24 Little Pieces, Opus 39

SKU: CY.CC2666

Arnold Schoenberg's Six Little Pieces, Opus 19, originally for Piano, were published in 1913 at a time when the composer was reacting to his feelings of the excesses of the Romantic Period. They were composed concurrently with his gigantic work Gurre-Lieder. The first five pieces were written in one day and the last one shortly after the death of Gustav Mahler as a rumored tombeau or memorial. Mr. Sauer has deftly arranged these six short pieces of around 5 minutes in length for advanced performers.

SKU: CY.CC2803

Arnold Schoenberg's Six Little Pieces, Opus 19, originally for Piano, were published in 1913 at a time when the composer was reacting to his feelings of the excesses of the Romantic Period. They were composed concurrently with his gigantic work Gurre-Lieder. The first five pieces were written in one day and the last one shortly after the death of Gustav Mahler as a rumored tombeau or memorial. Mr. Sauer has deftly arranged these six short pieces of around 5 minutes in length for advanced performers.
Parts are supplied for bass and treble readers.

SKU: CY.CC2663

Arnold Schoenberg's Six Little Pieces, Opus 19, originally for Piano, were published in 1913 at a time when the composer was reacting to his feelings of the excesses of the Romantic Period. They were composed concurrently with his gigantic work Gurre-Lieder. The first five pieces were written in one day and the last one shortly after the death of Gustav Mahler as a rumored tombeau or memorial. Mr. Sauer has deftly arranged these six short pieces of around 5 minutes in length for advanced performers.

SKU: HL.48019678

9.0x12.0x0.77 inches.

SKU: PR.114402070

ISBN 9781491112977. UPC: 680160005161. 9 x 12 inches.

SKU: CF.YAS13F

ISBN 9780825848339. UPC: 798408048334. 8.5 X 11 inches. Key: G major.

IApart from some of his Sonatinas, Opus 36, Clementi's life and music are hardly known to the piano teachers and students of today. For example, in addition to the above mentioned Sonatinas, Clementi wrote sixty sonatas for the piano, many of them unjustly neglected, although his friend Beethoven regarded some of them very highly. Clementi also wrote symphonies (some of which he arranged as piano sonatas), a substantial number of waltzes and other dances for the piano as well as sonatas and sonatinas for piano four-hands.In addition to composing, Clementi was a much sought after piano teacher, and included among his students John Field (Father of the 'Nocturne'), and Meyerbeer.In his later years, Clementi became a very successful music publisher, publishing among other works the first English edition of Beethoven's Violin Concerto, in the great composer's own arrangement for the piano, as well as some of his string quartets. Clementi was also one of the first English piano manufacturers to make pianos with a metal frame and string them with wire.The Sonatina in C, Opus 36, No. 1 was one of six such works Clementi wrote in 1797. He must have been partial to these little pieces (for which he also provided the fingerings), since they were reissued (without the fingering) by the composer shortly after 1801. About 1820, he issued ''the sixth edition, with considerable improvements by the author;· with fingerings added and several minor changes, among which were that many of them were written an octave higher.IIIt has often been said, generally by those unhampered by the facts, that composers of the past (and, dare we add, the present?), usually handled their financial affairs with their public and publishers with a poor sense of business acumen or common sense. As a result they frequently found themselves in financial straits.Contrary to popular opinion, this was the exception rather than the rule. With the exception of Mozart and perhaps a few other composers, the majority of composers then, as now, were quite successful in their dealings with the public and their publishers, as the following examples will show.It was not unusual for 18th- and 19th-century composers to arrange some of their more popular compositions for different combinations of instruments in order to increase their availability to a larger music-playing public. Telemann, in the introduction to his seventy-two cantatas for solo voice and one melody instrument (flute, oboe or violin, with the usual continua) Der Harmonische Gottesdienst, tor example, suggests that if a singer is not available to perform a cantata the voice part could be played by another instrument. And in the introduction to his Six Concertos and Six Suites for flute, violin and continua, he named four different instrumental combinations that could perform these pieces, and actually wrote out the notes for the different possibilities. Bach arranged his violin concertos for keyboard, and Beethoven not only arranged his Piano Sonata in E Major, Opus 14, No. 1 for string quartet, he also transposed it to the key of F. Brahm's well-known Quintet in F Minor for piano and strings was his own arrangement of his earlier sonata for two pianos, also in F Minor.IIIWe come now to Clementi. It is well known that some of his sixty piano sonatas were his own arrangements of some of his lost symphonies, and that some of his rondos for piano four-hands were originally the last movements of his solo sonatas or piano trios.In order to make the first movement of his delightful Sonatina in C, Opus 36, No. 1 accessible to young string players, I have followed the example established by the composer himself by arranging and transposing one of his piano compositions from one medium (the piano) to another. (string instruments). In order to simplify the work for young string players, in the process of adapting it to the new medium it was necessary to transpose it from the original key of C to G, thereby doing away with some of the difficulties they would have encountered in the original key. The first violin and cello parts are similar to the right- and left-hand parts of the original piano version. The few changes I have made in these parts have been for the convenience of the string players, but in no way do they change the nature of the music.Since the original implied a harmonic framework in many places, I have added a second violin and viola part in such a way that they not only have interesting music to play, but also fill in some of the implied harmony without in any way detracting from the composition's musical value. Occasionally, it has been necessary to raise or lower a few passages an octave or to modify others slightly to make them more accessible for young players.It is hoped that the musical value of the composition has not been too compromised, and that students and teachers will come to enjoy this little piece in its new setting as much as pianists have in the original one. This arrangement may also be performed by a solo string quartet. When performed by a string orchestra, the double bass part may be omitted.- Douglas TownsendString editing by Amy Rosen.

About Carl Fischer Young String Orchestra Series

Thi s series of Grade 2/Grade 2.5 pieces is designed for second and third year ensembles. The pieces in this series are characterized by:
--Occasionally extending to third position
--Keys carefully considered for appropriate difficulty
--Addition of separate 2nd violin and viola parts
--Viola T.C. part included
--Increase in independence of parts over beginning levels

SKU: FP.FSS05

ISBN 979-0-57050-281-3.

The albums in Forsyth's Silhouette Series are widely acknowledged to provide as some of the finest piano arrangements of the works of the great composers available to the player of intermediate ability. These albums provide excellent teaching material, as well as superb recreational pieces for the adult player.

SKU: CA.5027200

ISBN 9790007298371.

As well as 20 organ sonatas and seven collections of stand-alone organ pieces with opus numbers, Rheinberger composed a whole range of smaller works for organ methods or organ collections for his favorite instrument, mainly at the request of colleagues and friends.

In 1897, at the request of the English publisher Novello, Rheinberger compiled a collection of six pieces for the series “Village Organist” and had these published as “Six Short Pieces”. He drew largely on older pieces for this, but also composed three new pieces. What resulted is a delightful group of little gems for worship or organ teaching, including a short character piece, “Consolation” .

Separate edition from Supplementary Volume 3 of the Rheinberger Complete Edition

SKU: HL.50514571

SKU: BR.SON-616

More than 40 unloved works?

ISBN 9790004803189. 9 x 12 inches.

The Complete Edition Jean Sibelius Works has made a big step forward with this volume: the publication of all piano works which the composer personally supplied with opus numbers, thus bequeathing them to posterity in an authorized form. The piano pieces with opus numbers ranging between 85 and 114 were written partly during World War I and, more importantly, during the first post-war years up to 1924. This is when for various reasons, and not only for lack of funds Sibelius once again applied himself intensively to the composition of piano pieces. The more than 40 works eloquently refute the claim that the composer had little esteem for the piano. With the little collection of op. 114, Sibelius leads us into the memorable year 1929, when he ended his compositional activity once and for all.