(174 Favorite Piano Pieces by 44 Composers). Composed by Various. For Piano Solo. Misc. 326 pages. Published by Hal Leonard

By Ludwig van Beethoven. For Piano. (Piano Solo). CD Sheet Music (Version 2.0). PDF file on CD. 1500 pages. Published by Subito Music.

Easy to Int. Solos 65 Works from Symphonies, Operas, Concertos, Piano Literature and Chamber Music. World's Greatest Classical Music. Size 9x12 inches. Published by Hal Leonard.

Piano Solo. By Ludwig van Beethoven. Arranged by Edwin Hughes. Piano Collection. Size 9x12 inches. 40 pages. Published by G. Schirmer, Inc.

Composed by Ludwig van Beethoven (1770-1827), edited by Blake Neely, Richard Walters. For solo piano. Format: piano solo book. With standard notation and introductory text. Classical period and romantic period. 221 pages. 9x12 inches. Published by Hal Leonard.

Piano

SKU: BR.EB-9253

Composed by Helmut Lachenmann. Solo instruments; stapled. Edition Breitkopf.

World premiere of the orchestral version: Stuttgart, January 1, 2018World premiere of the piano version: Mito, June 17, 2017

Have a look into EB 9283.

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.

Schirmer's Library of Musical Classics Volume 2148. Composed by Ludwig van Beethoven (1770-1827). Piano. Classical. Softcover. 432 pages. G. Schirmer #LB2148. Published by G. Schirmer

Early Intermediate to Intermediate Level Schirmer's Library of Musical Classics Volume 2149. Composed by Ludwig van Beethoven (1770- 1827). Piano. Classical. Softcover. 80 pages. Published by G. Schirmer

By Ludwig van Beethoven. Keyboard. Level: Intermediate/Late Intermediate (4/5/6). Published by Alfred Publishing.

Late Intermediate Works by 13 Important Composers of Standard Teaching Literature. Edited by Jane Magrath. For Piano. Piano Collection. Masterwork. Book. 96 pages. Published by Alfred Publishing.
Level: Late Intermediate.

(Schirmer's Library of Musical Classics, Vol. 2071). By Ludwig van Beethoven (1770-1827). Piano Collection. Softcover. 232 pages

By Ludwig van Beethoven. Edited by Willard A. Palmer. For Piano. Piano Collection. Alfred Masterwork Edition. Masterwork. Level: Late Intermediate / Early Advanced (grade 6/6 ). Book. 64 pages. Published by Alfred Publishing.

The Music of Ludwig van Beethoven: 27 of His Timeless Masterpieces. By Ludwig van Beethoven. Arranged by Jerry Ray. For Easy Piano. Piano Collection. Simply Series. Masterwork. Level: Easy Piano. Collection. 80 pages. Published by Alfred Publishing.

The Classical Piano Sheet Music Series. Composed by Ludwig van Beethoven (1770- 1827). Piano. Classical. Softcover. Published by Hal Leonard

By Keith Snell. (Master Composer Library). Piano. Beethoven. Level: Intermediate. Music Book. Size 232. Published by Neil A. Kjos Music Company.
Optional CD available here

Orchestra

SKU: BR.PB-5432

Composed by Helmut Lachenmann. Orchestra; stapled. Partitur-Bibliothek (Score Library).

World premiere of the orchestral version: Stuttgart, January 1, 2018World premiere of the piano version: Mito, June 17, 2017

Have a look into EB 9283.

New music (post-2000). Full score. Composed 2016/17/20. 48 pages. Duration 8'. Breitkopf and Haertel #PB 5432. Published by Breitkopf and Haertel (BR.PB-5432).

ISBN 9790004212790. 10 x 12.5 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.

Composed by Ludwig van Beethoven (1770-1827). Edited by Matthew Edwards. Schirmer Performance Editions. Classical. Softcover Audio Online. 40 pages. Published by G. Schirmer

Piano Solo. By Various. Piano Collection. Size 9x12 inches. 170 pages. Published by G. Schirmer, Inc.

Edited by Maurice Hinson. For Piano. Masterworks; Piano Collection. Classical; Masterwork; Sacred. Late Intermediate. Book. 64 pages. Published by Alfred Music Publishing

By Ludwig van Beethoven. Edited by Willard A. Palmer. For Piano. Piano Collection. Masterwork. Level: Early Intermediate / Late Intermediate (grade 3/4/5/6). Book. 32 pages. Published by Alfred Publishing.