovers. In mm. 71-102,
the dialogue becomes a
canon, with one voice
trailing the other like
an echo (as labeled in
the score) at the
distance of a beat. As in
other instances, the
transcription resembles
the paraphrase, and it is
perhaps for this reason
that Liszt provided an
ossia version that is
more in the nature of a
literal transcription.
The ossia version, six
measures shorter than
Schubert's original, is
less demanding
technically than the
original transcription,
thus representing an
ossia of transcription
and an ossia of piano
technique. The Schumann
Lieder transcriptions, in
general, display a less
imaginative treatment of
the source material.
Elaborations are less
frequently encountered,
and virtuosity is more
restricted, as if the
passage of time had
somewhat tamed the
composer's approach to
transcriptions;
alternatively, Liszt was
eager to distance himself
from the fierce
virtuosity of his early
years. In most instances,
these transcriptions are
literal arrangements of
the source material, with
the vocal line in its
original form combined
with the accompaniment,
which often doubles the
vocal line in the
original Lied. Widmung,
the first of the Schumann
transcriptions, is one
exception in the way it
recalls the virtuosity of
the Schubert
transcriptions of the
1830s. Particularly
striking is the closing
section (mm. 58-73), in
which material of the
opening verse (right
hand) is combined with
the triplet quarter notes
(left hand) from the
second section of the
Lied (mm. 32-43), as if
the transcriber were
attempting to reconcile
the different material of
these two sections.
Fruhlingsnacht resembles
a paraphrase by
presenting each of the
two verses in differing
registers (alto for verse
1, mm. 3-19, and soprano
for verse 2, mm. 20-31)
and by concluding with a
virtuosic section that
considerably extends the
length of the original
Lied. The original
tonalities of the Lieder
were generally retained
in the transcriptions,
showing that the tonality
was an important part of
the transcription
process. The infrequent
instances of
transposition were done
for specific reasons. In
1861, Liszt transcribed
two of Schumann's Lieder,
one from Op. 36 (An den
Sonnenschein), another
from Op. 27 (Dem roten
Roslein), and merged
these two pieces in the
collection 2 Lieder; they
share only the common
tonality of A major. His
choice for combining
these two Lieder remains
unknown, but he clearly
recognized that some
tonal variety would be
needed, for which reason
Dem roten Roslein was
transposed to C>= major.
The collection features
An den Sonnenschein in A
major (with a transition
to the new tonality),
followed by Dem roten
Roslein in C>= major
(without a change of key
signature), and
concluding with a reprise
of An den Sonnenschein in
A major. A three-part
form was thus established
with tonal variety
provided by keys in third
relations (A-C>=-A); in
effect, two of Schumann's
Lieder were transcribed
into an archetypal song
without words. In other
instances, Liszt treated
tonality and tonal
organization as important
structural ingredients,
particularly in the
transcriptions of
Schubert's Lieder cycles,
i.e. Schwanengesang,
Winterreise a... $32.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Scenes From Childhood Op 15 Urtext Piano seul G. Henle
Piano SKU: HU.HN44 Composed by Robert Schumann. Edited by Ernst Herttrich. Pian...(+)
Piano
SKU: HU.HN44
Composed by Robert
Schumann. Edited by Ernst
Herttrich. Piano Solo,
Piano and Keyboard,
Repertoire, Collections.
Scenes from Childhood Op.
15. Classical, Romantic.
Softcover Book. 28 pages.
G. Henle #HN44. Published
by G. Henle
$12.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| The Chester Vocal Anthology Chester
25 popular works for soprano voice with piano accompaniment featuring selected w...(+)
25 popular works for
soprano voice with piano
accompaniment featuring
selected works from the
major exam board
syllabuses, spanning
grades 5 to 8 and beyond.
Includes a preface and
performance notes by Mary
Bevan and Joseph
Middleton, and a digital
version of the book to
view on any device.
CONTENTS: ADOLPHE ADAM: O
Holy Night * THOMAS ARNE:
Where the Bee Sucks *
GEORGES BIZET: Chanson
d'Avril * NADIA
BOULANGER: Soleils
Couchant * JOSEPH
CANTELOUBE: Bailero *
CLAUDE DEBUSSY: Beau Soir
* MADELINE DRING: Take, O
Take Those Lips Away *
MANUEL DE FALLA:
Seguidilla Murciana *
GABRIEL FAURE: Notre
Amour * CECIL ARMSTRONG
GIBBS: Arrogant Poppies *
ENRIQUE GRANADOS: El Majo
Discreto * REYNALDO HAHN:
L'Heure Exquise * GEORGE
FRIEDRICH HANDEL: The
Soft Complaining Flute *
JOSEPH HAYDN: The
Mermaid's Song * JEROME
KERN: Smoke Gets in Your
Eyes * WITOLD
LUTOSLAWSKI: La Tortue *
ELIZABETH MACONCHY: Sun,
Moon and Stars * FELIX
MENDELSSOHN: Jerusalem,
Thou That Killest the
Prophets * WOLFGANG
AMADEUS MOZART: L'ho
perduta, me meschina! *
HENRY PURCELL: Fairest
Isle * MAX REGER: Maria
Wiegenlied * FRANZ
SCHUBERT: Litany * ROBERT
SCHUMANN: Der Nussbaum *
IAN VENABLES: Flying
Crooked * JUDITH WEIR:
The Voice of Desire
$22.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Let's Take the Stage! - Rauf auf's Podium! Violon et Piano [Partition + CD] - Facile EMB (Editio Musica Budapest)
Violin and Piano - easy SKU: BT.EMBZ14935 Easy repertoire pieces for y...(+)
Violin and Piano - easy
SKU: BT.EMBZ14935
Easy repertoire pieces
for young violinists with
CD. By András
Soós. Educational
Tool. Book with CD.
Composed 2015. 36 pages.
Editio Musica Budapest
#EMBZ14935. Published by
Editio Musica Budapest
(BT.EMBZ14935).
Hungarian-English-Germ
an-French. It's an
unforgettable experience
to go on stage for the
first time and win
applause with your
playing. This album
encourages children to
make a first appearance
and gives effective help
in doing so. It brings
together pieces that can
be used to achieve real
success they comprise
easy arrangements of
favorite works by
Dowland, Vivaldi, Handel,
Bach, Haydn, Mozart,
Weber, Schubert,
Schumann, Liszt, and
Brahms. The CD enclosed
with the publication
includes recordings of
the piano accompaniment
for each piece and a full
performance by noted
Hungarian musicians. This
CD makes practice at home
easier and gives
assistance with
performance style as
well. The publication
offers numerouspieces of
advice to young
violinists, including how
to get ready for a
concert, how to control
stage fright, and how to
be confident on stage. In
addition, it has features
some charming
illustrations by Edit
Szalma.
It’s an
unforgettable experience
to go on stage for the
first time and win
applause with your
playing. This album
encourages children to
make a first appearance
and gives effective help
in doing so. It brings
together pieces that can
earn realsuccess: easy
arrangements of favorite
works by Dowland,
Vivaldi, Handel, Bach,
Haydn, Mozart, Weber,
Schubert, Schumann,
Liszt, Anton Rubinstein
and Brahms. The CD
enclosed with the
publication includes
recordings of the piano
accompaniment for
eachpiece and a full
performance by noted
Hungarian musicians. So
the disc makes practice
at home easier and gives
assistance with
performance style as
well. The publication
offers numerous pieces of
advice to young
violinists, including:
how to getready for a
concert, how to control
stage fright, and how to
be confident on stage. In
addition, some charming
illustrations by Edit
Szalma are
included.
Es ist
ein unvergessliches
Erlebnis, wenn wir zum
ersten Mal das Podium
betreten und mit unserem
Spiel Erfolg ernten.
Dieses Album möchte
die Kinder zu ihren
ersten Auftritten
ermuntern und ihnen dazu
eine effektive
Hilfestellung bieten. Es
enthält deshalb lauter
Stücke, mit denen man
wirklich erfolgreich sein
kann: leichte
Transkriptionen der
beliebtesten Werke von
Dowland, Vivaldi,
Händel, Bach, Haydn,
Mozart, Weber, Schubert,
Schumann, Liszt, Anton
Rubinstein und Brahms.
Auf der CD-Beilage des
Albums sind - von
namhaften ungarischen
Interpreten vorgetragen -
die Klavierbegleitung
sämtlicher Stücke
und deren vollständige
Fassung zu hören. $23.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Schumann: Scenes From Childhood - Book and Cd Piano seul [Partition + CD] - Intermédiaire Alfred Publishing
By Robert Schumann. Keyboard. Published by Alfred Publishing. Whereas Schumann c...(+)
By Robert Schumann.
Keyboard. Published by
Alfred Publishing.
Whereas Schumann composed
the "Album for the Young"
for children, his "Scenes
from Childhood"
(Kinderszenen) are
reflections of childhood
for adults. Like many of
his character pieces,
Schumann notes that the
13 selections in this set
were composed before
their titles were
assigned. Palmer's
scholarly edition
includes a table of
suggested tempos for the
works taken from early
editions and from the
recorded performances of
various artists. The
Alfred Masterwork Library
CD Editions conveniently
combine each exceptional
volume with a
professionally recorded
CD that is sure to
inspire artistic
performances.
(1)$9.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Liederkreis op. 39 Piano, Voix [Vocal Score] Barenreiter
Composed by Robert Schumann. Edited by Hansjorg Ewert. For voice and piano. This...(+)
Composed by Robert
Schumann. Edited by
Hansjorg Ewert. For voice
and piano. This edition:
Urtext edition. Stapled.
Vocal score. Opus 39.
Published by Baerenreiter
Verlag
$31.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| The Cage Without Birds (Sax Part) Chester
(Children's Choir) SKU: HL.1187375 For Soprano Saxophone, Children's C...(+)
(Children's Choir)
SKU: HL.1187375
For Soprano Saxophone,
Children's Choir, and
Organ. Composed by
Cheryl Frances-Hoad.
Choral. Octavo. 8 pages.
Duration 180 seconds.
Chester Music
#CH88183-01. Published by
Chester Music
(HL.1187375). ISBN
9781705191958. UPC:
196288129332. 9.0x12.0
inches. Saxophone
Part. The Cage without
Birds, for mixed
children's choir,
saxophone and organ,
written for Sam Corkin's
Palimpsest project, takes
Schumann's
“Wehmut†as
its starting point.
Schumann's song, from the
Eichendorff Liederkreis
Op. 39 describes
'Nightingales,sing[ing]/T
heir song of longing/From
their dungeon cell'. In
my little piece, motives
from Schumann's melody
are given to the
saxophone, who represents
a free, cageless bird.
The text set is Richard
Stokes' translation of a
Jules Renard's prose poem
of the same name, part of
his Histoires
Naturelles. $3.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| The Cage Without Birds (Vocal Score) Chester
(Children's Choir) SKU: HL.1187374 For Soprano Saxophone, Children's C...(+)
(Children's Choir)
SKU: HL.1187374
For Soprano Saxophone,
Children's Choir, and
Organ. Composed by
Cheryl Frances-Hoad.
Choral. Octavo. 16 pages.
Duration 180 seconds.
Chester Music #CH88183.
Published by Chester
Music (HL.1187374).
ISBN 9781705191941.
UPC: 196288129325.
9.0x12.0
inches. Vocal
Score. The Cage without
Birds, for mixed
children's choir,
saxophone and organ,
written for Sam Corkin's
Palimpsest project, takes
Schumann's
“Wehmut†as
its starting point.
Schumann's song, from the
Eichendorff Liederkreis
Op. 39 describes
'Nightingales,sing[ing]/T
heir song of longing/From
their dungeon cell'. In
my little piece, motives
from Schumann's melody
are given to the
saxophone, who represents
a free, cageless bird.
The text set is Richard
Stokes' translation of a
Jules Renard's prose poem
of the same name, part of
his Histoires
Naturelles. $5.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Variations On A Merry Tune: Theme from R. Schumann, Op. 68 #10 Orchestre d'harmonie [Conducteur et Parties séparées] C.L. Barnhouse
Composed by Pierre La Plante. Concert Band Series. Composed 2020. Duration 5...(+)
Composed by Pierre La
Plante. Concert Band
Series.
Composed 2020. Duration 5
minutes, 27 seconds.
Published by C.L.
Barnhouse
$79.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Manfred Overture, Op. 115 Orchestre [Conducteur d'étude / Miniature] Eulenburg
By Robert Schumann. (Study Score). Schott. Size 5.25x7.5 inches. 72 pages. Publ...(+)
By Robert Schumann.
(Study Score). Schott.
Size 5.25x7.5 inches. 72
pages. Published by
Eulenburg.
$17.99 - Voir plus => Acheter | | |
| Otona Piano in Classical Music Piano seul [Conducteur] Yamaha
Piano - Easy-Intermediate SKU: YM.GTP01098166 Keyboard. Arranged Classic....(+)
Piano - Easy-Intermediate
SKU:
YM.GTP01098166
Keyboard. Arranged
Classic. Score. Yamaha
Music Media #GTP01098166.
Published by Yamaha Music
Media (YM.GTP01098166).
ISBN
9784636981667. Ther
e are many music sheet
books available for
children, but not many
for adults who have just
started playing the
piano. The Otona Piano
series is designed for
those adults who are
beginner piano players.
Here is a great
piano collection for
those who want to take
their piano playing to
the next level! It is
also a great selection
for live
performances! $15.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Saxmania : Pop Greats Music Sales
| | |
| Erste Weihnacht Holzschuh Musikverlag
1-2 descant recorders SKU: M7.VHR-3624 33 easy Christmas carols. A...(+)
1-2 descant recorders
SKU: M7.VHR-3624
33 easy Christmas
carols. Arranged by
Barbara Ertl. Sheet
music. Performance book.
36 pages. Holzschuh
Musikverlag #VHR 3624.
Published by Holzschuh
Musikverlag
(M7.VHR-3624). ISBN
9783940069535. This
collection of songs
enables children soon
after they have started
with their lessons on
recorder to take an
active part in making
music at Christmas
time. $14.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Saxmania : Standards Music Sales
| | |
| Saxmania Pop Greats 2 Music Sales
| | |
| Appalachian Fiddle Music Violon Mel Bay
Fiddle - Beginning; Intermediate; Advanced SKU: MB.30091 Featuring 43 ...(+)
Fiddle - Beginning;
Intermediate; Advanced
SKU: MB.30091
Featuring 43 Fiddlers
and 188 of Their
Tunes. Perfect
binding. Folk. Book. 212
pages. Mel Bay
Publications, Inc #30091.
Published by Mel Bay
Publications, Inc
(MB.30091). ISBN
9781513466378. 8.75 x
11.75
inches. Appalachian
fiddle music, based on
the musical traditions of
the people who settled in
the mountainous regions
of the southeastern
United States, is
widely-known and played
throughout North America
and parts of Europe
because of its complex
rhythms, its catchy
melodies, and its
often-ancient-sounding
stylistic qualities. The
authors explore the lives
and music of 43 of the
classic Appalachian
fiddlers who were active
during the first half of
the 20th century. Some of
them were recorded
commercially in the
1920s, such as Gid
Tanner, Fiddlin? John
Carson, and Charlie
Bowman. Some were
recorded by folklorists
from the Library of
Congress, such as William
Stepp, Emmett Lundy, and
Marion Reece. Others were
recorded informally by
family members and
visitors, such as John
Salyer, Emma Lee
Dickerson, and Manco
Sneed. All of them played
throughout most of their
lives and influenced the
growth and stylistic
elements of fiddle music
in their regions. Each
fiddler has been given a
chapter with a biography,
several tune
transcriptions, and tune
histories. To show the
richness of the music,
the authors make a
special effort to show
the musical elements in
detail, but also
acknowledge that nothing
can take the place of
listening. Many of the
classic recordings used
in this book can be found
on the web, allowing you
to hear and read the
music together. $24.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Sechzehn kleine Stücke für Jugendstreichorchester Orchestre à Cordes EMB (Editio Musica Budapest)
String Orchestra SKU: BT.EMBZ14560 By András Soós. By Georg Philipp...(+)
String Orchestra SKU:
BT.EMBZ14560 By
András Soós. By
Georg Philipp Telemann.
EMB Leggiero. Educational
Tool. Book Only. Composed
2007. 188 pages. Editio
Musica Budapest
#EMBZ14560. Published by
Editio Musica Budapest
(BT.EMBZ14560).
English-German-Hungari
an. The latest
volume in the Leggiero
series is a selection
from Telemann?s enormous
?uvre, featuring
movements that can be
performed as independent
pieces. Included among
the generally fast dances
taken from the suites (or
ouvertures) are several
slow movements from
concertos or concerti
grossi, so that the
volume provides really
varied material for youth
orchestras or amateur
musicians. For different
occasions the performers
can put together pairs or
even suites of movements
that are compatible in
terms of their key and
character. $34.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| The Romantic Tuba Potenza Music
Tuba and piano SKU: P2.90126 Composed by Various. Arranged by Joe Caldari...(+)
Tuba and piano SKU:
P2.90126 Composed by
Various. Arranged by Joe
Caldarise. Published by
Potenza Music (P2.90126).
Melodie - Taken
from Tchaikovsky's
Souvenir d'un lieu cher,
this popular violin work
fits in quite well with
thick melodic low voice
of the tuba. The original
work began life as the
second movement of the
famous Violin Concerto,
however the composer
chose to discard and
recast it in a more
intimate setting for
violin and piano. The
lyrical melodic line,
characteristic of
Tchaikovsky, gives the
performer a great
opportunity to
demonstrate how the
tuba's power and flow can
be applied to truly sing
on the instrument. And
the more technical
moments allow the player
to show off just how deft
and nuanced the
instrument can be as
well. Allerseelen -
Strauss composed this All
Soul's Day song to fit
the poetry of the
Austrian Hermann von
Gilm. This popular art
song has since been
arranged for various
settings, from orchestras
to brass bands, but suits
the tuba's voice just
beautifully. The held
notes give time for the
tuba's sound to fill the
room while the harmonies
shift in that gorgeous
late-Romantic style. And
the climax provides the
instrument with the great
operatic moment that it
so deserves.
Zueignung -
Originating from the same
Strauss song set as
Allerseelen, this song
takes a much more
operatic turn. The
opening rolling triplets
give the piece a strong
sense of forward
momentum, carrying it as
a performer might
traverse across the
stage. History has proven
this to be one of
Strauss' best-known
songs, and the climactic
statement in the final
measures certainly gives
the tuba a great moment
to take center-stage.
Abendlied - The
ever-moody Schumann
originally composed this
piece for violin and
piano. Its slow and
halting accompaniment
allows the soloist to
demonstrate their skills
with rubato and nuanced
phrasing. As with most
Romantic music, care
should be taken to bring
out the accidentals, so
as to heighten the
dramatic tension-release
of this seemingly simple
piece. Liebestraume
- As one of Liszt's most
popular pieces of all
time, this piece is
quintessential Romantic
love song. No aspect of
the tuba or tubist is
left unexplored here. It
begins with a simple, yet
confined melody, taking
advantage here of the
tuba's warm middle-low
register. The brief quasi
cadenza section gives the
player a sparkling moment
to give the listener a
glimpse of the tuba's
technical capabilities.
The accompaniment then
gradually grows in
intensity while the tuba
elaborates on the main
theme while ramping up
the passion and strength
of the instrument's
voice. By mm. 41 and 54,
the player should be
commanding the room with
the full power of the
instrument, poured into a
sweeping melodic phrase.
After a dazzling display
of technical fluency with
the cadenza, the piece
shrinks back to its most
intimate form. The final
bars of the solo part
afford the player the
chance to display the
instrument's most
delicate and poignant
voice, before sliding
back down into the lower
register for final tonic
note. - Joe
Caldarise. $22.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Rise Again Songbook Paroles et Accords Hal Leonard
(Words and Chords to Nearly 1200 Songs 9x12 Spiral Bound). Edited by Annie Patte...(+)
(Words and Chords to
Nearly 1200 Songs 9x12
Spiral Bound). Edited by
Annie Patterson and Peter
Blood. For Vocal. Vocal.
Softcover. 304 pages.
Published by Hal Leonard
$39.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Rise Again Songbook Hal Leonard
(Words and Chords to Nearly 1200 Songs Spiral-Bound). Edited by Annie Patterson ...(+)
(Words and Chords to
Nearly 1200 Songs
Spiral-Bound). Edited by
Annie Patterson and Peter
Blood. For Vocal. Vocal.
Softcover. 304 pages.
Published by Hal Leonard
$34.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Standard Vocal Literature - An Introduction to Repertoire (Tenor) Voix Tenor [Partition + Accès audio] Hal Leonard
Tenor. Arranged by Richard Walters. Vocal Collection. Beginning/Intermediate Cla...(+)
Tenor. Arranged by
Richard Walters. Vocal
Collection.
Beginning/Intermediate
Classical, Classical.
Softcover Audio Online.
136 pages. Published by
Hal Leonard
(1)$24.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Fantasy Pieces Op. 88 for Piano Trio Piano Trio: piano, violon, violoncelle G. Henle
Piano Trio (Ensemble) SKU: HL.51481525 Composed by Robert Schumann. Edite...(+)
Piano Trio (Ensemble)
SKU: HL.51481525
Composed by Robert
Schumann. Edited by Ernst
Herttrich. Henle Music
Folios. Classical.
Softcover. 80 pages. G.
Henle #HN1525. Published
by G. Henle
(HL.51481525). UPC:
840126989762.
9.0x12.0x0.296
inches. The Fantasy
Pieces op. 88 are
Schumann's first
contribution to the genre
of the piano trio and
date from his very
prolific “chamber
music year†1842.
However, Schumann needed
an unusually long time to
give the work its final
form: the Fantasy Pieces
were released only in the
autumn of 1850 after
several revisions. The
brevity and the modest
technical demands of the
four charming character
pieces make them an ideal
entry into the world of
Schumann's chamber music
also for non-professional
musicians. The Fantasy
Pieces, taken from the
volume Schumann •
Piano Trios HN 916, are
now available from Henle
for the first time also
as a practical single
edition.
About Henle
Urtext
What I can expect from
Henle Urtext
editions:
- error-free, reliable
musical texts based on
meticulous musicological
research - fingerings and
bowings by famous artists
and pedagogues
- preface in 3
languages with
information on the
genesis and history of
the work
- Critical Commentary
in 1 – 3 languages with
a description and
evaluation of the sources
and explaining all source
discrepancies and
editorial
decisions
- most
beautiful music
engraving
- page-turns, fold-out
pages, and cues where you
need them
- excellent print
quality and
binding
- largest Urtext
catalogue
world-wide
- longest Urtext
experience (founded 1948
exclusively for Urtext
editions)
$28.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Piano Concerto in A minor Op. 54 (Arranged for Piano Solo) Piano seul [Conducteur] Peters
Piano SKU: PE.EP2898A Simplified and Abridged. Composed by Robert ...(+)
Piano SKU:
PE.EP2898A
Simplified and
Abridged. Composed by
Robert Schumann. Piano
(Solo). Edition Peters.
Romantic. Score. 16
pages. Edition Peters
#98-EP2898A. Published by
Edition Peters
(PE.EP2898A). ISBN
9790014013066.
German. The
abridged and simplified
version of Schumann's
only Piano Concerto in A
minor (Op. 54), written
in 1845, arranged by Noel
Fisher.
This
product is Printed on
Demand and may take
several weeks to fulfill.
Please order from your
favorite retailer. $9.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Tombeau Piano seul University Of York Music Press
Piano SKU: BT.MUSM570208593 Composed by Jeremy Dale Roberts. Classical. B...(+)
Piano SKU:
BT.MUSM570208593
Composed by Jeremy Dale
Roberts. Classical. Book
Only. 54 pages.
University of York Music
Press #MUSM570208593.
Published by University
of York Music Press
(BT.MUSM570208593).
English. Tombeau
which takes its title
from the central elegy of
the work was composed
1966-69. Its form is a
series of fairly specific
technical studies
interspersed with
variations. The
introduction provides a
sort of
‘trailer’,
in which each phrase of
the theme is punctuated
by a brief quote from the
ensuing studies (heard in
reverse order). This
scheme is balanced by
that of the finale, which
is also punctuated by
short
‘flashbacks’
. Tombeau was written as
a tribute to certain
composers for the piano,
notably Schumann and
Szymanovsky, and to a
style of playing that has
now become almost
‘historic’.
It is also a tribute to
our beloved masters, many
of them obscure, who made
usmusicians. It is
therefore, in many
senses, a retrospective
work, the last of a
phase, undertaken just
before a fairly drastic
re-evaluation of
techniques, ideas, and
intentions. It is
dedicated to Stephen
Kovacevich, who
commissioned it and gave
its first performance on
the BBC Third Programme
and subsequently at
Dartington Hall Summer
School. $25.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
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