Three Studies for Piano, Op. 65

Born in 1928 French composer and teacher Jean Aubain studied with Olivier Messiaen at the Paris Conservatoire. In 1955 he won the Premier Prix de Rome and his since composed many other prolific works including Three Studies for Percussion and Piano. Composed in 1968 Three Studies for Percussion and Piano is made up of three movements; 1) Variations 2) Scherzo and 3) Final. With a typical performance lasting around seven minutes Aubain's piece includes use of Timpani Xylophone Temple-Block Tom-Toms Vibraphone and Cymbals as well as other Percussion instruments. For all advanced percussionists seekingsolo performance repertoire Aubain's Three Studies For Percussion And Piano is essential.

New edition based on the composer's manuscript-This edition of the three concert études is the first and only for which the composer's autograph has been taken into consideration. This allows Liszt's popular Piano cycle to be seen in the most authentic form available today. No closer information has emerged about the origins of the études which appeared in 1849. The autograph which contains all three studies in complete form with elaborated notation and furnished with performance markings appeared in a catalogue in the mid-1930s. But after it was bought by the French pianist François Lang (1908-1944) there were doubts about its whereabouts for several decades. So even Volume I/2 of thecomplete New Liszt Edition published by Editio Musica Budapest in 1971 could rest only on the notation of the first printed editions. The new version edited by Adrienne Kaczmarczyk that appears here pays close heed to the points where knowledge of the manuscript calls for alteration and addition. The autograph also used as the engraver's copy confirms an earlier suspicion. The widely used subtitles (1. Il lamento 2. La leggerezza and 3. Un sospiro) were thought to be alien to Liszt's approach and are now known not to originate from the composer. They were presumably dreamed up by a Paris publisher.

Three Études. For solo piano. The first of these Études was written in memory of Mark Ray, former Head of Keyboard Studies at the Royal Northern College of Music (RNCM), who died in tragic circumstances in 2006. It makes use of syncopated rhythms and percussive articulation, with a passing reference to Ravel?s G major concerto, the work he performed in concert when he was a student at the RNCM. The Étude was premiered by Peter Lawson in 2006. Études 2 and 3 were added to complete the set in 2020. Étude 2 is dedicated to Murray McLachlan, and is a study in textural control, with ?a quiet wistfulness, floating with reflection calmly over gentle quaver figurations?. Étude 3 is dedicated to Jonathan Scott, and has more than a hint of the motoric rhythms and folk melodies of Bartok. It is ?an extremely energised essay that encourages virtuosic bravura and élan? (McLachlan).

Finger Fitness 3 is an ideal supplement to The Classical Piano Method: Method Book 3 (ED 13536). It contains easy to intermediate technical exercises, suitable for pianists who have completed Method Book 2 of the series, or for those returning to the instrument after a break.This book includes 44 elementary finger exercises, studies and etudes for developing finger strength and independence, evenness, accuracy and speed of playing, as well as articulation and general musicality.The pieces are presented in a progressively graded format, providing you with relevant repertoire as your playing develops. / Piano

Includes three complete study collections in one inexpensive volume edited and fingered by Louis Oesterle.Twenty-Five Easy And Progressive Studies Op.100 - Books 1 and 2Eighteen Characteristic StudiesOp.109 - Books 1 and 2Twelve Brilliant And Melodious Studies Op. 105 - Books 1 and 2

Danse macabre, Op. 40 ? Dance of death Symphonic poem, transcribed for piano by Franz Liszt Six études pour le piano, Op. 52 ? Six piano studies 1. Prélude 2. Pour l'indépendance des doigts ? For finger independence 3. Prelude and Fugue in F minor 4. Étude de rythme ? Rhythm study 5. Prelude and Fugue in A major 6. En forme de valse ? In waltz form Allegro appassionato, Op. 70 Album pour piano, Op. 72 ? Piano album 1. Prélude 2. Carillon 3. Toccata 4. Valse ? Waltz 5. Chanson napolitaine ? Neapolitan song 6. Finale Rhapsodie d'Auvergne, Op. 73 ? Auvergne rhapsody Wedding Cake, Caprice-Valse, Op. 76 Originally for piano and orchestra / Transcribed for solo piano by A. Benfeld Thême varié, Op. 97 ? Varied theme Three waltzes Valse mignonne, Op. 104 ? Dainty waltz Valse langoureuse, Op. 97 ? Languid Waltz Valse gaie, Op. 139 ? Gay waltz From Six études pour le piano, Op. 111 ? Six piano studies 3. Prelude and Fugue in E-flat Minor 4. Les cloches de Las Palmas ? The bells of Las Palmas 6. Toccata Six études pour la main gauche seule, Op. 135 ? Six studies for left hand alone 1. Prélude 2. Alla fuga ? In fugal style 3. Moto perpetuo ? Perpetual motion 4. Bourrée 5. Élégie ? Elegy 6. Gigue

SOLO TUNING See RM722 for Orchestral Tuning The 'Dragonetti Concerto' was first published in 1925 by Alphonse Leduc in Paris as No.23 of Edouard Nanny's 'Les Classiques de la Contrebasse'. For many years no one questioned its authenticity, but as more research into Dragonetti's original works for double bass was made, concerns began to arise. Many of Dragonetti manuscripts survive in the British Library, thanks to Vincent Novello who donated them in 1849, three years after Dragonetti's death and on Novello's retirement to Italy, but there is no original manuscript for this work. As bassists began to edit and perform a wide range of Dragonetti's works it became clear that this concerto bore little resemblance to any of his other pieces. The work does, however, have many similarities to Nanny's Concerto for double bass, also to his other solo works and even studies from his Method. Eventually most people came to the conclusion that this work is not an original work by the great Venetian bassist but is by Edouard Nanny, and in the style of the late 18th-century. Having said that, this is still a charming and evocative work which has much player and audience appeal and is very easy on the ears. Many of the challenges for the soloist are technical and, almost a century after its first publication, it is still as popular as ever. Published in 1925, the first movement was performed at London's Wigmore Hall on 15 April the following year by Victor Watson (double bass) and Sidney Crooke (piano), and was described a 'Contrabass Concerto by Dragonetti-Nanny. ERRATA: Piano part: page 8 (1st movement), bar 87 - final chord of bar in right hand should be D/E/G# - a dominant 7th chord in A major Edouard Nanny was an important French double bassist and teacher, also composing and transcribing many works for double bass. He was born in Saint-Germain-en-Laye on 24 March 1872 and he studied at the Paris Conservatoire with Professor Verrimst, also teaching there from 1920-1940. He performed often as a soloist, also working as an orchestral bassist with many orchestras such as the Paris Symphony Orchestra, Concerts Lamoureux and the Orchestra de l'Opera Comique, and in 1901 he founded the Henry Casadeus Society of Old Instruments, chaired by Camille Saint-Saens, and intended to revive the works from the past centuries. Nanny's Method for double bass is still in print, over 90 years since its first publication and both volumes contain a wealth of excellent technical studies and exercises which are as relevant today as they were in the 1920s. His other volumes of studies are mostly out of print and Recital Music plan to reprint some of his orginal works for double bass, transcriptions and educational music to keep alive the name of Edouard Nanny into the 21st-century. Edouard Nanny died in Paris in 1942.

A phenomenal Piano virtuoso and noteworthy member of 19th century Parisian society Charles Valentin-Alkan was among Liszt's contemporaries and one of Chopin's close friends. Unlike his legendary companions Alkan gradually slipped into obscurity in his own day because of his eccentric ways.Twenty years later - epitomising the near-theatrical lives of the great Romantics - the composer emerged to present his mature works to an astonished public including some of the most extraordinary most challenging compositions ever written.This collection includes three monumental works from Alkan's 'Twelve Studies In All Minor Keys'Op. 39. as well as three smaller works which complete the edition. Pianists of advanced skills - and student's of music's great revolutionary masters - will welcome this new treasury of hard to find pieces selected and with commentary by Marc-Andre Hamelin the Piano virtuoso who has performed Alkan's music worldwide and recorded the composer's major works.

The Czech composer Emil Hradecký (born 1953) is the author of a whole number of instructive pieces for children often inspired with dance music and jazz. In this publication he introduces beginner pianists with the means to express jazz which is not represented in so-called classical music. He emphasises the different phrasing (?pronunciation?) especially in the case of quavers and syncopations. The first part of the publication comprises nine simple studies followed by four pieces for more experienced players and ending with two blues in which it is possible to experiment with basic improvisations. All the studies include instructions for theircorrect interpretation. The accompanying texts are printed in three languages (Czech German English).