Mendelssohn 's Lieder Ohne Worte , or ' Songs without Words ,' is among the most loved, most played collections in the Romantic Piano repertoire. Reproduced from the authoritative Breitkopf and Härtel edition, this volume contains all of these popular compositions - more than 40 pieces, including such favourites as Spinning Song, Spring Song, and Venetian Gondola Song. Composed at various points throughout his life, Mendelssohn compiled this collection of short works for the amateur pianist looking for high quality, yet not-to-difficult music. Still practiced and performed today, ' Songs without Words ' is often considered to be Mendelssohn 's greatest legacy as a composer. For study or play, this work represents and admirable addition to any music library. Reprint of the Breitkopf and Härtel, Leipzig, edition. / Piano

Par VON SCHAUROTH DELPHINE. Six Songs Without Words by Delphine von Schauroth, arranged for flute and piano by Virginia Broffitt Kunzer and Tammie Walker. German pianist and composer Delphine von Schauroth was a contemporary of Felix Mendelssohn and also the dedicatee of his famous Piano Concerto No. 1 in G minor. Her Six Songs Without Words were originally composed for piano solo, however, because of the nature of them, it is easy to see how a flute melody can be extracted from each of them. / Date parution : 2022-11-29/ Répertoire / Flûte et Piano

15 intermediate to early advanced selections from Mendelssohns Songs Without Words, edited and recorded by Immanuela Gruenberg. This publication also includes access to companion recorded performances online, for download or streaming, using the unique code printed inside the book.Schirmer Performance Editions are designed for piano students and their teachers as well as for professional pianists. These editions offer insightful interpretive suggestions, pertinent fingering, and historical and stylistic commentary. Prepared by experienced artists and master teachers, these publications provide an accurate, well-informed score resource for pianists. / Piano

Sir Charles Hubert Hastings Parry est souvent considéré comme un compositeur chorale mais il a été prolifique dans la plupart des genres. Les Sonnets et Chansons sans paroles sont influencés par le piano de Mendelssohn fonctionne de façon similaire intitulé Songs Without Words. Les morceaux ont été écrits plus de 10 ans et ont été initialement publiées en trois sets. Tous les trois ensembles sont réunis dans ce volume fantastique. / Piano / niveau : Moyen / Recueil

'Songs Without Words' - c'est ce que Felix Mendelssohn Bartholdy (1809-1847) a appelé ses pièces pour piano, des miniatures lyriques romantiques dans lesquelles le compositeur voulait 'chanter' sur l'instrument à clavier. Avec eux, il a inventé une forme entièrement nouvelle de la musique de chambre au 19ème siècle. Ces 'Songs' sont également parfaitement adapté pour le jeu en duo: pour un instrument mélodique avec accompagnement de piano. La 'Chanson sans paroles' Op. 30/3 est un solo lyrique enrichissante. / Violon Et Piano

The second volume of a thousand and one all-time hit songs ranging from essential standards to the latest pop hits - a must for all singers and musicians. / Chant Et Guitare

Featuring Easy Piano arrangements of 21 more Classical Favourites, this sheet music songbook will satisfy any beginner's desire to play the most popular and enduring classical pieces ever composed by the masters of the genre. These simple arrangements feature fingering guidance, song background notes and helpful performance hints.With some of the most beautiful classical music included here, this Really Easy Piano songbook will let you play the standards, the traditionals and the essentials quickly and easily. Schubert's Ave Maria, Debussy's En Bateau, Mendelssohn's Song Without Words and the all-time favourite, Vivaldi's Spring from The Four Seasons are included, among many others. Each of these composers represents a very different school of music, so you'll love picking out your favourite or playing through them all and then exploring the rest of their oeuvre.This instalment of the Really Easy Piano series puts the best-loved Classical Favourites right at the fingertips of beginning pianists. All too often playing the works of these composers is but a dream of players who are just starting out. Now, such masters of composition as Beethoven, Mozart, Puccini, Wagner and Handel are immediately accessible to pianists in the early stages of their playing, letting them learn these glorious melodies and soaring chords without the decades of practice necessary to master the full arrangements. Even though they are simplified, they sound absolutely great, from the lively to the melancholy and everything in between, these pieces are sure to impress any audience.Not only do you get Easy Piano arrangements of tunes like Sarabande, Vocalise and Dance Of The Knights, as with all the books in the Really Easy Piano series some fascinating background information on each song is included, as well as really useful practical performance advice, ensuring that you nail every note and play every phrase perfectly.This book of Really Easy Piano: More Classical Favourites features a great number of beautiful classical pieces that are easy to play and sound utterly fantastic. This book is suitable for pianists at the early grades, bringing amazing classical music to the fingertips of beginners, enabling you to learn the timeless pieces that we return to again and again. / 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

Arrangeur: Elizabeth Walker. Par LECLAIR JEAN-MARIE. Elizabeth Walker has previously arranged four songs for flute and piano by Richard Strauss for ALRY Publications, as well as four 'Songs Without Words' by Felix Mendelssohn for two flutes and piano. This 'Chaconne' by Jean-Marie Leclair is taken from his 'Deuxième récréation de musique', opus 8, originally composed for two flutes or two violins, and basso continuo. It is a long, involved movement lasting approximately 8 minutes: with contrasting major and minor sections, multiple rhythmical, rhetoric and emotional changes. The piece shows influences of flamboyant artistry seen in Italian baroque pieces, but also the formal structures of the French dance form. Elizabeth has addedphrasings, articulations and written out some of the French baroque ornaments to aid a historically informed, stylistic interpretation on modern flutes./ Répertoire / 2 Flûtes Traversières et Piano

28 pieces by JS Bach, Bartók, Chopin, Debussy, Grieg, Liszt, Mendelssohn, Satie, Schubert, Schumann, Scriabin, and Tchaikovsky. All are at the upper intermediate level in a slim, affordable volume. Includes - JS BACH: Prelude in D minor, BWV 935 - BARTÓK: Bear Dance from Ten Easy Pieces - CHOPIN: Prélude in D-flat Major Raindrop, Op. 28, #15 - Waltz in B minor, Op. 69, #2 (Posthumous) - DEBUSSY: Doctor Gradus ad Parnassum from Children's Corner - Rèverie - GRIEG: March of the Trolls from Lyric Pieces, Op. 54, #3 - LISZT: Consolation #3 from Consolations, MENDELSSOHN: Song Without Words in F-sharp minor, Venetian Boat-Song #2, Op. 30, #6 - SATIE: Three Gymnopédies - SCHUBERT: Moment musical in A-flat Major from Six moments musicaux, Op. 94, #2 / Piano

New Liszt Edition III Vol. 1. Par LISZT FRANZ. Composed in 1834, Liszt's Grand duo is based on material from three pieces from the first book (op. 19b) of Mendelssohn's Songs without Words (no. 1 in E major, no. 6 in G minor, and no. 3 in A major). While Liszt made an almost literal transcription of the first piece, he gave the second and third pieces a much freer arrangement, in the style of concert paraphrases. The large-scale concert piece was premiered by Liszt and Chopin on Christmas Day 1834 in a salon in Paris. The Grand duo was not published in Liszt's lifetime, and has survived as a draft. Schubert's Fantasy in C major (also known as the 'Wanderer' Fantasy) was a defining musical experience for the young Liszt. He arranged this masterpiece of Romantic piano literature for piano and orchestra in 1851, at the beginning of his Weimar period, and it was premiered by Julius Egghard in Vienna in December of that year. By 1855, Liszt had transcribed this arrangement for two pianos, because it was played on 22 October 1855 at a concert held in Weimar in honour of his birthday. With the version for piano and orchestra, Liszt attuned the fantasy to the requirements of the concert hall, reinforcing the orchestral effects inherent in Schubert's composition. His aim with the two-piano version was to achieve a similarly grand effect in spaces too small for an orchestra. The arrangement for piano and orchestra appeared in print in 1857, followed by the two-piano version in 1862. This volume comes complete with a detailed preface in English, German, and Hungarian containing new research findings, several manuscript facsimiles, and a critical report in English. / Date parution : 2023-03-11/ Répertoire / 2 Pianos

Par DICKBAUER KLAUS / GASSELSBERGER MARTIN. 'My Song Diary”, a joint production by Klaus Dickbauer and Martin Gasselsberger, contains twelve easy to intermediate 'songs without words” for alto saxophone. They explore a range of musical styles, spanning jazz, pop, world music and cinema and encompass a variety of emotions. The composers invite you to enter their world either as in partnership with a pianist or as a soloist playing with the backing tracks on the CD and they offer hints on improvisation which are demonstrated on the performance tracks also on the CD. You can print the piano part yourself, free of charge, or buy a professionally printed copy as a book./ Recueil / Saxophone Alto et Piano en PDF