Concerto in D major for Piano and Orchestra No. 16

Incarnant le classicisme viennois tout comme Mozart et Beethoven, le compositeur autrichien Franz Joseph Haydn, a eu une carrière musicale couvrant tout la période baroque en allant jusqu'au début du romantisme. A travers cette partition Concerto for Piano (Harpsichord) and Orchestra F major Hob. XVIII:3 écrite et composée pour Violon et plus précisément pour Violon 2 vous retrouverez tout le talent de ce compositeur. Ce sont les éditions Henle qui ont eu le privilège d'imprimer cette oeuvre. / Violon 2 / Chanson En Séparée

Beethoven's fifth and final piano concerto is at the same time the culmination of his efforts in this genre and a reflection of all his artistic skill and expertise. The surviving manuscripts provide a clear insight into his working methods and his intentions regarding the work's performance.The editor, Jonathan Del Mar, has closely scrutinised the autograph solo piano part and reproduced Beethoven's sophisticated performance instructions for the first time in a modern edition. Among other things, this has special repercussions for the left-hand figured bass line of the piano part during the tutti passages.As with the Piano Concertos Nos. 1 to 4, the piano reduction appears with a separate solo part containing all the information needed by the soloist to conduct the ensemble from the piano.- Many wholly new corrections in the solo and orchestral parts- Piano reduction with a separate solo part, as was customary in Beethoven's day- With Beethoven's continuo figures for the first time in a modern edition / Score

C major-In Beethoven?s Triple Concerto a piano trio provides the soloists a first in the history of music. Beethoven?s treatment of the trio is pioneering: he does not apply a typical piano trio setting in contrast to the orchestra but varies his treatment of the solo parts allowing each instrument to play alone with the orchestra (particularly the cello) using two solo instruments together in ever new combinations and finally bringing together all three instruments with the orchestra. Beethoven weaves a complex web the orchestral piano violin and cello voices interplaying and entwining and he produces a true masterpiece.Bärenreiter?s new Urtext edition of Beethoven?sTriple Concerto is a completely fresh revision of this warm and beautiful showpiece. Errors abounded in all previous editions but with the assistance of three newly-discovered sources editor Jonathan Del Mar has cleaned up the text corrected wrong notes and rhythms and (for the first time since 1807) presented the work in a way that a musician of Beethoven?s day might have recognized with all necessary information for directing the piece included in the solo piano part.Piano reduction with separate parts for all three soloistsDraws on three new sourcesCorrection of many errors found in previous editions

Mozart, Wolfgang Amadeus Concerto for Piano and Orchestra no. 8 C major K. 246 Lützow Concerto Edition no. BA 5388-90 ISMN 9790006470402 Editor Wolff, Christoph Arranger Töpel, Michael Piano reduction, Urtext edition

Mozart, Wolfgang Amadeus Concerto for Piano and Orchestra no. 25 in C major K. 503 Edition no.BA 4742-90 ISMN 9790006455010

Piano reduction-Georg Philipp Telemann's Viola Concerto In G Major. Piano reduction.The Viola is often not credited with being able to take over a soloistic role but this is completely unjust. In 1738 JohannPhilipp Eisel already wrote of the Viola as being the ?very bowels of music? and stressed that it was not only needed to ?flesh out? the Orchestral sound but also as a 'concert voice which is fully proven by the concertos andconcert overtures by the famous Capell-Meister Telemann'.Telemann?s Concerto In G Major is considered to be one of the earliest works for solo Viola and Orchestra and forms part of thecore repertoire for pupils and students. In this Urtext Piano reduction the specialist Kai Köpp has provided information regarding historical performance practice.

Piano Concerto No. 4 In C Minor (concerto pour Piano en ut mineur) Op. 44 by Camille Saint-Saëns is the composer's most structurally innovative Piano concerto. In one sense it is like a four-movement symphony but these are grouped in pairs. That is the piece is divided into two parts each of which combines two main movements (Part 1: I. Moderatetempo Theme and Variations in C Minor; II. Slower Theme and Variations in A-flat Major; Part 2: III. Scherzo in C Minor; IV. Finale in C Major). However in each part there is a bridge-like transitional section between the two main 'movements' for example a fugal Andante in part II functions as aninterlude between the two main sections. The concerto begins with a gently mischievous chromatic subject heard in dialogue between the strings and piano soloist and continues in a creative thematic development similar to Saint-Saëns' Third Symphony. The composer demonstrates brilliant skill in employing the piano and orchestra almost equally. In the Andante he moves to A-flat major with a chorale-like theme in the woodwinds (also strikingly similar to the tune of the Third Symphony's final section) and uses this as a platform on which to build a series of variations before bringing the movement to a quiet close. The Allegro vivace begins again in C minor as a high-spirited scherzo using material foreshadowed in the first movement. 2/4 and 6/8 are playfully juxtaposed throughout. At one point the Piano boldly leads the orchestra in an energetic 6/8 theme in Eflat major. Eventually the orchestra moves to a lush Andante recapitulating the Andante section from the first movement. Rather suddenly the piano climbs up to a flurry of double octave trills and a climactic trumpet fanfare leads to the jubilant finale based on a hymn-like theme in triple time. The concerto concludes with the piano in glittering cascades guiding the orchestra to a fortissimo close.The piano concerto was premièred in 1875 with the

[Konzert für Klavier und Orchester D-Dur KV 175 (Nr.5) - Konzert-Rondo D-Dur KV 382] / Classique / Editeur : Marius Flothuis / Réduction piano : Mich / Partition / Cartonné / Plats de carton /

[Konzert für Klavier und Orchester C-Dur KV 246 (Nr. 8) Lützow-Konzert] / Classique / Editeur : Christoph Wolff / Réduction piano : Mich / Partition / Cartonné / Plats de carton /

[Konzert für Klavier und Orchester B-Dur KV 238 (Nr. 6)] / Classique / Editeur: Marius Flothuis / Réduction piano : Dougl / Partition / Agrafé /

Piano or Orchestra-Concerto For Piano And Orchestra No.22 E-flat major K. 482.Piano Solo Flute Clarinet (in B-flat) (2) Bassoon (2) Horn (2) Clarin trumpet (2) Kettledrum Violin (2) Viola (2) Violoncello Double bass.The New Mozart Edition offers researchers a musicologically unimpeachable text based on all the available sources (first and foremost Mozart's autograph manuscripts). At the same time it also serves as an aid to authentic performances.BÄRENREITER URTEXT:In the international music world ?Bärenreiter Urtext? is synonymous with performing editions in which the musical text has been prepared using clearly formulatedscholarly critical criteria. Editors which include prominent musicologists as well as musicians take all available sources into account thus guaranteeing an authentic musical text which represents the latest in musicological research.For Bärenreiter ?Urtext? is more than just a label it is also a pledge and a guarantee for sheet music performing editions that present the authentic text and the latest findings of scholarly research enabling musicians to get as close to the composer?s intentions as the surviving sources will allow. There are no arbitrary editorial additions and the quality of the musical text is matched by an appearance on the page that satisfies the most discerning eye.

Les deux concertos pour piano de Glazounov appartiennent au genre du concerto symphonique, qui rend néanmoins très grandes exigences sur le soliste. Avec ses harmonies modernes intéressants, le Piano Concerto #2 opus 100 (1917) est sur le même niveau que le populaire Concerto pour violon opus 82. ' Dans ce concerto Glazounov a fourni un exemple brillant de sa compréhension de la variation thématique. Il nous dit qu'il se classe parmi les plus grands. ' (Alex van Amerongen) / Piano Et Orchestre