Three Bach Miniatures

Master Level (correlates with Book 2 p. 32) Introduce your young players to the Baroque master with John Moss' well-crafted suite in three contrasting styles. The first movement is Bourree from Overture in F Major. Next is the moderately slow Minuet from French Suite No. 1 and finally the playful march Musette from Notebook for Anna Magdalena Bach. (4:40)

With the new Urtext Primo series, the Wiener Urtext Edition wants to close the gap arising at the point of transition to additional lessons after having studied a piano method. Beginning with a performance level which is outlined by pieces such as Bach's Minuet in G (BWV Anh. 116), Mozart's Minuet in F (KV 5) or Schumann's Wilder Reiter (Op. 68/8), works by three different composers are selected for each volume of the Urtext Primo series, with the aim of offering piano pupils (or even adults who want to resume piano playing) a wide range of repertoire pieces on the basis of which they can enhance their technical and musical skills. The pieces' range of levels of difficulty is relatively narrow so that the volume can be used continuously over a period of about two years. This is what distinguishes the Urtext Primo approach from almost all common anthologies. The selected repertoire takes into account not only pieces of the classic canon of lessons, but also lesser known works which are in no way of less importance for piano lessons. The Urtext Primo volumes are published in the internationally recognised standard of the Wiener Urtext editions. The explanations included in each volume shall help to deepen the knowledge of musical styles, music history and piano playing. A repertoire chart at the end of each volume gives a rough overview of the levels of difficulty of the selected pieces.Volume 4 combines works of the German Romanticism by Schumann, Brahms and Theodor Kirchner. Apart from well known pieces from Schumann's 'Album for the Youth' and the easiest waltzes from opus 39 (in the easier version) by Brahms, the selection contains the attractive set of variations from Schumann's first Youth Sonata Op. 118/1 and Brahms' Saraband in A minor WoO 5/1 as well as a number of pleasant pieces by Theodor Kirchner which continue the tonal air of Schumann and Brahms in easy playable pieces. / Piano

Poèmes est un cycle qui se compose actuellement de douze pièces pour piano. Les pièces ont été composées pour être également adapté pour la performance par les enfants, bien que les demandes pour chaque pièce varient considérablement. Toutes les pièces sont extrêmement courte et concentrée. Mon objectif était de procéder à une exploration personnelle de cette 'forme miniature'. Chaque titre est associé à (auto) biographiques connotations de l'auto (tonale), en particulier comme point de départ pour certains de ces mouvements se penche loin dans mon passé. Certaines des pièces sont très faciles, par exemple (Le jour) quand j'ai perdu mon chien drôle vert ou Babu Chiris maison. Ces situent dans une opposition à d'autres exigences techniques spécifiques avec des grappes (par exemple dans une interface utilisateur multilingue, piano légèrement préparé en eins, zwei, drei, vier, les Neun et le passage des mains dans Frida schläft ein). En Heimbach / Allemagne, le cycle de recevoir sa première représentation dans les mains de jeunes pianistes. Par la suite, le travail recevront une répétition au sein du Festival, Lars Vogt, que ce soit joué par lui ou moi-même. Lars et moi sommes encore argumenter pour savoir qui va assumer le fardeau de ces travaux difficiles ... J'espère qu'il décide finalement d'exécuter lui-même! (Thomas Larcher) / Piano / 32 pages / niveau : Facile / Intermédiaire / Partition

2nd Movement-Transcription of the slow movement of Rachmaninov's First Piano Concerto op 1. Programme note by Murray McLachlan: Rachmaninov's first concerto in F sharp minor op 1 was composed in 1891 and dedicated to Alexander Siloti. The work was substantially revised in 1917 with textures made much lighter. The revised version is also more concentrated and disciplined with the material eliminating some of the earlier episodic sections entirely from the score. The second movement is an exquisite 74 bar miniature a nostalgic nocturne that is contrapuntally rich. In this soloversion the use of all three pedals and the middle pedal in particular make it possible to project the multifaceted textures the 'colour counter-point' that along with Rachmaninov's chromaticism enhances his considerable melodic gifts. Was Rachmaninov the 'Russian Bach?' Certainly his genius for 'inner voices' 'inner melodies' and counter-melodies make his music an inexhaustible treasure house of possibility for the creatively charged solo pianist. In Rachmaninov's piano writing there is simply no such thing as 'padding' or anonymous accompaniments- every line can be vocally or orchestrally charged making the music glow with richness and inspiration. This transcription was given its world premiere on April 1- Rachmaninov's birthday- in 2017 in New York as part of a recital for the Lezetizky society. Further performances were given on what was an intense US Easter tour in Washington Texas Boston and Vermont. I've also performed the transcription in Canada and the UK.