Référence unique par son ISBN 9788759856956 cette partition musique de Bibalo Antonio n'est autre que Bibalo Antonio Two Nocturns Score. Les droits d'auteur de cette partition de musique de style Classique se trouvent chez les éditions ID Music. La référence catalogue de cette oeuvre est KP00447. / Scores / Partition

Chabrier was heralded by the young generation of composers in France, particularly by Debussy, Ravel and Poulenc, as the founder of the French Modern. He achieved resounding success with his orchestra rhapsody ?España? upon returning from his trip to Spain. Riding on this success, he composed the Habanera in 1885 which was met with equal enthusiasm. The piece was soon circulated in various arrangements. Chabrier himself transcribed the piece for orchestra in 1889. '
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Bärenreiter is publishing the original version for piano for the first time in an Urtext edition. This striking piece is ideal for teaching purposes and includes fingering by Tamara Stefanovich as well as a well-presented layout with optimum page turns.'
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- First scholarly-critical Urtext edition'
- Ideal for teaching'
- Informative foreword (Eng/Ger) and critical commentary (Eng)'
- With fingering and optimum page turns'
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Tamara Stefanovich '
studied at the University of Belgrade, at the Curtis Institute of Music and at the ?Hochschule für Musik und Tanz? in Cologne. Working alongside conductors such as Esa-Pekka Salonen, Pierre Boulez and Vladimir Jurowski, she has performed with the Cleveland Orchestra, Chicago Symphony Orchestra and London Philharmonic Orchestra. For Bärenreiter she has already prepared fingering for the Urtext edition of Claude Debussy?s ?Images? (?1re série?: BA 10821, ?2e série?: BA 10822). / Classique / Partition / Agrafé /

Par BEETHOVEN LUDWIG VAN. It was not until 1814, five years after the Sonata op. 81 ; Les Adieux, that Beethoven, then at the height of his popularity during the Congress of Vienna, returned to the piano sonata. The highly lyrical Sonata in E minor, the last piano sonata from his middle period, consists of two movements with solely German tempo marks and is dedicated to his piano-playing friend and patron, Moritz Count von Lichnowsky. In terms of technical difficulty regarding Beethoven's later piano sonatas, this sonata is one of the more accessible for advanced students. - Well-suited for advanced student lessons - Scholarly-critical Urtext edition at the forefront ofmusical scholarship - All known sources taken into account - Elegant musical engraving with optimal page turns - Valuable notes on period performance practice (Eng/Ger)/ Répertoire / Piano

111 short and very easy original classical piano pieces Piano Piccolo has been designed as a beginner's introduction to the successful collection Für Elise (ED 20044) in the Pianissimo series. This collection of 111 very easy original classical piano pieces includes popular repertoire pieces as well as many rarer finds that are not widely known. Works by over sixty composers from the Baroque, Classical, Romantic and Modern eras here offer a rich treasure trove for and are a valuable addition to imaginative and varied tuition for beginners. Piano Piccolo offers excellent opportunities for introducing beginners, returning students and amateur musicians to classical music with pieces suitable for auditions at music schools and playing to family and friends. Piano Piccolo has been designed as a beginner's introduction to the successful collection Für Elise (ED 20044) in the Pianissimo series. This collection of 111 very easy original classical piano pieces includes popular repertoire pieces as well as many rarer finds that are not widely known. Works by over sixty composers from the Baroque, Classical, Romantic and Modern eras here offer a rich treasure trove for and are a valuable addition to imaginative and varied tuition for beginners. Piano Piccolo offers excellent opportunities for introducing beginners, returning students and amateur musicians to classical music with pieces suitable for auditions at music schools and playing to family and friends. Contenu - M. Praetorius: Old German Dance C major- J. Krieger: Minuet A minor - J. Krieger: Bourrée A minor - H. Purcell: Air D minor - G. Böhm: Minuet G major - C. Graupner: Bourrée E minor GWV 827 - J.S. Bach: Aria D minor BWV 515 - G.F. Händel: Minuet G major - G.F. Händel: Passepied C major HWV 559 - Anon.: Minuet F major No. 2 - Anon.: Minuet F major No. 6 - L. Mozart: Minuet D minor - J. Haydn: German Dance D major Hob.IX:22/2 - J. Haydn: German Dance G major Hob.IX:22/3 - W. Duncombe: Minuet C major - W. Duncombe: Gavot C major - S. Arnold: Gavot C major S. Arnold: Giga C major - J. Hook: Minuet D major - J. Hook: Gavotta D major - J.W. Häßler: Poco Allegro, op. 38/3 - J.W. Häßler: Tempo di Minuetto, op. 38/4 - J.W. Häßler: Moderato, op. 38/12 - D.G. Türk: Carefree Jack - D.G. Türk: Lullaby - D.G. Türk: I feel so sick and faint - D.G. Türk: Arioso - J.G. Witthauer: Dance C major - J.G. Witthauer: Allegretto F major - J.G. Witthauer: Gavotte A minor - M. Clementi: Arietta C major, op. 42/5 - A. Reinagle: Allegro, op. 1/4 - A. Reinagle: Allegretto, op. 1/5 - A. Reinagle: Allegretto, op. 1/9 - A. Reinagle: Allegretto op. 1/11 - W.A. Mozart: Allegro KV 1b - W.A. Mozart: Allegro DV 1c - N.-J. Hüllmandel: Minuetto, op. 5/1 - N.-J. Hüllmandel: Allegro, op. 5/5 - C.H. Wilton: Little Sonata C major - J.J. Ryba: Two Little Inventions No. 1 C major, No. 2 A minor - D.G. Steibelt: Adagio A minor - A.E. Müller: Andantino, Handstück No. 5 - A.E. Müller: Andante, Handstück No. 9 - L.v. Beethoven: German Dance WoO 8/1 - L.v. Beethoven: Russian Folk Song, op. 107/3 - A. Diabelli: Allegretto, op. 125/3 - A. Diabelli: Vivace, op. 125/7 - C.M.v. Weber: Allemande, op. 4/2 - M. Szymanowska: Mazurka - C. Czerny: Allegro, op. 777/3 - C. Czerny: Allegretto, op. 823/7 - C.T. Brunner: Andante, op. 487/38 - C.T. Brunner: Andantino, op. 487/41 - H. Wohlfahrt: Moderato A minor - F. Schubert: Ländler B-flat major D 378/2 - R. Schumann: Little Piece, op. 68/5 - F.de Couppey: Melody No. 14 - F. de Couppey: Arabian Air - F. Spindler: Song without Words - L. Kühler: Piano Piece, op. 190/27 - L. Köhler: Piano Piece, op. 190/30 - L. Köhler: Piano Piece, op. 190/31 - C. Gurlitt: Going to School, op. 117/14 - C. Gurlitt: Consolation, op. 179/12 - C. Gurlitt: Waltz, op. 179/17 - C. Gurlitt: Gavotte, op. 210/9 - I. Bartalus: Two Hungarian Melodies No. 1 and No. 2 - H. Henkel: Piano Piece No. 13 - C. Reinecke: Scherzino, op. 136/1 - C. Reinecke: Elegy E minor op. 183/2 - E. Breslaur: Cuckoo, op. 46/21 - E. Breslaur: Waltz, op. 46/25 - O. Bolck: Sonatine C major op. 30/4, 1st movement - F. Scotson Clark: Tarantella - M.W. Vogel: Brave Knight - M.W. Vogel: Waltz - R. Fuchs: Proud Horseman, op. 47/2 - R. Fuchs: Sad at Heart, op. 47/5 - A. Sartorio: On Tip-Toe, op. 783/8 - A. Gretchaninoff: Farewell, op. 98/4 - A. Gretchaninoff: Elephant's Dance - E. Satie: Menus propos enfantins No. 2 - E. Satie: Enfantillages pittoresques No. 2- E. Satie: Peccadilles importunes No. 3 - C. Scott: Teddy-bear's Headache - I. Strawinsky: Andantino - G.F. Humbert: The Chocolate Automat - G.F. Humbert: Tarantella - G.F. Humbert: The Music Box - G.F. Humbert: Sad Song - G.F. Humbert: Walzer - P. Hindemith: Song - C. Orff: Two Pieces from the Piano Exercises No. 1 and No. 2 - D. Kabalevsky: Dance, op. 39/9 - D. Kabalevsky: Waltz, op. 39/13 - D. Shostakovich: March, op. 69/1 - D. Shostakovich: Waltz, op. 69/2 - H. Badings: Sarabande - H. Badings: Country Dance - G. Kretschmer: Little Waltz - G. Kretschmer: Little Minuet - G. Kretschmer: Little Prelude - B. Heller: The Melody in the Box - B. Heller: Waves - H.-G. Heumann: PreludeC major - H.-G. Heumann: Mazurka D minor - H.-G. Heumann: Minuet G major

[Liebesträume, Drei Notturnos] / Classique / Editeur : Ernst-Günther Heinemann / Doigtés : Hans / Partition / Broché / Edition Urtext

Par TURNAGE MARK-ANTHONY. Format: New Edition portrait/ Recueil / Violoncelle et Piano

Ed. critica di Ivano Bettin - Riduzione per canto e pianoforte di A. Frigé. Par VIVALDI ANTONIO. The present reduction derives from the critical edition of the score, published in this catalog in November 2019. Antonio Vivaldi's La Dorilla, a heroic-pastoral opera on a libretto by Antonio Maria Lucchini, was premiered at the Teatro Sant'Angelo in Venice on 6 November 1726. Six years later it was revived in a much shortened and altered form at the Sporck Theatre in Prague. In 1734 it returned for the last time to the Venetian stage at the Teatro Sant'Angelo, where, despite being greatly revised, it was once again successful. Many of its recitatives had been shortened and several arias replaced, some with movements borrowed from other operas by Vivaldi and some with arias taken from ones by other composers, such as Johann Adolf Hasse, Geminiano Giacomelli, Domenico Sarro and Leonardo Leo. The adaptation was the work of the Venetian man of letters Bartolomeo Vitturi, who adjusted the libretto with the precise aim of satisfying the demands of the public, which wished to hear the most famous pieces by the composers who were fashionable in those years. This vocal-score edition includes a synthetic introduction of the historical context, the description of the main source employed and a choice of the critical Notes to the musical text. / Niveau : Intermédiaire / Classique / Répertoire / Chant et Réduction Piano

Ursula Mamlok was born in Berlin in 1923, but was forced to emigrate via Ecuador to New York in 1939 because of her Jewish descent. In 2006 she returned to the city where she was born.Fünf Phantasiestücke, composed in 2012/13 for a small mixed ensemble consisting of oboe, violin, viola and violoncello, draws its appeal from the broad spectrum of emotions, feelings and states described musically in a minimum of time: Unruhig [Anxious] - Schwebend [Floating] - Munter [Lively] - Wie im Traum [Like a Dream] - Spielerisch [Playful] are the headings of the individual sections. Pieces as colourful as life: They are bursting with ingenuity and vital energy, coupled with a healthy dose of humour. / Hautbois, Violon, Violoncelle Et Alto

Original Version - Edition for Cello and Piano. Par SCHUMANN ROBERT. Schumann’s Cello Concerto Rediscovered In her first Urtext edition for Edition Peters, internationally renowned cellist Josephine Knight reveals Robert Schumann’s original version of his Cello Concerto in A minor Op. 129 – a piece he actually called a ‘Concertstück’ – removing generations of inauthentic editorial interventions. This is the only available modern scholarly edition of the work as Schumann originally conceived it, and restores the text from October 1850, based on the composer’s manuscript held in the Biblioteka Jagiellonska in Kraków. This Full Score matches the separately available edition for Cello and Piano (EP 73488). Matching orchestral material is also available from the publisher. Only modern Urtext edition based on Schumann’s original 1850 manuscript Many new corrections and clarifications, especially to the cello part Scholarly preface detailing history of the work and this edition by editor Josephine Knight, Piatti Professor of Cello at the Royal Academy of Music London Cello Part contains Josephine Knight's fingering and bowing suggestions Critical Commentary Cello and piano edition available separately from Edition Peters: orchestral parts available for rental Recording of the Concertstück featuring Josephine Knight available from Dutton Robert Schumann’s tragic last years have mired many of his greatest works in unnecessary doubt. The story of the suppression of his Violin Concerto by well-meaning friends is relatively well-known. Few, however, know that the version of the Cello Concerto that is routinely heard today is so far from Schumann’s original conception of the work – not only in details of phrasing and articulation, but also featuring a different ending with a bold final flourish from the cello. Composed in a burst of inspiration in two weeks in October 1850 shortly after he and Clara had moved to Düsseldorf, Schumann (who in 1850 was still in good health) never heard the piece performed. In an effort to promote a performance of the work, he gave the score to the cellist Robert Emil Bockmühl. Bockmühl made revisions that Schumann resisted, and the hoped-for performance never happened. Schumann’s health failed and he died aged just 46 in 1856. The Concerto, in an already substantially revised form, was premiered in 1860 but it was not given significant recognition until it was championed by Pablo Casals in the 20th century by which time (and since) the text for the work had accreted additions and alterations from generations of soloists. Now Josephine Knight, Piatti Professor of Cello at the Royal Academy of Music, London has returned to the original 1850 manuscript of the work, which is in the Biblioteka Jagiellonska in Kraków, to reveal Schumann’s original thoughts for the first time in a modern Urtext edition. The edition reflects Schumann’s original conception of the work as a Concertstück and restores Schumann’s musical text, free of posthumous interventions. ‘My ultimate wish,’ says the editor, ‘is to give performers both access to, and confidence that they are playing from, an edition which is a true representation of the piece in its original form, no matter how much more difficult this might be. I found that incorporating the changes enabled the piece to take on a completely different character – one that is lighter and happier, even “cheerful”, as Schumann himself described the work.'/ Répertoire / Violoncelle et Piano

Ed. critica M. Talbot - Riduzione per canto e pianoforte di A. Frigé. Par VIVALDI ANTONIO. This volume presents the vocal score of Vivaldi's Magnificat RV 610/611 for soloists, choir, winds, strings and continuo, based on the critical edition by Michael Talbot. Probably meant for a performance at the Pietà, Vivaldi, after its first 1715 version, returned on it in two occasions at least: at the end of the 1720s and of the 1730s. The Magnificat, in its time, was considered as Vivaldi's most celebrated piece. / Niveau : Intermédiaire / Répertoire / Chant et Piano

Johann Jacob Froberger, who lived from 1617 to 1667, developed a style of composition representing a synthesis of Italian, French and English influences, thereby setting new standards at that time. Only Jan Peterszoon Sweelinck can match Froberger in terms of significance for 17th century keyboard music.The text to each volume of the complete edition of Froberger's organ and keyboard music is published in German and English comprising a critical commentary as well as a detailed foreword explaining the scope and subdivision of the edition and the editorial techniques. Also, information on performance practice, on instruments of the time and on ornamentation is included, as well as details on Froberger's biography.Volume V.2, like the previously published volume V.1, contains the musical text from an anonymous 17th century copy which was returned to the Berlin Singakademie from Kiev in 2001. It is divided into works of definitive authenticity, new readings and two appendices containing works of doubtful authenticity and spurious arrangements.- Definitive complete Urtext edition- At the cutting edge of scholarship- Detailed explanatory notes / Orgue Ou Piano

Original Version. Par SCHUMANN ROBERT. Schumann’s Cello Concerto Rediscovered In her first Urtext edition for Edition Peters, internationally renowned cellist Josephine Knight reveals Robert Schumann’s original version of his Cello Concerto in A minor Op. 129 – a piece he actually called a ‘Concertstück’ – removing generations of inauthentic editorial interventions. This is the only available modern scholarly edition of the work as Schumann originally conceived it, and restores the text from October 1850, based on the composer’s manuscript held in the Biblioteka Jagiellonska in Kraków. This Full Score matches the separately available edition for Cello and Piano (EP 73488). Matching orchestral material is also available from the publisher. Only modern Urtext edition based on Schumann’s original 1850 manuscript Many new corrections and clarifications, especially to the cello part Scholarly preface detailing history of the work and this edition by editor Josephine Knight, Piatti Professor of Cello at the Royal Academy of Music London Cello Part contains Josephine Knight's fingering and bowing suggestions Critical Commentary Cello and piano edition available separately from Edition Peters: orchestral parts available for rental Recording of the Concertstück featuring Josephine Knight available from Dutton Robert Schumann’s tragic last years have mired many of his greatest works in unnecessary doubt. The story of the suppression of his Violin Concerto by well-meaning friends is relatively well-known. Few, however, know that the version of the Cello Concerto that is routinely heard today is so far from Schumann’s original conception of the work – not only in details of phrasing and articulation, but also featuring a different ending with a bold final flourish from the cello. Composed in a burst of inspiration in two weeks in October 1850 shortly after he and Clara had moved to Düsseldorf, Schumann (who in 1850 was still in good health) never heard the piece performed. In an effort to promote a performance of the work, he gave the score to the cellist Robert Emil Bockmühl. Bockmühl made revisions that Schumann resisted, and the hoped-for performance never happened. Schumann’s health failed and he died aged just 46 in 1856. The Concerto, in an already substantially revised form, was premiered in 1860 but it was not given significant recognition until it was championed by Pablo Casals in the 20th century by which time (and since) the text for the work had accreted additions and alterations from generations of soloists. Now Josephine Knight, Piatti Professor of Cello at the Royal Academy of Music, London has returned to the original 1850 manuscript of the work, which is in the Biblioteka Jagiellonska in Kraków, to reveal Schumann’s original thoughts for the first time in a modern Urtext edition. The edition reflects Schumann’s original conception of the work as a Concertstück and restores Schumann’s musical text, free of posthumous interventions. ‘My ultimate wish,’ says the editor, ‘is to give performers both access to, and confidence that they are playing from, an edition which is a true representation of the piece in its original form, no matter how much more difficult this might be. I found that incorporating the changes enabled the piece to take on a completely different character – one that is lighter and happier, even “cheerful”, as Schumann himself described the work.'/ Répertoire / Violoncelle et Orchestre