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

Concert Pieces from the Clarinet Method. Par BAERMANN CARL. The clarinet method op. 63 by Carl Baermann from 1867 is still a standard work in classical clarinet education today. The thoroughly revised new edition aims at reviewing the educational concept, which is still valid today, for modern lessons, adjusting the music and texts, and sensibly complementing the teaching contents. The editor who draws on many years of experience as a clarinettist in an orchestra and university lecturer of clarinet has succeeded in adapting the valuable teaching material to the requirements of today while maintaining the basic methodology. The result is a total of 7 volumes: Clarinet Method Vol. 1 and Vol. 2 (ED 21761, ED 21762) Clarinet Method Vol. 1 and Vol. 2, with 2 CDs each (ED 21761-50, ED 21762-50): The CDs contain the piano accompaniment for the performance pieces, with and without clarinet Tune Book 1 and 2 (ED 21763, ED 21764): piano score of the method\'s performance pieces, with additional inserted clarinet part Daily Exercises (ED 21765): systematic scale, interval and chord exercises in all keys, complemented and published separately from the original method Due to trilingual nature of all editions (German, English, French), they can be used universally. About the revision: The musical text is based on the first edition of the method. Only a few differences concerning the articulation as well as some misprints and typographical errors were revised. By deleting the historical fingering instructions for the German fingering system, the clarinet method not only has a clean and, compared to the original, more clearly structured layout, but can also be used universally. The content of the text and the performance directions of the original were linguistically modernized and occasionally extended by further ideas from the teaching practice, such as concepts for warming up, breathing exercises, literature suggestions or tips for daily practising. Further additions of scale and triad studies in all major and minor keys make this method a comprehensive and thorough work of study which not only serves as teaching material for young and adult beginners, but is also a valuable compendium of scale exercises and studies for advanced musicians and is ideal for training velocity and dexterity. The tune books contain all performance pieces from the Clarinet Method Op. 63 by Carl Baermann for clarinet and piano. Thanks to the revised editions, they are now available as scores with inserted solo part for the first time. Thus, the popular performance pieces and studies can also be used separately from the textbook ? as an addition to the repertoire of music lessons or simply as a collection of attractive performance pieces for pupils and advanced clarinettists. As with the two volumes of the Clarinet Method, the musical text of the tune books is based on the first edition of the method, and only few differences concerning articulation as well as several misprints and typographical errors were revised. By deleting the historical fingering instructions for the German fingering system, the clarinet method not only has a clean and, compared to the original, more clearly structured layout, but can also be used universally. / Éducatif / Recueil / Clarinette en Bb et Piano

Par SAINT-SAENS CAMILLE / BUSSER. Camille Saint-Saëns (1835-1921) is best known for his Carnival of the Animals and Organ Symphony. Yet, his Fantasy in E flat major arranged for Cornet or Trumpet and Piano remains popular in the advanced repertoire for the instruments. Saint-Saëns entered the Paris Conservatoire at the mere age of thirteen, where he studied Organ and composition. He then went on to have a successful career as an organist and composer, writing his Fantasy in E flat major in 1857. The piece was originally composed for the Organ, but Henri Busser (1872-1973) recognised the work's significance and arranged it for Cornet or Trumpet with Piano accompaniment. To this day, Fantasy in E flat majorremains prominent in the advanced brass player's repertoire./ Répertoire / Trompette ou Cornet en Sib ou Trompette en Do et P

for piano solo. Par GREENWOOD JONNY. 88 (No.1) by Jonny Greenwood is a contemporary work for solo piano, suitable for advanced-level players, consisting of two movements, slow and fast. Only previously performed by a handful of selected pianists, this work is now being made available for general public performance for the first time. Jonny Greenwood is best known as the lead guitarist of the band Radiohead. To date he has penned several 'classical” works including Popcorn Superhet Receiver (string orchestra), parts of which were worked into his soundtrack for the film There Will Be Blood (2007). He was also nominated for an Oscar for his soundtrack to the film Phantom Thread (2018)./ Recueil / Piano

The soundtrack to Nintendo's The Legend of Zelda?: Spirit Tracks is packed with melodic themes that sound great on the piano! With this officially licensed sheet music collection, pianists can dazzle friends and family by playing 22 familiar themes from the popular video game. The arrangements in this Easy Piano edition are moderately streamlined compared to those in the separately published Intermediate-Advanced edition, yet they retain a full and impressive sound. / Piano

Arrangeur: Josh Cohen. Par COHEN JOSH. Josh Cohen: Radiohead for Solo Piano is a beautifully produced collection of some of Radiohead's best-loved songs, arranged for intermediate to advanced piano solo (with lyrics) by YouTube pianist Josh Cohen. These exclusive transcriptions were made popular by Cohen's YouTube channel and the book includes a playing guide and introduction from the arranger. This band-approved book features a specially designed cover and mono prints throughout from Radiohead artist Stanley Donwood./ Recueil / Piano

Par DOBRZYNSKI IGNACY FELIKS. Ignacy Feliks Dobrzynski wrote eight nocturnes for piano. Five of them were published in 1833–1834 in two books as Opp. 21 and 24, while the remainder appeared in various occasional collections issued much later. The Nocturne in A major was written in 1846 and belongs to the group of works composed by Dobrzynski during his tour of German cities. That tour was designed to increase the composer’s popularity and boost his finances. Besides concerts and meetings promoting Dobrzynski’s music, the ‘marketing campaign’ also included the publication of his new salon miniatures in particular cities. This Nocturne appeared in print in Berlin as Op. 52, together with a short mazurka constituting a transcription of the earlier song ‘Gdzie lubi’ (‘A fickle maid’). The form of this piece is based on an A-B-A1 scheme typical of the genre, with a quite elaborate epilogue. In section A, the composer based the melody on a one-bar motif in mazurka rhythm, which he combined with a bass led in widely spread chords, often used in nocturnes. He thus obtained a specifically idyllic mood. The sonorities, the type of melody and texture and, above all, the ornaments that appear as the work progresses bring to mind the early work of Fryderyk Chopin. The chordal section B, of lively expression, in the key of F sharp minor and a uniform triple rhythm, triggers associations with the middle section of Chopin’s Nocturne in A flat major, Op. 32 No. 2. After a short bridge, the reprise comprises a reiteration of the opening part of section A, which then passes into the epilogue, in which the composer splices motifs from both contrasting sections. It is difficult to date the second Nocturne published here and to establish the circumstances surrounding its composition. It was published posthumously (in 1868, in Warsaw), in the Album Pamiatkowe IG.F. Dobrzynskiego (‘Souvenir album of I. F. Dobrzynski’), which also contained two mazurkas, two songs and an excerpt from his incidental music for the play Konrad Wallenrod arranged for four hands. These compositions were not previously published and probably come from private collections. The Nocturne carries a dedication to Miss Wanda Miecznikowska. Determining the principal key of this work is rather problematic, since it falls into two tonally and expressively contrasting sections, divided by a lengthy caesura. An agitated, emotional episode in F minor (in A-B-A1 form, section B in A flat major), ending with a distinct conclusion, is followed, rather unexpectedly, by completely new material in the key of F major; adhering to a slower tempo and of very restrained expression, it serves as a sort of post scriptum, a lengthy and calming musical commentary to the foregoing segment. One may even gain the impression that this Nocturne is essentially a diptych consisting of two separate ‘songs without words’. Judging by its style, which is close to the lyric writing of Franz Schubert, Felix Mendelssohn-Bartholdy or John Field, with elements of the style brillant, this work could have been written earlier than the Nocturne in A major. One may also discern here a certain melodic-rhythmic similarity to the above-mentioned Nocturne in A flat major by Chopin. Both these Dobrzynski mazurkas could make interesting additions to the repertoire of both professional pianists and more advanced amateurs interested in nineteenth-century salon music. They may also enrich the programmes of concerts and broadcasts, particularly those devoted to Polish music, and also be included on the curricula of secondary schools of music. The present edition was based on the first editions. The proposed fingering in both works and the pedalling in the Nocturne in A major are entirely the work of the editors; other editorial performance markings are given in brackets. / Répertoire / Piano

Voix Moyenne Et Piano-Recueil. Par POULENC FRANCIS. Poulenc 's five songs, Poèmes De Ronsard were composed in 1925 during the post-war euphoria. The cycle is essential to aspiring, advanced vocalists of the French art song. Francis Poulenc (1899-1963) was a highly prolific composer, and remains popular to this day. Poèmes De Ronsard was composed towards the beginning of the composer's career, based on poems by prolific French poet, Pierre de Ronsard. Poèmes De Ronsard is made up of five songs which alternate between lively and slow tempos; 1) Attributes, 2) The Tomb, 3) Ballet, 4) Ionly have the Bones, and 5) On his page. As a song cycle with much variation, Poulenc 's Poèmes De Ronsard is an exciting addition to the Vocal repertoire./ Répertoire / Voix Moyenne et Piano

Concerto Solo no. 1. Par ROUGNON PAUL. French composer, pianist and teacher, Paul Rougnon (1846-1934) studied at the Paris Conservatoire under many prolific musicians of the time, including Cesar Franck. Rougnon 's composition catalogue is extensive, with many works remaining popular to this day, including his First Concert Solo for Trumpet or Cornet and Piano. The date of composition is unknown, however Rougnon 's First Concert Solo displays characteristics of early, French romantic music, such as chromaticism, flourishing semiquaver passages, complex rhythms and extensive use of performance directions. For all advanced, aspiring Trumpetand Cornet players, Rougnon provides an alternative, exciting performance work./ Répertoire / Trompette en Do ou Sib et Piano

Par WIDOR CHARLES-MARIE. French organist, composer and teacher, Charles-Marie Widor (1844-1937) is predominantly known for his Organ symphonies. However, his Introduction et Rondo for Clarinet and Piano also remains popular and is still regularly performed today. Widor became Director of Organ Studies at the Paris Conservatoire in 1890 and soon followed this by taking charge of the composition class. His Introduction et Rondo was composed in 1898 during his period at the Conservatoire and at the height of his career. The piece exploits the Clarinet to its full potential, creating a challenging yet exciting performance on the instrument. Widor 's Introduction et Rondo is essential to the repertoire of all advanced clarinetists./ Répertoire / Clarinette et Piano

Par MIER MARTHA. Book 5 of this popular series contains four duets in jazz, rags, and blues styles. Early advanced pianists will enjoy the syncopated rhythms and colorful, rich harmonies found in this collection. / Ensemble Music, Miscellaneous, Scores / Recueil / Piano 4 Mains

Explore the rich musical landscape of the East as each Prelude weaves together native themes from countries including China, India, Japan, Korea, and Thailand with Christopher Norton's characteristically innovative popular music styles. Ideal for intermediate to advanced-level keyboard players, these pieces are perfect for the concert platform, whilst providing excellent teaching material.An accompanying CD puts each Prelude on the map with stylish demonstration performances by Iain Farrington. / Piano