| Classiques Favoris - Volume 9B [Conducteur] Lemoine, Henry
Composed by Franz Liszt (1811-1886). For piano. Les Classiques favoris. Classica...(+)
Composed by Franz Liszt
(1811-1886). For piano.
Les Classiques favoris.
Classical. Level 5.
Score. 125 pages.
Published by Editions
Henry Lemoine
$46.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Meyer K Schostakowitsch - Biographie Schott
(TB BR) SKU: HL.49041722 His Life, his Work, his Time. Composed by...(+)
(TB BR) SKU:
HL.49041722 His
Life, his Work, his
Time. Composed by
Meyer. This edition:
Paperback/Soft Cover.
Paperback. Serie Musik.
Der Autor, Freund des
Komponisten und intimer
Kenner seines Werkes, hat
das Verdienst, eine erste
umfassende Synthese der
widerspruchlichen
Informationen zu geben,
die uns uberliefert sind.
Die andere, entscheidende
Leistung dieser
Biographie ist, das Leb.
608 pages. Schott Music
#SEM8376. Published by
Schott Music
(HL.49041722). ISBN
9783254083760.
4.75x7.5x1.19 inches.
German. Mehr als
jedes andere
kompositorische
Lebenswerk der
Musikgeschichte wurzelt
Schostakowitschs Schaffen
im politischen Umfeld
seiner Epoche. Fast jedes
seiner grosseren Werke
antwortet auf Ereignisse
in seinem Land. Trotz
zahlreicher Kommentare
des Komponisten selbst
und seiner Freunde war
der programmatische
Gehalt der Werke jedoch
lange nicht vollstandig
erhellt. Krysztof Meyer,
ein Freund des
Komponisten und intimer
Kenner seines Werkes, hat
mit diesem Standardwerk,
das nun als uberarbeitete
Neuausgabe vorliegt, eine
erste und umfassende
Synthese der
widerspruchlichen
Informationen gegeben.
Leben und Schaffen
Schostakowitschs werden
dabei in einen
Zusammenhang nicht nur
mit den musikalischen
Stromungen, sondern auch
mit den politischen
Entwicklungen seiner Zeit
gestellt. $29.99 - Voir plus => Acheter | | |
| STUDIO GHIBLI 2 - Piano Duet in Classical Music Styles from Baroque to 20th Century 1 Piano, 4 mains Yamaha
Piano 4 hands SKU: YM.GTP01101010 Easy-Intermediate & Easy-Intermediat...(+)
Piano 4 hands SKU:
YM.GTP01101010
Easy-Intermediate &
Easy-Intermediate Piano
Duet Book. Composed
by Joe Hisaishi. Studio
Ghibli In Classical Music
Style. Studio Ghibli,
Anime Song. Book. Yamaha
Music Media #GTP01101010.
Published by Yamaha Music
Media (YM.GTP01101010).
ISBN 9784636107128. 9
x 12 inches. What
if the iconic melodies of
Studio Ghibli were
arranged as piano duets
by classical composers?
Introducing the highly
anticipated second volume
of the popular Duet
series! Experience the
luxurious duet sound
enriched with the
distinctive styles of
classical composers and
interwoven fragments of
beloved melodies.
Designed with advanced
players in mind, the
arrangements range from
baroque to modern styles,
making them suitable for
a variety of skill
levels. This collection
includes a total of six
pieces that are perfect
for recitals, concerts,
or street piano
performances. *The book
comes with online demo
audio of all parts and
each part for you to
practice. Scan the QR
code next to the song
title on the sheet music
with smartphone devices
to go to the YouTube
playlist for each
song. $17.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| The Well-Tempered Clavier: 48 Preludes and Fugues, Book II Piano Trio: Instruments de chambre mixtes Alfred Publishing
The Well-Tempered Clavier: 48 Preludes and Fugues, Book II composed by Johann ...(+)
The Well-Tempered
Clavier:
48 Preludes and Fugues,
Book
II composed by Johann
Sebastian Bach
(1685-1750).
Edited by Sir Donald
Francis
Tovey, fingerings by
Harold
Samuel. For Piano. Book;
Masterworks; Piano
Collection. Dover
Edition.
Baroque; Masterwork.
Published by Alfred Music
$16.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| 2e Ballade Piano seul EMB (Editio Musica Budapest)
Piano SKU: BT.EMBZ12699 Composed by Franz Liszt. EMB Liszt Works. Book On...(+)
Piano SKU:
BT.EMBZ12699 Composed
by Franz Liszt. EMB Liszt
Works. Book Only.
Composed 1984. 60 pages.
Editio Musica Budapest
#EMBZ12699. Published by
Editio Musica Budapest
(BT.EMBZ12699).
English-German.
After touring Europe from
Lisbon to St. Petersburg
in the 1840s, Ferenc
Liszt settled in Weimar.
He abandoned his position
as a celebrated virtuoso
and took up the post of
court Kapellmeister
there. Ballade No. 2 is
also from the output of
this period. Composed
together with the Sonata
in B Minor and in the
same key, to the
discerning listener this
work reveals the
influence of Schubert and
Chopin. Intriguingly, the
work seems to have
progressed along the same
path as the composer
himself: initially, it
concluded with a
sensational and
thunderous finale, while
the definitive version
ends with quiet lyricism.
This duality can easily
be studied in this
edition, which includes
bothversions. This
revised (2018) edition is
raised to the level of
academic thoroughness by
a new editor s preface, a
facsimile, and full
critical notes. $18.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Romantic Masters for String Quartet - Intermédiaire/avancé Latham Music Enterprises
Orchestra Violin 1, 2, Viola and Violoncello - Grade 4.5 SKU: AP.36-50703008<...(+)
Orchestra Violin 1, 2,
Viola and Violoncello -
Grade 4.5 SKU:
AP.36-50703008
Composed by Lynne Latham.
Performance Music
Ensemble; String Quartet.
Ludwig Masters. Score. 96
pages. Latham Music
Enterprises #36-50703008.
Published by Latham Music
Enterprises
(AP.36-50703008). ISBN
9781621562887. UPC:
746241204127.
English. Six
masterpieces from the
Romantic era are
beautifully arranged in a
variety of styles for the
grade four to five string
quartet, a versatile
collection for any string
ensemble's library!
Titles include: Menuetto
No. 1 and No. 2 from
Serenade for Orchestra,
Op. 11 (Johannes Brahms);
Polonaise Op. 40, No. 1
(Frederic Chopin);
Andante (Franz Schubert);
Selections from
L'arlesienne Suite No. 1
(Georges Bizet); Fugue
Op. 161, No. 1 (Camille
Saint-Saens) and Alla
tedesca from Symphony No.
3 (P.I. Tchaikovsky).
These products
are currently being
prepared by a new
publisher. While many
items are ready and will
ship on time, some others
may see delays of several
months. $24.99 - Voir plus => Acheter | | |
| Great Themes of the Romantic Era (Piano) Piano seul - Facile Santorella Publications
Great Themes Of The Romantic Era composed by Various. Arranged by Alexander Cole...(+)
Great Themes Of The
Romantic Era composed by
Various. Arranged by
Alexander Cole and Steven
Paul. For easy piano.
This edition: Paperback.
Collection. Classical.
Book. Text Language:
English. 48 pages.
Published by Santorella
Publications
$9.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Orchesterstudien fur Fagott Basson Hofmeister Musikverlag
Bassoon SKU: HF.FH-7068 Heft 4: Rossini, Donizetti, Schubert, Lortzing...(+)
Bassoon SKU:
HF.FH-7068 Heft 4:
Rossini, Donizetti,
Schubert, Lortzing,
Berlioz, Glinka, Nicolai,
Mendelssohn Bartholdy,
Chopin, Liszt,
Schumann. Composed by
Seltmann. Edited by
Angerhofer and Seltmann.
Arranged by Angerhofer
and Seltmann. Sheet
music. Friedrich
Hofmeister Musikverlag
#FH 7068. Published by
Friedrich Hofmeister
Musikverlag (HF.FH-7068).
ISBN 9790203470687.
8.3 x 11.7
inches. Gioacchino
Rossini: 1. Die
Liebesprobe; 2. Die
Italienerin in Algier; 3.
Semiramis; 4. Wilhelm
Tell; 5. Der Barbier von
Sevilla; 6. Die diebische
Elster; Gaetano
Donizetti: 1. Der
Liebestrank; 2. Don
Pasquale; Franz Schubert:
1. Symphonie Nr. 3; 2.
Symphonie Nr. 5; 3.
Symphonie Nr. 8 (Die
Unvollendete); Albert
Lortzing: 1. Zar und
Zimmermann; 2. Der
Wildschutz; Hector
Berlioz: 1. Romischer
Karneval, op. 9; 2.
Symphonie fantastique,
op. 14; 3. Fausts
Verdammung; Michael
Glinka: 1. Spanische
Ouverturee Nr. 1; Felix
Mendelssohn Bartholdy: 1.
Symphonie Nr. 3
(Schottische), op. 56; 2.
Musik zu Ein
Sommernachtstraum, op.
61; 3. Die Hebriden, op.
26; 4. Ouverture Ruy
Blas, op. 95; Robert
Schumann: 1. Symphonie
Nr. 1, op. 38; 2.
Klavierkonzert a-Moll,
op. 54; 3. Symphonie Nr.
2, op. 61; 4. Ouverture
zu Genoveva, op. 81; 5.
Symphonie Nr. 3, op. 97;
6. Ouverture zu Braut von
Messina, op. 100; 7.
Symphonie Nr. 4, op. 120;
8. Ouverture zu Manfred,
op. 115; Otto Nicolai: 1.
Die lustigen Weiber von
Windsor; Frederic Chopin:
1. Klavierkonzert Nr. 1;
Franz Liszt: Hungaria -
Symphonische Dichtung Nr.
9. $18.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Harmonica Encores Harmonica [Partition + Accès audio] - Intermédiaire/avancé Mel Bay
Composed by Jiayi He. Harmonica: Chromatic,Style,Classical ,Sol os. Book an...(+)
Composed by Jiayi He.
Harmonica:
Chromatic,Style,Classical
,Sol
os. Book and Online
Audio. 88
pages. Published by Mel
Bay
Publications, Inc
$19.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Pianoland - Volume 3 Piano seul Lemoine, Henry
Piano - Level 3 SKU: LM.26479 Composed by Sophie Allerme Londos. Methods,...(+)
Piano - Level 3 SKU:
LM.26479 Composed by
Sophie Allerme Londos.
Methods, Etudes.
Classical. Score and CD.
Editions Henry Lemoine
#26479. Published by
Editions Henry Lemoine
(LM.26479). ISBN
9790230964791. TCHA
IKOVSKY Piotr Illitch :
Trepak - BERTINI : Etude
- BERTINI : Etude -
TRADITIONNEL :
Saint-James Blues -
BERTINI : Etude - BACH
Johann Sebastian :
Prelude - BERTINI : Etude
- TRADITIONNEL : The
House of the rising sun -
CZERNY Karl : Etude -
PROKOFIEV Serge :
Grasshoper's Parade -
BERTINI : Etude - BRAHMS
Johannes : Valse -
POULENC Francis : Coda -
BERTINI : Etude - FREY
Martin : Etude - SCHUMANN
Robert : Sur une lagune
venitienne - JOPLIN Scott
: Maple Leaf Rag -
GURLITT : Etude - CHOPIN
Frederic : Valse -
SCHUMANN Robert :
Souvenir du theatre -
TCHAIKOVSKY Piotr Illitch
: Le lac des cygnes -
BEETHOVEN Ludwig van :
Valse - BERTINI : Etude -
BACH Johann Sebastian :
Prelude - KHATCHATURIAN
Aram : Andantino -
CHOSTAKOVITCH Dimitri :
Farewell Waltz - BRAHMS
Johannes : Valse -
BERTINI : Etude - BACH
Johann Sebastian :
Prelude - KABALEVSKI
Dimitri : Un voyage
amusant. $46.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Lcm Piano Handbook 2018-2020 Grade 8 Piano seul - Avancé Concordia Publishing House
Piano - advanced SKU: BT.LCM9790570121830 Exam Material. Book Only. 112 p...(+)
Piano - advanced SKU:
BT.LCM9790570121830
Exam Material. Book Only.
112 pages. London College
Music #LCM9790570121830.
Published by London
College Music
(BT.LCM9790570121830).
English. London
College of Music Piano
handbooks contain all of
the material that is
needed to take an LCM
exam in a single
publication — a wide
selection of pieces, all
of the required technical
work, and guidance and
examples for the
supporting tests.
Accompanying the pieces
are performance notes
written by a team of
leading pianists,
teachers and composers,
bringing the music to
life with their unique
interpretative
insights. $18.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Klavieralbum für Elise Piano seul Artist Ahead Musikverlag
Piano - easy SKU: M7.ART-42215 25 klassische and romantische Klavierst...(+)
Piano - easy SKU:
M7.ART-42215 25
klassische and
romantische
Klavierstücke - leicht
spielbar arrangiert.
Arranged by Theresia
Prelog. Score with online
audio files. 48 pages.
Artist Ahead Musikverlag
#ART 42215. Published by
Artist Ahead Musikverlag
(M7.ART-42215). ISBN
9783866422155.
German. Das
'Klavieralbum für Elise'
bietet 25 leicht spielbar
arrangierte Werke
berühmter klassischer
und romantischer
Komponisten wie u. a.
Haydn, Mozart, Beethoven,
Schumann, Tschaikowski
und Weber. Die Stücke
sind in progressiver
Reihenfolge angeordnet
und ermöglichen es
Spielern jeder
Altersstufe schon nach
kurzer Lernzeit die
groÃ?en Meister selbst zu
interpretieren und so die
faszinierende Welt der
klassischen Musik zu
entdecken. Neben dem
Klavierstück 'Für
Elise', eines der
beliebtesten Werke bei
Klavierschülern,
enthält dieses Album
weitere berühmte
Melodien und gängige
Unterrichtsliteratur der
Klassik und Romantik. Die
sorgfältig ausgewählten
Stücke sind bestens
geeignet zur Verwendung
neben jeder Klavierschule
sowie zum Selbststudium
für Wiedereinsteiger und
Hobbypianisten. Die
Kompositionen fördern
nicht nur den Fortschritt
des Spielers in
musikalischer und
klaviertechnischer
Hinsicht, sondern sind
ebenfalls ideale
Vortragsstücke zu
verschiedenen Anlässen.
Eine überschaubare
Länge der Stücke, ein
übersichtliches
Notenbild, zahlreiche
Fingersätze sowie ein
zum Buch erhältlicher
kostenloser Download mit
Audio-Dateien erleichtern
das Erlernen und fördern
die Spielfreude. Allen
Kindern, Jugendlichen und
Erwachsenen wünschen wir
viele schöne Stunden am
Klavier. $22.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| The Ditson Trio Album, Vol. 2 Violon et Piano Theodore Presser Co.
Chamber Music Cello, Piano, Violin SKU: PR.434400670 For violin, Cello...(+)
Chamber Music Cello,
Piano, Violin SKU:
PR.434400670 For
violin, Cello and
Piano. Composed by
Anton Rubinstein, Cedric
Lemont, Charles Francois
Gounod, Edvard Grieg,
Frederic Chopin, John
Bartlett, Jules Massenet,
and Peter Ilyich
Tchaikovsky. Edited by
Karl Rissland.
Collection. With Standard
notation. 72+16+20 pages.
Theodore Presser Company
#434-40067. Published by
Theodore Presser Company
(PR.434400670). ISBN
9781491114209. UPC:
680160094370. 9 x 12
inches. $29.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| 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 | | |
| Orchesterstudien fur Horn Cor Hofmeister Musikverlag
Horn SKU: HF.FH-7021 Klassik - Romantik Bd. 2. Composed by Frehse....(+)
Horn SKU:
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- Romantik Bd. 2.
Composed by Frehse.
Edited by Christoph
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Arranged by Christoph
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Sheet music. Friedrich
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#FH 7021. Published by
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ISBN 9790203470212. 9
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By Carol Barratt. For Piano. Folk, Blues, Classical. 64 pages. Published by Musi...(+)
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Composed by Miguel Llobet. Edited by Stefano Grondona. This edition: Saddle-wi...(+)
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| World's Favorite Easy to Play Accordion Pieces
Accordéon [Partition] Ashley Publications
Composed by Various. World's Favorite (Ashley). Classical. Softcover. 160 pages....(+)
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Publishing Company
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| Library Of Children's Piano Pieces Piano seul [Partition] - Facile Music Sales
By Amy Appleby. For Piano. Children's, Folk. Sheet Music. 240 pages. Published b...(+)
By Amy Appleby. For
Piano. Children's, Folk.
Sheet Music. 240 pages.
Published by Music Sales
$24.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Pianoland - Volume 5 Piano seul Lemoine, Henry
Piano - Level 4 SKU: LM.26714 Composed by Sophie Allerme Londos. Methods,...(+)
Piano - Level 4 SKU:
LM.26714 Composed by
Sophie Allerme Londos.
Methods, Etudes.
Classical. Score and CD.
Editions Henry Lemoine
#26714. Published by
Editions Henry Lemoine
(LM.26714). ISBN
9790230967143. DUVE
RNOY J.B. : Etude - BACH
Johann Sebastian :
Prelude - BERTINI Henri :
Etude - BARTOK Bela :
Danse paysanne - HAENDEL
Georg Friedrich :
Allemande - HAENDEL Georg
Friedrich : Sarabande -
ALLERME Sophie : If I
must do it - CLEMENTI
Muzio : Etude - SCHUBERT
Franz : Marche militaire
- FREY Martin : Etude -
MOZART Wolfgang Amadeus :
Marche turque - BERTINI
Henri : Etude - SCHUMANN
Robert : Reverie - KUHLAU
Friedrich : Sur un theme
de Rossini - BACH Johann
Sebastian : Prelude -
WALLER Fats : The Joint
is jumpin' - BERTINI
Henri : Etude - CHOPIN
Frederic : Valse - BACH
Johann Sebastian :
Invention - DEBUSSY
Claude : The little
shepherd - BERTINI Henri
: Etude - MENDELSSOHN
Felix : Feuille d'album -
CHOPIN Frederic : Prelude
- BACH Johann Sebastian :
Prelude - BRAHMS Johannes
: Danse hongroise -
CZERNY Karl : Etude -
BEETHOVEN Ludwig van :
Rondo - BERTINI Henri :
Etude - FRANCK Cesar :
Danse lente - BERTINI
Henri : Etude - SCARLATTI
Domenico : Capriccio -
BERTINI Henri : Etude -
BACH Johann Sebastian :
Prelude. $54.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| The Most Relaxing Classical Music Ever
Piano seul [Partition] Chester
By Music Sales. For Piano Solo. Popular, Classical. Sheet Music. 96 pages. Publi...(+)
By Music Sales. For Piano
Solo. Popular, Classical.
Sheet Music. 96 pages.
Published by Chester
Music. (CH64053)
ISBN 9780825633935. Sit
down at the Piano and
chill out with some of
the world's most soothing
melodies. This new
collection of cool
classical pieces lets you
play the cream of the
clasical repertoire.
Includes Barcarolle which
featured in the film
Lorenzo's Oil and is from
The Tales Of Hoffmann and
also The Ashokan Farewell
which featured in the TV
series The Civil War.
(4)$19.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Le Piano classique - Volume 2 Piano seul Combre
Piano - Level 3 SKU: LM.PN06213 Composed by Lucette Descaves. Classical. ...(+)
Piano - Level 3 SKU:
LM.PN06213 Composed
by Lucette Descaves.
Classical. Score.
Editions Combre #PN06213.
Published by Editions
Combre (LM.PN06213).
ISBN
9790230300568. TELE
MANN Georg Philipp :
Menuet et gigue - FRANCK
Cesar : Les plaintes
d'une poupee - CLEMENTI
Muzio : Final Op.86 No. 2
- HELLER Stephen : Etude
Op.47 No. 7 - SCHUMANN
Robert : Le moine bourru
- DIABELLI Anton : Rondo
Op.168 No. 3 - SCARLATTI
Domenico : Menuet -
HELLER Stephen : Le Cor
d'Oberon - WEBER Carl
Maria von :
Valse-Laendler - COUPERIN
Francois : Fanfare -
HAENDEL Georg Friedrich :
Petite sonate - SCHUMANN
Robert : Chant du berceau
- HELLER Stephen :
Mazurka - MOZART Wolfgang
Amadeus : Sonate en Ut
maj. KV545 - SCHUBERT
Franz : Moment musical
Op.94 No. 6 - TELEMANN
Georg Philipp : Gigue -
DIABELLI Anton : Rondo
Op.168 No. 1 - CHOPIN
Frederic : Mazurka Op.7
No. 1 en Sib maj. -
TCHAIKOVSKY Petr Ilitch :
Marche des soldats de
bois - BACH Carl Philip
Emanuel : Fantaisie -
KUHLAU Frederik :
Sonatine Op.55 No. 5 -
BEETHOVEN Ludwig van :
Lettre a Elise - HELLER
Stephen : Etude Op.47 No.
18 - BEETHOVEN Ludwig van
: Rondo en Ut maj. Op.51
No. 1 - FIELD John :
Concerto No. 1 - HAYDN
Joseph : Sonate No. 5 en
Ut maj. $35.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Irreverences Piano seul Billaudot
Piano SKU: PR.510076960 Pour Piano. Composed by Stephane Delplace....(+)
Piano SKU:
PR.510076960 Pour
Piano. Composed by
Stephane Delplace. Full
score. With Standard
notation. 28 pages.
Duration 25 minutes, 37
seconds. Gerard Billaudot
Editeur #510-07696.
Published by Gerard
Billaudot Editeur
(PR.510076960).
1. Choral: An
improbably superimposing
of Beethoven and Brahms.
At the end of the first
performance of the
latter's 1st Symphony,
someone asked the
composer: Don't you find
that your main theme
remin ds one of the Ode
to Joy? To which he
retorted: Even an idiot
would have noticed it! 2.
Fugue: in the last
exposition, the subject
of Fugue I from volume 1
of Bach's Well-Tempered
Keyboard is super imposed
on the theme from
Mozart's so-called easy
sonata. 3. Passion: In
his Violin Concerto,
Mendelssohn, to whom we
owe the rediscovery of
Bach's Passions, seems to
have borrowed a theme
from a lost Passion. 4.
Recitativo: Tribute to
Franck's tribute to Bach
in his Sonata for violin
and piano. 5. Invention:
A private revenge, after
a bitter failure.
Debussy's Toccata was on
the compulsory list for
the Conservatory piano
class entrance exam. 6.
Arpeggione: In which the
listener realizes the
similarity in the
introduction to
Schubert's Unfinished
Symphony and Arpeggione
Sonata. 7. Sarabande: The
most iconoclastic, for
Bach's 5th Cello Suite is
already suffused with
harmony. There might be
an evocatioin of a
Brahms-like overarching
structure, though... 8.
Variation: The slowest
variation ever written on
Paganini's 24th Caprice.
9. Scene: Schumann's
Reverie as a Prelude. 10.
Finale: In order to
capture the elusive
harmony of the Finale of
Chopin's Sonate Funebre.
11. Fugue on Au clair de
la lune: Our greatest
nursery rhymes, fugue
fitted and choralized.
12. Fugue de Noel
(Christmas fugue): Quite
appropriate. 13. Fugue on
J'ai du bon tabac:
Prohibited counterpoint.
14. Fugue on La
Marseillaise:
Franco-German
reconciliation. 15. Pedal
- Exercitium: Realization
and conclusion of Bach's
organ pedal exercies. $29.99 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| The Singer's Musical Theatre Anthology - 16-Bar Audition - 3rd Edition from Volumes 1-7 Voix Soprano, Piano Hal Leonard
Piano Accompaniment, Soprano SKU: HL.329321 Soprano Edition. Compo...(+)
Piano Accompaniment,
Soprano SKU:
HL.329321 Soprano
Edition. Composed by
Various. Edited by
Richard Walters. Vocal
Collection. Broadway,
Musicals. Softcover. 200
pages. Published by Hal
Leonard (HL.329321).
ISBN 9781540083432.
UPC: 840126905694. 9x12
inches. 134 songs
particularly good for
auditions have been
selected from Volumes 1-7
of the Singer's Musical
Theatre Anthology and
professionally edited for
a 30-40 second ?16-bar?
version, retaining the
original
key.
Contents: Ah!
Sweet Mystery of Life ?
All That Matters ? Almost
Real ? Another Suitcase
in Another Hall ? Another
Winter in a Summer Town ?
Art Is Calling for Me ?
The Beauty Is ? Bewitched
? Beyond My Wildest
Dreams ? A Call from the
Vatican ? Can't Help
Lovin' Dat Man ? Children
of the Wind ? Children
Will Listen ? Come to My
Garden ? Cry like the
Wind ? Daddy's Girl ?
Dear Friend ? Falling in
Love with Love ? Feelings
? Follow Your Heart ? For
the First Time in Forever
(Broadway Version) ? From
Chopin to Country ? The
Glamorous Life ? Glitter
and Be Gay ? The Golden
Ram ? Gooch's Song ?
Green Finch and Linnet
Bird ? Hello, Young
Lovers ? Home ? Home ?
How Lovely to Be a Woman
? I Could Have Danced All
Night ? I Don't Know His
Name ? I Don't Know What
I'd Do Without You ? I
Feel Pretty ? I Have a
Love ? I Have Confidence
? I Have Dreamed ? I Have
to Tell You ? I Know It's
Today ? I Wonder What
Became of Me ? I'll Know
? I'm Leaving You ? I've
Decided to Marry You ? If
I Loved You ? If I Were a
Bell ? In His Eyes ? In
My Life ? Inside Out ? Is
It Really Me? ? It Never
Was You ? Let Us Be Glad
? Like a Woman Loves a
Man ? Listen to Your
Heart ? Love, Look Away ?
Love Makes Such Fools of
Us All ? Lovely ? Make
Believe ? Matchmaker ?
Migratory V ? Mister Snow
? Moonfall ? Morning
Person ? Mr. Right ? Much
More ? My Favorite Things
? My Funny Valentine ? My
Lord and Master ? My Ship
? My True Love ? My White
Knight ? Nelson ? Never ?
No One Is Alone - Part I
? No Other Love ? Not a
Day Goes By ? Nothing Is
Too Wonderful to Be True
? Nothing Stops Another
Day ? Old Maid ? On the
Steps of the Palace ?
Once You Lose Your Heart
? One Boy (Girl) ? One
More Kiss ? Only Love ?
Out of My Dreams ? People
Will Say We're in Love ?
Practically Perfect ?
Raining ? Raunchy ?
Ribbons down My Back ?
Rosa's Confession ? The
Saga of Jenny ? The
Secret Service ? Show Me
? The Simple Joys of
Maidenhood ? So in Love ?
So Many People ? Some
Things Are Meant to Be ?
Somebody, Somewhere ? The
Song That Goes like This
? Sons of (Fils De) ?
Soon ? Speak Low ? Take
Me to the World ? Ten
Minutes Ago ? Thank
Goodness ? That Dirty Old
Man ? That'll Show Him ?
There's a Small Hotel ?
There's Music in You ?
Think of Me ? This Is All
Very New to Me ? This
Place Is Mine ? Till
There Was You ? To Build
a Home ? Too Much in Love
to Care ? Tour de France
? Unexpected Song ?
Unusual Way ? Vanilla Ice
Cream ? Waiting ? Waitin'
for My Dearie ? What More
Do I Need? ? When Did I
Fall in Love ? When He
Sees Me ? When There's No
One ? Where or When ?
When Was I Born? ? Will
He Like Me? ? Will You? ?
Wishing You Were Somehow
Here Again ? With You ?
Without You ? The Wo. $24.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Nocturne Piano Piano seul - Intermédiaire/avancé Schott
Piano - intermediate to advanced SKU: HL.49015609 Nocturnes. Compo...(+)
Piano - intermediate to
advanced SKU:
HL.49015609
Nocturnes.
Composed by Stefan
Heucke. This edition:
Saddle stitching. Sheet
music. Edition Schott.
Classical. Composed
1998-2000. Op. 32. 48
pages. Duration 5'.
Schott Music #ED 9145.
Published by Schott Music
(HL.49015609). ISBN
9790001126533.
9.0x12.0x0.274
inches. Der Titel
des Klavierzyklus'
Nacht-Urnen ist ein
makabres Wortspiel mit
dem franzosischen Begriff
Noct-urne. Die
Assoziation Urne -
Grabgefass ist
beabsichtigt, denn die
Gattung des romantischen
Nachtstucks fur Klavier
wird in diesen Stucken -
zumindest im ubertragenen
Sinne - zu Grabe
getragen. Das erste Stuck
Nocturne greift auf den
dreiteiligen Typ des
Chopin'schen Nocturnes
zuruck. Einer von zart
getropften Tonen
umspielten Melodie folgt
ein bewegt - aufgewuhlter
Mittelteil, dem sich die
Reprise des ersten Teils
anschliesst, diesmal
allerdings wird die
Melodie von leise
rauschenden Skalen
umspielt, ehe eine
beinahe nuchterne Coda
die musikalische
Quintessenz
brennglasartig
zusammenfasst und
bundelt. Dieses Stuck
entstand 1998 und war
Pflichtstuck beim
Internationalen
Schubert-Wettbewerb 2000
in Dortmund.Die drei
folgenden Stucke bilden
gewissermassen eine
Einheit. Nummer zwei
Ciacona notturna ist ein
hochst virtuoses Werk fur
die linke Hand allein, in
dem sich grosse
Klavierkomponisten, die
Werke fur die linke Hand
allein geschrieben haben
- Alkan, Brahms,
Godowsky, Ravel,
Prokofieff - gleichsam
ein nachtliches
Stelldichein geben. Das
dritte Stuck Unendliche
Melodie - Melodie der
Unendlichkeit (fur die
rechte Hand allein -
meines Wissens ausser
einer Etude von Alkan das
einzige existierende Werk
fur die rechte Hand
allein) spielt mit der
Idee eines
Zeitkontinuums, das schon
vor Beginn des Stuckes
unhorbar im Raum war und
sich auch nach dem Ende
des Stuckes in alle
Ewigkeit weiter
fortsetzen konnte. Ein
einzelner Ton f in der
Mitte der Klaviatur wird
55 Takte lang
angeschlagen und uber ihm
entfaltet sich eine weit
gespannte Melodie, die
die rechte Hand alleine
ausspinnt. Exakt beim
Hohepunkt der Melodie (es
ist der Goldene Schnitt),
wechselt das f zum e, das
weitere 33 Takte lang
angeschlagen wird,
wahrend die Melodie
daruber wieder zuruck zur
Mitte findet. Diese 88
Takte symbolisieren die
Unendlichkeit: 8 als
barockes Zahlensymbol fur
die Vollkommenheit der
Ewigkeit und die liegende
8 als mathematisches
Symbol fur die
Unendlichkeit.
Schliesslich ist in dem
Titel des Stuckes noch
eine Anspielung auf
Richard Wagners Begriff
der Unendlichen Melodie
enthalten.Nach einem
Stuck fur die linke und
einem fur die rechte Hand
allein, kann sich als
viertes nur ein
Unisonostuck
anschliessen, in dem
beide Hande stets die
gleichen Tone, aber in
unterschiedlichen
Oktavabstanden und
verschiedenen
rhythmischen Akzenten
spielen. La scala
dell'inferno (Die
Hollenleiter) sturzt von
hochster Hohe in rasenden
Skalen in die tiefsten
Regionen des Klaviers
hinab, unterbrochen von
zwei kurzen Zitaten des
Dies Irae in der
Mitte.Der Schlusssatz
schliesslich Marche
funebre knupft in seiner
dusteren Unentrinnbarkeit
an die grossen
Trauermarschvorbilder
Beethovens (op. 26) und
Chopins (op.35) an. Die
sich in schwerem
Funfertakt entlang
rollenden dusteren
Tonkaskaden werden in der
Mitte von einem
glasern-durchsichtigen
Mittelteil unterbrochen,
der in seiner
gleissenden, fast
schneidenden Helligkeit
Assoziationen an
Nahtoderlebnisse nahe
legen mag. Die
Nacht-Urnen op. 32 wurden
2001 im Museum Baden in
Solingen von dem
Pianisten Rainer Klaas
uraufgefuhrt, dem der
Zyklus auch gewidmet ist.
- Stefan Heucke. $22.99 - Voir plus => Acheter | | |
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