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| Poeme III WV 61 Nr.3 Piano solo Hal Leonard Europe
Piano SKU: BT.AST6145 Composed by Markus Lehmann. Book Only. Hal Leonard ...(+)
Piano SKU: BT.AST6145 Composed by Markus Lehmann. Book Only. Hal Leonard Europe #AST6145. Published by Hal Leonard Europe (BT.AST6145). $16.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Transcriptions of Lieder Piano solo Carl Fischer
Chamber Music Piano SKU: CF.PL1056 Composed by Clara Wieck-Schumann, Fran...(+)
Chamber Music Piano SKU: CF.PL1056 Composed by Clara Wieck-Schumann, Franz Schubert, and Robert Schumann. Edited by Nicholas Hopkins. Collection. With Standard notation. 128 pages. Carl Fischer Music #PL1056. Published by Carl Fischer Music (CF.PL1056). ISBN 9781491153390. UPC: 680160910892. Transcribed by Franz Liszt. Introduction It is true that Schubert himself is somewhat to blame for the very unsatisfactory manner in which his admirable piano pieces are treated. He was too immoderately productive, wrote incessantly, mixing insignificant with important things, grand things with mediocre work, paid no heed to criticism, and always soared on his wings. Like a bird in the air, he lived in music and sang in angelic fashion. --Franz Liszt, letter to Dr. S. Lebert (1868) Of those compositions that greatly interest me, there are only Chopin's and yours. --Franz Liszt, letter to Robert Schumann (1838) She [Clara Schumann] was astounded at hearing me. Her compositions are really very remarkable, especially for a woman. There is a hundred times more creativity and real feeling in them than in all the past and present fantasias by Thalberg. --Franz Liszt, letter to Marie d'Agoult (1838) Chretien Urhan (1790-1845) was a Belgian-born violinist, organist and composer who flourished in the musical life of Paris in the early nineteenth century. According to various accounts, he was deeply religious, harshly ascetic and wildly eccentric, though revered by many important and influential members of the Parisian musical community. Regrettably, history has forgotten Urhan's many musical achievements, the most important of which was arguably his pioneering work in promoting the music of Franz Schubert. He devoted much of his energies to championing Schubert's music, which at the time was unknown outside of Vienna. Undoubtedly, Urhan was responsible for stimulating this enthusiasm in Franz Liszt; Liszt regularly heard Urhan's organ playing in the St.-Vincent-de-Paul church in Paris, and the two became personal acquaintances. At eighteen years of age, Liszt was on the verge of establishing himself as the foremost pianist in Europe, and this awakening to Schubert's music would prove to be a profound experience. Liszt's first travels outside of his native provincial Hungary were to Vienna in 1821-1823, where his father enrolled him in studies with Carl Czerny (piano) and Antonio Salieri (music theory). Both men had important involvements with Schubert; Czerny (like Urhan) as performer and advocate of Schubert's music and Salieri as his theory and composition teacher from 1813-1817. Curiously, Liszt and Schubert never met personally, despite their geographical proximity in Vienna during these years. Inevitably, legends later arose that the two had been personal acquaintances, although Liszt would dismiss these as fallacious: I never knew Schubert personally, he was once quoted as saying. Liszt's initial exposure to Schubert's music was the Lieder, what Urhan prized most of all. He accompanied the tenor Benedict Randhartinger in numerous performances of Schubert's Lieder and then, perhaps realizing that he could benefit the composer more on his own terms, transcribed a number of the Lieder for piano solo. Many of these transcriptions he would perform himself on concert tour during the so-called Glanzzeit, or time of splendor from 1839-1847. This publicity did much to promote reception of Schubert's music throughout Europe. Once Liszt retired from the concert stage and settled in Weimar as a conductor in the 1840s, he continued to perform Schubert's orchestral music, his Symphony No. 9 being a particular favorite, and is credited with giving the world premiere performance of Schubert's opera Alfonso und Estrella in 1854. At this time, he contemplated writing a biography of the composer, which regrettably remained uncompleted. Liszt's devotion to Schubert would never waver. Liszt's relationship with Robert and Clara Schumann was far different and far more complicated; by contrast, they were all personal acquaintances. What began as a relationship of mutual respect and admiration soon deteriorated into one of jealousy and hostility, particularly on the Schumann's part. Liszt's initial contact with Robert's music happened long before they had met personally, when Liszt published an analysis of Schumann's piano music for the Gazette musicale in 1837, a gesture that earned Robert's deep appreciation. In the following year Clara met Liszt during a concert tour in Vienna and presented him with more of Schumann's piano music. Clara and her father Friedrich Wieck, who accompanied Clara on her concert tours, were quite taken by Liszt: We have heard Liszt. He can be compared to no other player...he arouses fright and astonishment. His appearance at the piano is indescribable. He is an original...he is absorbed by the piano. Liszt, too, was impressed with Clara--at first the energy, intelligence and accuracy of her piano playing and later her compositions--to the extent that he dedicated to her the 1838 version of his Etudes d'execution transcendante d'apres Paganini. Liszt had a closer personal relationship with Clara than with Robert until the two men finally met in 1840. Schumann was astounded by Liszt's piano playing. He wrote to Clara that Liszt had played like a god and had inspired indescribable furor of applause. His review of Liszt even included a heroic personification with Napoleon. In Leipzig, Schumann was deeply impressed with Liszt's interpretations of his Noveletten, Op. 21 and Fantasy in C Major, Op. 17 (dedicated to Liszt), enthusiastically observing that, I feel as if I had known you twenty years. Yet a variety of events followed that diminished Liszt's glory in the eyes of the Schumanns. They became critical of the cult-like atmosphere that arose around his recitals, or Lisztomania as it came to be called; conceivably, this could be attributed to professional jealousy. Clara, in particular, came to loathe Liszt, noting in a letter to Joseph Joachim, I despise Liszt from the depths of my soul. She recorded a stunning diary entry a day after Liszt's death, in which she noted, He was an eminent keyboard virtuoso, but a dangerous example for the young...As a composer he was terrible. By contrast, Liszt did not share in these negative sentiments; no evidence suggests that he had any ill-regard for the Schumanns. In Weimar, he did much to promote Schumann's music, conducting performances of his Scenes from Faust and Manfred, during a time in which few orchestras expressed interest, and premiered his opera Genoveva. He later arranged a benefit concert for Clara following Robert's death, featuring Clara as soloist in Robert's Piano Concerto, an event that must have been exhilarating to witness. Regardless, her opinion of him would never change, despite his repeated gestures of courtesy and respect. Liszt's relationship with Schubert was a spiritual one, with music being the one and only link between the two men. That with the Schumanns was personal, with music influenced by a hero worship that would aggravate the relationship over time. Nonetheless, Liszt would remain devoted to and enthusiastic for the music and achievements of these composers. He would be a vital force in disseminating their music to a wider audience, as he would be with many other composers throughout his career. His primary means for accomplishing this was the piano transcription. Liszt and the Transcription Transcription versus Paraphrase Transcription and paraphrase were popular terms in nineteenth-century music, although certainly not unique to this period. Musicians understood that there were clear distinctions between these two terms, but as is often the case these distinctions could be blurred. Transcription, literally writing over, entails reworking or adapting a piece of music for a performance medium different from that of its original; arrangement is a possible synonym. Adapting is a key part of this process, for the success of a transcription relies on the transcriber's ability to adapt the piece to the different medium. As a result, the pre-existing material is generally kept intact, recognizable and intelligible; it is strict, literal, objective. Contextual meaning is maintained in the process, as are elements of style and form. Paraphrase, by contrast, implies restating something in a different manner, as in a rewording of a document for reasons of clarity. In nineteenth-century music, paraphrasing indicated elaborating a piece for purposes of expressive virtuosity, often as a vehicle for showmanship. Variation is an important element, for the source material may be varied as much as the paraphraser's imagination will allow; its purpose is metamorphosis. Transcription is adapting and arranging; paraphrasing is transforming and reworking. Transcription preserves the style of the original; paraphrase absorbs the original into a different style. Transcription highlights the original composer; paraphrase highlights the paraphraser. Approximately half of Liszt's compositional output falls under the category of transcription and paraphrase; it is noteworthy that he never used the term arrangement. Much of his early compositional activities were transcriptions and paraphrases of works of other composers, such as the symphonies of Beethoven and Berlioz, vocal music by Schubert, and operas by Donizetti and Bellini. It is conceivable that he focused so intently on work of this nature early in his career as a means to perfect his compositional technique, although transcription and paraphrase continued well after the technique had been mastered; this might explain why he drastically revised and rewrote many of his original compositions from the 1830s (such as the Transcendental Etudes and Paganini Etudes) in the 1850s. Charles Rosen, a sympathetic interpreter of Liszt's piano works, observes, The new revisions of the Transcendental Etudes are not revisions but concert paraphrases of the old, and their art lies in the technique of transformation. The Paganini etudes are piano transcriptions of violin etudes, and the Transcendental Etudes are piano transcriptions of piano etudes. The principles are the same. He concludes by noting, Paraphrase has shaded off into composition...Composition and paraphrase were not identical for him, but they were so closely interwoven that separation is impossible. The significance of transcription and paraphrase for Liszt the composer cannot be overstated, and the mutual influence of each needs to be better understood. Undoubtedly, Liszt the composer as we know him today would be far different had he not devoted so much of his career to transcribing and paraphrasing the music of others. He was perhaps one of the first composers to contend that transcription and paraphrase could be genuine art forms on equal par with original pieces; he even claimed to be the first to use these two terms to describe these classes of arrangements. Despite the success that Liszt achieved with this type of work, others viewed it with circumspection and criticism. Robert Schumann, although deeply impressed with Liszt's keyboard virtuosity, was harsh in his criticisms of the transcriptions. Schumann interpreted them as indicators that Liszt's virtuosity had hindered his compositional development and suggested that Liszt transcribed the music of others to compensate for his own compositional deficiencies. Nonetheless, Liszt's piano transcriptions, what he sometimes called partitions de piano (or piano scores), were instrumental in promoting composers whose music was unknown at the time or inaccessible in areas outside of major European capitals, areas that Liszt willingly toured during his Glanzzeit. To this end, the transcriptions had to be literal arrangements for the piano; a Beethoven symphony could not be introduced to an unknowing audience if its music had been subjected to imaginative elaborations and variations. The same would be true of the 1833 transcription of Berlioz's Symphonie fantastique (composed only three years earlier), the astonishingly novel content of which would necessitate a literal and intelligible rendering. Opera, usually more popular and accessible for the general public, was a different matter, and in this realm Liszt could paraphrase the original and manipulate it as his imagination would allow without jeopardizing its reception; hence, the paraphrases on the operas of Bellini, Donizetti, Mozart, Meyerbeer and Verdi. Reminiscence was another term coined by Liszt for the opera paraphrases, as if the composer were reminiscing at the keyboard following a memorable evening at the opera. Illustration (reserved on two occasions for Meyerbeer) and fantasy were additional terms. The operas of Wagner were exceptions. His music was less suited to paraphrase due to its general lack of familiarity at the time. Transcription of Wagner's music was thus obligatory, as it was of Beethoven's and Berlioz's music; perhaps the composer himself insisted on this approach. Liszt's Lieder Transcriptions Liszt's initial encounters with Schubert's music, as mentioned previously, were with the Lieder. His first transcription of a Schubert Lied was Die Rose in 1833, followed by Lob der Tranen in 1837. Thirty-nine additional transcriptions appeared at a rapid pace over the following three years, and in 1846, the Schubert Lieder transcriptions would conclude, by which point he had completed fifty-eight, the most of any composer. Critical response to these transcriptions was highly favorable--aside from the view held by Schumann--particularly when Liszt himself played these pieces in concert. Some were published immediately by Anton Diabelli, famous for the theme that inspired Beethoven's variations. Others were published by the Viennese publisher Tobias Haslinger (one of Beethoven's and Schubert's publishers in the 1820s), who sold his reserves so quickly that he would repeatedly plead for more. However, Liszt's enthusiasm for work of this nature soon became exhausted, as he noted in a letter of 1839 to the publisher Breitkopf und Hartel: That good Haslinger overwhelms me with Schubert. I have just sent him twenty-four new songs (Schwanengesang and Winterreise), and for the moment I am rather tired of this work. Haslinger was justified in his demands, for the Schubert transcriptions were received with great enthusiasm. One Gottfried Wilhelm Fink, then editor of the Allgemeine musikalische Zeitung, observed of these transcriptions: Nothing in recent memory has caused such sensation and enjoyment in both pianists and audiences as these arrangements...The demand for them has in no way been satisfied; and it will not be until these arrangements are seen on pianos everywhere. They have indeed made quite a splash. Eduard Hanslick, never a sympathetic critic of Liszt's music, acknowledged thirty years after the fact that, Liszt's transcriptions of Schubert Lieder were epoch-making. There was hardly a concert in which Liszt did not have to play one or two of them--even when they were not listed on the program. These transcriptions quickly became some of his most sough-after pieces, despite their extreme technical demands. Leading pianists of the day, such as Clara Wieck and Sigismond Thalberg, incorporated them into their concert programs immediately upon publication. Moreover, the transcriptions would serve as inspirations for other composers, such as Stephen Heller, Cesar Franck and later Leopold Godowsky, all of whom produced their own transcriptions of Schubert's Lieder. Liszt would transcribe the Lieder of other composers as well, including those by Mendelssohn, Chopin, Anton Rubinstein and even himself. Robert Schumann, of course, would not be ignored. The first transcription of a Schumann Lied was the celebrated Widmung from Myrten in 1848, the only Schumann transcription that Liszt completed during the composer's lifetime. (Regrettably, there is no evidence of Schumann's regard of this transcription, or even if he was aware of it.) From the years 1848-1881, Liszt transcribed twelve of Robert Schumann's Lieder (including one orchestral Lied) and three of Clara (one from each of her three published Lieder cycles); he would transcribe no other works of these two composers. The Schumann Lieder transcriptions, contrary to those of Schubert, are literal arrangements, posing, in general, far fewer demands on the pianist's technique. They are comparatively less imaginative in their treatment of the original material. Additionally, they seem to have been less valued in their day than the Schubert transcriptions, and it is noteworthy that none of the Schumann transcriptions bear dedications, as most of the Schubert transcriptions do. The greatest challenge posed by Lieder transcriptions, regardless of the composer or the nature of the transcription, was to combine the vocal and piano parts of the original such that the character of each would be preserved, a challenge unique to this form of transcription. Each part had to be intact and aurally recognizable, the vocal line in particular. Complications could be manifold in a Lied that featured dissimilar parts, such as Schubert's Auf dem Wasser zu singen, whose piano accompaniment depicts the rocking of the boat on the shimmering waves while the vocal line reflects on the passing of time. Similar complications would be encountered in Gretchen am Spinnrade, in which the ubiquitous sixteenth-note pattern in the piano's right hand epitomizes the ever-turning spinning wheel over which the soprano voice expresses feelings of longing and heartache. The resulting transcriptions for solo piano would place exceptional demands on the pianist. The complications would be far less imposing in instances in which voice and piano were less differentiated, as in many of Schumann's Lieder that Liszt transcribed. The piano parts in these Lieder are true accompaniments for the voice, providing harmonic foundation and rhythmic support by doubling the vocal line throughout. The transcriptions, thus, are strict and literal, with far fewer demands on both pianist and transcriber. In all of Liszt's Lieder transcriptions, regardless of the way in which the two parts are combined, the melody (i.e. the vocal line) is invariably the focal point; the melody should sing on the piano, as if it were the voice. The piano part, although integral to contributing to the character of the music, is designed to function as accompaniment. A singing melody was a crucial objective in nineteenth-century piano performance, which in part might explain the zeal in transcribing and paraphrasing vocal music for the piano. Friedrich Wieck, father and teacher of Clara Schumann, stressed this point repeatedly in his 1853 treatise Clavier und Gesang (Piano and Song): When I speak in general of singing, I refer to that species of singing which is a form of beauty, and which is a foundation for the most refined and most perfect interpretation of music; and, above all things, I consider the culture of beautiful tones the basis for the finest possible touch on the piano. In many respects, the piano and singing should explain and supplement each other. They should mutually assist in expressing the sublime and the noble, in forms of unclouded beauty. Much of Liszt's piano music should be interpreted with this concept in mind, the Lieder transcriptions and opera paraphrases, in particular. To this end, Liszt provided numerous written instructions to the performer to emphasize the vocal line in performance, with Italian directives such as un poco marcato il canto, accentuato assai il canto and ben pronunziato il canto. Repeated indications of cantando,singend and espressivo il canto stress the significance of the singing tone. As an additional means of achieving this and providing the performer with access to the poetry, Liszt insisted, at what must have been a publishing novelty at the time, on printing the words of the Lied in the music itself. Haslinger, seemingly oblivious to Liszt's intent, initially printed the poems of the early Schubert transcriptions separately inside the front covers. Liszt argued that the transcriptions must be reprinted with the words underlying the notes, exactly as Schubert had done, a request that was honored by printing the words above the right-hand staff. Liszt also incorporated a visual scheme for distinguishing voice and accompaniment, influenced perhaps by Chopin, by notating the accompaniment in cue size. His transcription of Robert Schumann's Fruhlings Ankunft features the vocal line in normal size, the piano accompaniment in reduced size, an unmistakable guide in a busy texture as to which part should be emphasized: Example 1. Schumann-Liszt Fruhlings Ankunft, mm. 1-2. The same practice may be found in the transcription of Schumann's An die Turen will ich schleichen. In this piece, the performer must read three staves, in which the baritone line in the central staff is to be shared between the two hands based on the stem direction of the notes: Example 2. Schumann-Liszt An die Turen will ich schleichen, mm. 1-5. This notational practice is extremely beneficial in this instance, given the challenge of reading three staves and the manner in which the vocal line is performed by the two hands. Curiously, Liszt did not use this practice in other transcriptions. Approaches in Lieder Transcription Liszt adopted a variety of approaches in his Lieder transcriptions, based on the nature of the source material, the ways in which the vocal and piano parts could be combined and the ways in which the vocal part could sing. One approach, common with strophic Lieder, in which the vocal line would be identical in each verse, was to vary the register of the vocal part. The transcription of Lob der Tranen, for example, incorporates three of the four verses of the original Lied, with the register of the vocal line ascending one octave with each verse (from low to high), as if three different voices were participating. By the conclusion, the music encompasses the entire range of Liszt's keyboard to produce a stunning climactic effect, and the variety of register of the vocal line provides a welcome textural variety in the absence of the words. The three verses of the transcription of Auf dem Wasser zu singen follow the same approach, in which the vocal line ascends from the tenor, to the alto and to the soprano registers with each verse. Fruhlingsglaube adopts the opposite approach, in which the vocal line descends from soprano in verse 1 to tenor in verse 2, with the second part of verse 2 again resuming the soprano register; this is also the case in Das Wandern from Mullerlieder. Gretchen am Spinnrade posed a unique problem. Since the poem's narrator is female, and the poem represents an expression of her longing for her lover Faust, variation of the vocal line's register, strictly speaking, would have been impractical. For this reason, the vocal line remains in its original register throughout, relentlessly colliding with the sixteenth-note pattern of the accompaniment. One exception may be found in the fifth and final verse in mm. 93-112, at which point the vocal line is notated in a higher register and doubled in octaves. This sudden textural change, one that is readily audible, was a strategic means to underscore Gretchen's mounting anxiety (My bosom urges itself toward him. Ah, might I grasp and hold him! And kiss him as I would wish, at his kisses I should die!). The transcription, thus, becomes a vehicle for maximizing the emotional content of the poem, an exceptional undertaking with the general intent of a transcription. Registral variation of the vocal part also plays a crucial role in the transcription of Erlkonig. Goethe's poem depicts the death of a child who is apprehended by a supernatural Erlking, and Schubert, recognizing the dramatic nature of the poem, carefully depicted the characters (father, son and Erlking) through unique vocal writing and accompaniment patterns: the Lied is a dramatic entity. Liszt, in turn, followed Schubert's characterization in this literal transcription, yet took it an additional step by placing the register of the father's vocal line in the baritone range, that of the son in the soprano range and that of the Erlking in the highest register, options that would not have been available in the version for voice and piano. Additionally, Liszt labeled each appearance of each character in the score, a means for guiding the performer in interpreting the dramatic qualities of the Lied. As a result, the drama and energy of the poem are enhanced in this transcription; as with Gretchen am Spinnrade, the transcriber has maximized the content of the original. Elaboration may be found in certain Lieder transcriptions that expand the performance to a level of virtuosity not found in the original; in such cases, the transcription approximates the paraphrase. Schubert's Du bist die Ruh, a paradigm of musical simplicity, features an uncomplicated piano accompaniment that is virtually identical in each verse. In Liszt's transcription, the material is subjected to a highly virtuosic treatment that far exceeds the original, including a demanding passage for the left hand alone in the opening measures and unique textural writing in each verse. The piece is a transcription in virtuosity; its art, as Rosen noted, lies in the technique of transformation. Elaboration may entail an expansion of the musical form, as in the extensive introduction to Die Forelle and a virtuosic middle section (mm. 63-85), both of which are not in the original. Also unique to this transcription are two cadenzas that Liszt composed in response to the poetic content. The first, in m. 93 on the words und eh ich es gedacht (and before I could guess it), features a twisted chromatic passage that prolongs and thereby heightens the listener's suspense as to the fate of the trout (which is ultimately caught). The second, in m. 108 on the words Betrogne an (and my blood boiled as I saw the betrayed one), features a rush of diminished-seventh arpeggios in both hands, epitomizing the poet's rage at the fisherman for catching the trout. Less frequent are instances in which the length of the original Lied was shortened in the transcription, a tendency that may be found with certain strophic Lieder (e.g., Der Leiermann, Wasserflut and Das Wandern). Another transcription that demonstrates Liszt's readiness to modify the original in the interests of the poetic content is Standchen, the seventh transcription from Schubert's Schwanengesang. Adapted from Act II of Shakespeare's Cymbeline, the poem represents the repeated beckoning of a man to his lover. Liszt transformed the Lied into a miniature drama by transcribing the vocal line of the first verse in the soprano register, that of the second verse in the baritone register, in effect, creating a dialogue between the two lovers. In mm. 71-102, the dialogue becomes a canon, with one voice trailing the other like an echo (as labeled in the score) at the distance of a beat. As in other instances, the transcription resembles the paraphrase, and it is perhaps for this reason that Liszt provided an ossia version that is more in the nature of a literal transcription. The ossia version, six measures shorter than Schubert's original, is less demanding technically than the original transcription, thus representing an ossia of transcription and an ossia of piano technique. The Schumann Lieder transcriptions, in general, display a less imaginative treatment of the source material. Elaborations are less frequently encountered, and virtuosity is more restricted, as if the passage of time had somewhat tamed the composer's approach to transcriptions; alternatively, Liszt was eager to distance himself from the fierce virtuosity of his early years. In most instances, these transcriptions are literal arrangements of the source material, with the vocal line in its original form combined with the accompaniment, which often doubles the vocal line in the original Lied. Widmung, the first of the Schumann transcriptions, is one exception in the way it recalls the virtuosity of the Schubert transcriptions of the 1830s. Particularly striking is the closing section (mm. 58-73), in which material of the opening verse (right hand) is combined with the triplet quarter notes (left hand) from the second section of the Lied (mm. 32-43), as if the transcriber were attempting to reconcile the different material of these two sections. Fruhlingsnacht resembles a paraphrase by presenting each of the two verses in differing registers (alto for verse 1, mm. 3-19, and soprano for verse 2, mm. 20-31) and by concluding with a virtuosic section that considerably extends the length of the original Lied. The original tonalities of the Lieder were generally retained in the transcriptions, showing that the tonality was an important part of the transcription process. The infrequent instances of transposition were done for specific reasons. In 1861, Liszt transcribed two of Schumann's Lieder, one from Op. 36 (An den Sonnenschein), another from Op. 27 (Dem roten Roslein), and merged these two pieces in the collection 2 Lieder; they share only the common tonality of A major. His choice for combining these two Lieder remains unknown, but he clearly recognized that some tonal variety would be needed, for which reason Dem roten Roslein was transposed to C>= major. The collection features An den Sonnenschein in A major (with a transition to the new tonality), followed by Dem roten Roslein in C>= major (without a change of key signature), and concluding with a reprise of An den Sonnenschein in A major. A three-part form was thus established with tonal variety provided by keys in third relations (A-C>=-A); in effect, two of Schumann's Lieder were transcribed into an archetypal song without words. In other instances, Liszt treated tonality and tonal organization as important structural ingredients, particularly in the transcriptions of Schubert's Lieder cycles, i.e. Schwanengesang, Winterreise a... $32.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Polonaises Series A: Ops. 26, 40, 44, 53, 61 Piano solo PWM (Polskie Wydawnictwo Muzyczne)
(Chopin National Edition Volume VI). Composed by Frederic Chopin (1810-1849). Ed...(+)
(Chopin National Edition Volume VI). Composed by Frederic Chopin (1810-1849). Edited by Jan Ekier. For Piano. PWM. Softcover. 112 pages. Polskie Wydawnictwo Muzyczne #9386040. Published by Polskie Wydawnictwo Muzyczne
$27.95 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Frederic Chopin: Polonaises
Piano solo [Sheet music] - Advanced Schirmer
Composed by Frederic Chopin (1810-1849), edited by Carl Mikuli. For piano. Schir...(+)
Composed by Frederic Chopin (1810-1849), edited by Carl Mikuli. For piano. Schirmer's Library, volume 29. Format: piano solo book. With fingerings, thematic index and introductory text. Romantic period. 107 pages. 9x12 inches. Published by Schirmer.
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| Sketches, Ruins, Pinions Of An Eagle Op. 61: 12 Preludes For Piano Piano solo Schott
Piano - difficult SKU: HL.49044173 Twelve preludes for piano. Comp...(+)
Piano - difficult SKU: HL.49044173 Twelve preludes for piano. Composed by Stefan Heucke. This edition: Saddle stitching. Sheet music. Piano Solo. Softcover. Composed 2010-2011. Op. 61. 52 pages. Duration 24'. Schott Music #ED21847. Published by Schott Music (HL.49044173). ISBN 9790001197724. 0.212 inches. The title has been taken from a review of Robert Schumann of the then newly published Preludes Op. 28. According to this reference, Stefan Heucke's Preludes are tributes to the three great piano composers of the 19th century: Chopin, Liszt and Schumann. By tradition, each of Heucke's 12 Preludes starts from a different keynote while attempting, however, to use major and minor modes at the same time in constantly new combinations. $35.00 - See more - Buy online | | |
| Chopin, Frederic: Polonaises
Piano solo [Sheet music] - Advanced G. Henle
with a Critical Commentary. By Frederic Chopin. Edited by Ewald Zimmermann. Pian...(+)
with a Critical Commentary. By Frederic Chopin. Edited by Ewald Zimmermann. Piano (Harpsichord), 2-hands. Pages: 144. Urtext edition-paper bound. Published by G. Henle.
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| Chopin: The Ultimate Piano Collection Piano solo Schirmer
(Schirmer's Library of Musical Classics Vol. 2104). Composed by Frederi...(+)
(Schirmer's Library of
Musical Classics Vol. 2104).
Composed by Frederic Chopin
(1810-1849). For Piano.
Piano Collection. Softcover.
724 pages. G. Schirmer
#LB2104. Published by G.
Schirmer
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| Frederic Chopin: Polonaises Piano solo G. Henle
With a Critical Commentary. By Frederic Chopin. Edited by E. Zimmermann. Piano (...(+)
With a Critical Commentary. By Frederic Chopin. Edited by E. Zimmermann. Piano (Harpsichord), 2-hands. Pages: 144. Urtext edition-cloth bound. Published by G. Henle.
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| Frederic Chopin: Polonaises Piano solo [Study Score / Miniature] G. Henle
By Frederic Chopin. Edited by E. Zimmermann. STUDY EDITION. Pages: 144. Study sc...(+)
By Frederic Chopin. Edited by E. Zimmermann. STUDY EDITION. Pages: 144. Study score-no details. Published by G. Henle.
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| Top-Requested Pop and Rock Sheet Music (13 Popular Favorites Arranged by Dan Coates) Piano solo - Easy Alfred Publishing
Top-Requested Pop and Rock Sheet Music (13 Popular Favorites Arranged by Dan Coa...(+)
Top-Requested Pop and Rock Sheet Music (13 Popular Favorites Arranged by Dan Coates). Arranged by Dan Coates. For Piano. Book; Piano - Easy Piano Collection; Piano Supplemental. Top-Requested Sheet Music. Pop/Rock. Easy Piano. 68 pages. Published by Alfred Music
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| Sonata No. 5 Op. 61 Piano solo Schott
Piano (Piano Solo) SKU: HL.49047108 For Piano Solo. Composed by Ni...(+)
Piano (Piano Solo) SKU: HL.49047108 For Piano Solo. Composed by Nikolai Kapustin. Piano Solo. Jazz. Softcover. 28 pages. Duration 720 seconds. Schott Music #ED23400. Published by Schott Music (HL.49047108). ISBN 9781705189214. 0.126 inches. Virtuoso jazz in classical form: Kapustin's three-movement Piano Sonata No. 5 op. 61 dates from 1991. $23.99 - See more - Buy online | | |
| Poeme I WV 61 Nr.1 Piano solo Hal Leonard Europe
Piano SKU: BT.AST6131 Composed by Markus Lehmann. Book Only. Hal Leonard ...(+)
Piano SKU: BT.AST6131 Composed by Markus Lehmann. Book Only. Hal Leonard Europe #AST6131. Published by Hal Leonard Europe (BT.AST6131). $12.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Poeme II WV 61 Nr.2 Piano solo Hal Leonard Europe
Piano SKU: BT.AST6121 Composed by Markus Lehmann. Book Only. Hal Leonard ...(+)
Piano SKU: BT.AST6121 Composed by Markus Lehmann. Book Only. Hal Leonard Europe #AST6121. Published by Hal Leonard Europe (BT.AST6121). $12.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Polonaise-Fantaisie A-flat Major Op. 61 Piano solo G. Henle
Edition with Fingering. Composed by Frederic Chopin (1810-1849). Edited b...(+)
Edition with Fingering. Composed by Frederic Chopin (1810-1849). Edited by Ewald Zimmermann. Henle Music Folios. Classical. Softcover. 27 pages. G. Henle #HN1316. Published by G. Henle (HL.51481316).
$10.95 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Top 50 Pop Hits Piano solo [Sheet music] - Easy Alfred Publishing
Arranged by Dan Coates. For Piano. Piano - Easy Piano Collection. Top 50. Pop. E...(+)
Arranged by Dan Coates. For Piano. Piano - Easy Piano Collection. Top 50. Pop. Easy Piano. Book. 204 pages. Published by Alfred Music
$19.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Opere complete per clavicembalo - Volume 7 (Complete Works) Piano solo Ricordi
Harpsichord; Piano SKU: HL.50011930 Harpsichord or Piano Solo. Com...(+)
Harpsichord; Piano SKU: HL.50011930 Harpsichord or Piano Solo. Composed by Domenico Scarlatti. Edited by Alessandro Longo. Piano. Classical, Collection. 224 pages. Ricordi #ER547. Published by Ricordi (HL.50011930). UPC: 073999121247. 9.0x12.0x0.63 inches. Contents: Suites 61-70. $56.95 - See more - Buy onlinePre-shipment lead time: 3 to 5 business days | | |
| Chopin: Favorite Piano Works
Piano solo [Sheet music] Schirmer
(Schirmer's Library of Musical Classics, Vol. 2072). By Frederic Chopin (1810-18...(+)
(Schirmer's Library of Musical Classics, Vol. 2072). By Frederic Chopin (1810-1849). Piano Collection. Softcover. 248 pages
$18.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Operas and Operettas - Volume 1 Piano solo - Easy Schott
Piano; Piano/Keyboard - easy SKU: HL.49003708 Piano. Edited by Ric...(+)
Piano; Piano/Keyboard - easy SKU: HL.49003708 Piano. Edited by Richard Krentzlin. Arranged by Richard Krentzlin. This edition: Saddle stitching. Sheet music. Edition Schott. Classical. 48 pages. Schott Music #ED2340. Published by Schott Music (HL.49003708). ISBN 9790001036979. UPC: 073999748574. 9.0x12.0x0.182 inches. 68 der beliebtesten Melodien aus den bekanntesten Opern und Operetten. $20.99 - See more - Buy online | | |
| For Younger People-Part I of Album for the Young, Op.68 Piano solo ABRSM Publishing
By Robert Schumann. Edited by Howard Ferguson. For Piano solo. (Part 1 of Album ...(+)
By Robert Schumann. Edited by Howard Ferguson. For Piano solo. (Part 1 of Album for the Young, Opus 68). Level: 2, 3, 4, 5. 24 pages. Published by ABRSM (Associated Board of the Royal Schools of Music).
$11.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Frédéric Chopin - Barcarolle in F-sharp Major, Op. 60 Piano solo [Sheet music] G. Henle
Frédéric Chopin - Barcarolle in F-sharp Major, Op. 60 (Piano Revised Edition)....(+)
Frédéric Chopin - Barcarolle in F-sharp Major, Op. 60 (Piano Revised Edition). By Frédéric Chopin and Fr. Edited by Hans-Martin Theopold, Norbert Müllemann, and Norbert M. For Piano. Henle Music Folios. Softcover. G. Henle #HN993. Published by G. Henle
$13.95 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Moon Rainbow op. 161 Piano solo Schott
Piano. Composed by Nikolai Kapustin. This edition: Saddle stitching. Shee...(+)
Piano. Composed by Nikolai Kapustin. This edition: Saddle stitching. Sheet music. Piano. Classical. Softcover. Composed 2016. Op. 161. 12 pages. Schott Music #ED22847. Published by Schott Music (HL.49045697).
$13.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| First Book for Pianists (Frederic Chopin) Piano solo [Sheet music] - Intermediate/advanced Alfred Publishing
Edited by Willard A. Palmer. Frederic Chopin. For Piano. Piano Collection. Maste...(+)
Edited by Willard A. Palmer. Frederic Chopin. For Piano. Piano Collection. Masterwork. Level: Intermediate (grade 4/5). Book. 24 pages. Published by Alfred Publishing.
$6.95 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Chopin Preludes Op 28 Pf Urtext Piano solo Carisch
Composed by Frederic Chopin (1810-1849). Urtext Collection (Carisch). Classical....(+)
Composed by Frederic Chopin (1810-1849). Urtext Collection (Carisch). Classical. Book Only. 68 pages. Carisch Edition #CARMK13061. Published by Carisch Editio
$15.00 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Polonaises, Series B: Published Posthumously Piano solo [Sheet music] PWM (Polskie Wydawnictwo Muzyczne)
Chopin National Edition 26B, Vol. II. Composed by Frederic Chopin (1810-1...(+)
Chopin National Edition 26B, Vol. II. Composed by Frederic Chopin (1810-1849). Edited by Jan Ekier. PWM. Softcover. Polskie Wydawnictwo Muzyczne #51600018. Published by Polskie Wydawnictwo Muzyczne (HL.132302).
$20.95 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Movimento op. 57 Piano solo Hal Leonard Europe
Piano SKU: BT.AST6157 Composed by Ivan Shekov. Book Only. Hal Leonard Eur...(+)
Piano SKU: BT.AST6157 Composed by Ivan Shekov. Book Only. Hal Leonard Europe #AST6157. Published by Hal Leonard Europe (BT.AST6157). $16.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| In Ricordo Arturo Toscanini, Op. 183b Piano solo Top Musik
Piano (Piano) SKU: HL.50588424 Fur Streichorchester. Composed by A...(+)
Piano (Piano) SKU: HL.50588424 Fur Streichorchester. Composed by Aubert Lemeland. Ricordi Germany. Book Only. Composed 2008. Top Musik #TOP0142/01. Published by Top Musik (HL.50588424). $9.00 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Polonaise in A Major, Op. 40, No. 1 Piano solo [Singles] Alfred Publishing
By Frederic Chopin. Edited by Willard A. Palmer. For Piano. Piano Solo. Masterwo...(+)
By Frederic Chopin. Edited by Willard A. Palmer. For Piano. Piano Solo. Masterwork. Level: Early Advanced (grade 6 ). 8 pages. Published by Alfred Publishing.
$4.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Popular Piano Solos 2nd Edition - Level 2 Piano solo [Sheet music + Audio access] Hal Leonard
Hal Leonard Student Piano Library Book with Online Audio. Composed by Various. A...(+)
Hal Leonard Student Piano Library Book with Online Audio. Composed by Various. Arranged by Fred Kern, Mona Rejino, Phillip Keveren. Educational Piano Library. Pop. Softcover Audio Online. 40 pages. Published by Hal Leonard
$12.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Graded Joplin, Book 3 Piano solo - Intermediate Alfred Publishing
(7 Graded Arrangements for Intermediate Pianists). Arranged by Carol Matz. For P...(+)
(7 Graded Arrangements for Intermediate Pianists). Arranged by Carol Matz. For Piano. Book; Piano Collection; Piano Supplemental. Graded Joplin. 24 pages. Published by Alfred Music Publishing
$6.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Alfred's Basic Piano Course - Popular Hits, Book 3 Piano solo Alfred Publishing
Arranged by Tom Gerou. Book; Method/Instruction; Piano - Alfred's Basic Piano Li...(+)
Arranged by Tom Gerou. Book; Method/Instruction; Piano - Alfred's Basic Piano Library. Alfred's Basic Piano Library. Broadway; Children; Movie; Pop. 24 pages. Published by Alfred Music (AP.44702).
$8.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
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| Coffret Great Piano Solos
Vol.2 Piano solo Amsco Wise Publications
A superb four-volume collection of over 180 solos for the intermediate level Pia...(+)
A superb four-volume collection of over 180 solos for the intermediate level Pianist. Includes popular film and show tunes - themes and songs from top TV shows - and classical favourites from choral works, concertos, ballets, operas and symphonies. / Piano
115.30 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: On order | |
| Niels Viggo Bentzon:
Dukkens Menuet Op.161:
Piano: Instrumental Work Piano solo - Intermediate/advanced Wilhelm Hansen
Dukkens Menuet - og andre klaverminiaturer for børn og voksne Op.161 (1964) is ...(+)
Dukkens Menuet - og andre klaverminiaturer for børn og voksne Op.161 (1964) is a brilliant piece of Piano music composed by Niels Viggo Bentzon. Manuscript copy.
102.99 GBP - Sold by Musicroom UK | |
| Chopin, Frédéric :
Complete Mazurkas and
Polonaises Piano solo [Sheet music] Hal Leonard
Ce nouveau volume rassemble 57 mazurkas et 16 polonaises, qui font partie des st...(+)
Ce nouveau volume rassemble 57 mazurkas et 16 polonaises, qui font partie des standards du repertoire du 19ème siècle à un prix défiant toute concurrence. Chopin était le maitre dans la composition de ces morceaux dont l'origine vient des danses folkloriques polonaises et dont le rythme est en 3/4. / Classique / Partition /
23.00 EUR - Sold by Note4Piano Pre-shipment lead time: 24 hours - In Stock Only 1 left in stock, order soon ! | |
| Hermann Berens: Newest
School Of Velocity Op.
61: Piano: Instrumental
Tutor Piano solo PWM (Polskie Wydawnictwo Muzyczne)
Newest School Of Velocity Op. 61
8.50 GBP - Sold by Musicroom UK Shipment: (stock) information on site | |
| Scetches, Ruins, Pinions
Of An Eagle Op. 61 Piano solo Schott
The title has been taken from a review of Robert Schumann of the then newly publ...(+)
The title has been taken from a review of Robert Schumann of the then newly published Préludes Op. 28. According to this reference, Stefan Heucke's Préludes are tributes to the three great piano composers of the 19th century: Chopin, Liszt and Schumann. By tradition, each of Heucke's 12 Préludes starts from a different keynote while attempting, however, to use major and minor modes at the same time in constantly new combinations. / Piano
35.70 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: On order | |
| Chopin F. - Nocturnes
And Polonaises - Piano
Solo Piano solo Dover Publications
The 20 nocturnes reproduced here include Opp. 9, 15, 27, 32, 37, 48, 55, 62, 72,...(+)
The 20 nocturnes reproduced here include Opp. 9, 15, 27, 32, 37, 48, 55, 62, 72, and the posthumous Nocturne in C-sharp Minor. The 11 polonaises include Opp. 26, 40, 44, 53, 61,71, and the posthumous Polonaise in G-sharp Minor. Reprinted from an authoritative early edition. Mikuli Contenu : Nocturne in B-flat Minor, Op. 9, No. 1 Nocturne in E-flat Major, Op. 9, No. 2 Nocturne in B Major, Op. 9, No. 3 Nocturne in F Major, Op. 15, No. 1 Nocturne in F-sharp Major, Op. 15, No. 2 Nocturne in G minor, Op. 15, No. 3 Nocturne in C-sharp Minor, Op. 27, No. 1 Nocturne in D-flat Major, Op. 27, No. 2 Nocturne in B Major, Op. 32, No. 1 Nocturne in A-flat Major, Op. 32, No. 2 Nocturne in G Minor, Op. 37, No. 1 Nocturne in G Major, Op.37, No. 2 Nocturne in C Minor, Op. 48, No. 1 Nocturne in F-sharp Minor, Op. 48, No.2 Nocturne in F Minor, Op. 55, No. 1 Nocturne in E-flat Major, Op. 55, No. 2 Nocturne in B Major, Op. 62, No. 1 Nocturne in E Major, Op. 62, No. 2 Nocturne in E Minor, Op. 72, No. 1 Nocturne in C-sharp Minor, Op. posthumous The Eleven Polonaises Polonaise in C-sharp Minor, Op. 26, No. 1 Polonaise in E-flat Minor, Op. 26, No. 2 Polonaise in A Major, Op. 40, No. 1 (Militaire) Polonaise in C Minor, Op. 40, No. 2 Polonaise in F-sharp Minor, Op. 44 Polonaise in A-flat Major, Op. 53 (Heroic) Polonaise-Fantaisie in A-flat Major, Op. 61 Polonaise in D Minor, Op. 71, No. 1 Polonaise in B-flat Major, Op. 71, No. 2 Polonaise in F Minor, Op 71, No. 3 Polonaise in G-sharp Minor, Op. posthumous
30.60 EUR - Sold by Woodbrass Pre-shipment lead time: On order | |
| The Top Ten Most Calming
Pieces To Play On Piano:
Piano: Instrumental Album Piano solo [Sheet music] Amsco Wise Publications
Featuring some of the world's greatest pieces of music from a variety of differ...(+)
Featuring some of the world's greatest pieces of music from a variety of different genres the 'Top Ten' series contains music for everyone. Whether you're a beginner who wants to know the best classical pieces to learn or amore experienced player looking for the ultimate Piano songs to add to your repertoire we have a 'Top Ten' for you! Each piece comes with interesting background notes to give you that extra bit of insight. The TopTen Most Calming Pieces To Play On Piano contains ten of the world's most relaxing Piano pieces composed by some of the best-known composers of the last two hundred years including Frédéric Chopin Jules Massenet Philip Glass and Yiruma. We've roamed freely across the past two centuries of music to create this tranquil Pianoselection for you. There's a piece each by Chopin and Liszt two major stars of the early Romantic era; a couple of jewels from the Parisian belle epoque by Satie and Massenet; unforgettable melodies from the pens of Dvorak andRachmaninoff; while closer to our own time there's beautiful music by Philip Glass Neil Cowley and Ludovico Einaudi. Let life's stresses melt away as you take a deep breath and lose yourself in these precious musicalmoments...
11.99 GBP - Sold by Musicroom UK | |
| Dimitri Shostakovich:
Sonate No. 2 Op.61:
Piano: Score Français Piano solo [Sheet music] Chant du Monde
Dmitri Shostakovich's Sonate No. 2 Op.61for Piano.
18.99 GBP - Sold by Musicroom UK | |
| Frédéric Chopin:
Preludes: Piano:
Instrumental Album Piano solo Hal Leonard
Pedagogical in nature these editions offer insightful interpretive suggestions ...(+)
Pedagogical in nature these editions offer insightful interpretive suggestions pertinent fingering and historical and stylistic commentary.The name Frédéric Chopin (1810-1849) is synonymous with the Piano. Indeed every one of his compositions includes the instrument. His Preludes several of which are of only moderate difficulty show superb polish and inventive detail. Shaped by the tastes of the Parisian aristocratic salon these pieces make the most of a pianist's technical and musical abilities both in passages of virtuosity and in the variety of possibilities for emotional expression.
10.99 GBP - Sold by Musicroom UK Pre-shipment lead time: In Stock | |
| Frédéric Chopin:
Polonaise-Fantaisie In A
Flat Op. 61: Piano:
Instrumental Work Piano solo G. Henle
Frédéric Chopin?s Polonaise-Fantaisie In Ab Major Op.61 was composed and publi...(+)
Frédéric Chopin?s Polonaise-Fantaisie In Ab Major Op.61 was composed and published in 1846 and is dedicated to Mme A. Veyret.The work was initially slow to gain favour with musicians due to itsintricate form and harmonic complexity. One of the first critics to speak positively about it was Arthur Hedley who wrote in 1947 that the work 'works on the hearer's imagination with a power of suggestion equaled only bythe F minor Fantasy or the fourth Ballade'.While Chopin is said to have referred initially to the piece only as a Fantasy the Polonaise-Fantasie takes its metre much of its rhythm and someof its melodic character from the polonaise.This Henle Urtext Edition for solo Piano has been edited by Ewald Zimmermann and includes fingering by Hans-Martin Theopold.
8.75 GBP - Sold by Musicroom UK Pre-shipment lead time: In Stock | |
| Top 100 Hit Collection 74
Band 74 Piano solo Schott
Mit der Top 100 Hit Collection gibt es immer die besten Noten der heißesten Cha...(+)
Mit der Top 100 Hit Collection gibt es immer die besten Noten der heißesten Chartstürmer! In dieser Ausgabe dabei: Lieblingsmensch von Newcomerin Namika, Cros Unplugged-Hit Bye Bye, die groovige Pop-Nummer Can't Feel My Face von The Weeknd sowie weitere Top-Titel. Die leichten bis mittelschweren Arrangements sind auf Klavier oder Keyboard abgestimmt. Das herausnehmbare Leadsheet hält die Hauptstimme für Gesang, Melodieinstrument oder Gitarre bereit und ist so flexibel einsetzbar. / Piano
17.00 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: On order | |
| 101 Etudes for Piano Français Piano solo [Sheet music] Tempo Primo
Ce recueil musical constitue un florilège d'études pour piano, à l?attention ...(+)
Ce recueil musical constitue un florilège d'études pour piano, à l?attention des pianistes débutants et confirmés, où se côtoient les grandes études des compositeurs célèbres et les ?uvres plus didactiques d'auteurs moins connus. A travers 101 Études, le pianiste aborde les grandes pages de la littérature pour piano, voyageant ainsi à travers les époques et les styles. L'ouvrage est complété par un double CD (tapez TP002CD dans notre moteur de recherche) : à son gré le musicien peut y trouver un guide et un supplément indissociable de la partition.
?uvres de : Chopin, Liszt, Thalberg, Moszkovski, Sibelius, Brahms, Nazareth, Scriabin, Debussy, Czerny, Bertini, Burgmüller, Cramer, Gurlitt, Heller, Kadosa, etc.
/ [101 Etudes Pour Piano] / Classique / Feraux, Pierre / Partitions / Carré Collé /
35.80 EUR - Sold by Note4Piano Pre-shipment lead time: 3-10 days - In Stock Supplier | |
| Chopin F. - Nocturnes
Op.9-62 (jan Ekier) -
Piano Piano solo PWM (Polskie Wydawnictwo Muzyczne)
In accordance with the tradition of the genre, these are characterised by sentim...(+)
In accordance with the tradition of the genre, these are characterised by sentimentality, intimacy and programmatic tendencies. Characteristic for them is a turbulent middle section and a richly ornamented reprise. However, variability of dynamics and musical course are not appropriate for nocturnes, rather holding on to a particular mood, full of expectation or the past brought to the present. Critical source-edition edited by Jan Ekier and Pawe? Kami?ski based on manuscripts, copies approved by Chopin himself, and first editions. Its purpose is to present the works of Chopin in authentic form. Performance commentary by: Jan Ekier, Pawe? Kami?ski Source commentary by: Jan Ekier, Pawe? Kami?ski Cover Design: Maria Ekier Editor: Jan Ekier, Pawe? Kami?ski Editor of graphic design: Maria Ekier Publisher: PWM Edition
30.60 EUR - Sold by Woodbrass Pre-shipment lead time: On order | |
| The Romantic Era: Piano:
Instrumental Album Piano solo Hal Leonard
55 Selections from Symphonies Ballets Operas
10.99 GBP - Sold by Musicroom UK Pre-shipment lead time: In Stock | |
| Piano Scores Unlimited Français Piano solo [DVD-ROM] IPE Music
Ecoles de Musique, Conservatoires, Médiathèques, Etablissements Scolaires, Pro...(+)
Ecoles de Musique, Conservatoires, Médiathèques, Etablissements Scolaires, Professeurs de Piano, Pianistes débutants ou confirmés, Concertistes... désormais, vous pouvez imprimer, utiliser et faire circuler librement un grand répertoire de partitions sans que ce soit considéré comme une photocopie pour les cours, les examens, les auditions, les concerts, le travail chez soi?
Voici les plus grand répertoire de partitions pour Piano libre de droit et sans restrictions sur un seul DVD-Rom comprenant : - 630 Oeuvres Majeures doigtées avec soin et classées par niveau de difficulté - 2 500 Pages de Musique à imprimer dans une qualité irréprochable - 26 heures d'écoute au format MP3 à exporter et à utiliser sans limitation
Quelques exemples d?utilisation
Installé dans une salle de cours, chaque professeur aura le loisir de faire écouter à son élève chaque morceau enregistré par des pianistes virtuoses. Puis le professeur imprimera naturellement la partition que l?élève emportera avec lui pour travailler à la maison. Pour les cours de musique collectifs, cours d?initiation dans les Ecoles primaires, Collèges, Lycées, Conservatoires?, une solution ludique et inépuisable pour faire découvrir la musique des grands compositeurs. Le professeur imprime pour chaque élève la partition qu?il aura choisi de faire travailler, déchiffrer, expliquer, avec l?aide de l?Audio. Quoi qu?il en soit, même pour les bibliothèques, vous disposez d?un répertoire complet à imprimer à l?infini sans que ce soit considéré comme du « photocopillage » puisque les oeuvres contenues dans Piano Score Unlimited appartiennent au domaine public. Imprimez des partitions d?une qualité graphique exceptionnelle ! Doigtée avec soin, chaque partition est tirée de la première édition ou de l?oeuvre originale du compositeur. Pour vous aider dans vos choix, les pièces ont été classées par compositeur et par niveau de difficulté. Exportez le fichier MP3 qui a été interprété par des pianistes virtuoses pour l?utiliser sans restriction et libre de droit, agrémenter vos DVD, élaborer des programmes d?écoute pour vos élèves ou vous-même...
Débutez en travaillant les exercices du recueil « Le Premier Maître du Piano Opus 599 », « Les Cinq Doigts Opus 777 », « Les Etudes » de Czerny ou de Burgmuller, le célèbre « petit livre » d?Anna Magdalena BACH? Déchiffrez les partitions de l?incontournable répertoire de Piano : « Le Clavecin bien tempéré » de JS BACH ou les « Sonatines » de Clémenti ? Interprétez les « Nocturnes », « Préludes », « Mazurkas »,Grandes « Valses » de Chopin, les airs les plus connus (« Fantaisie », « Marche turque », « Petite Sonate`) et `Sonates` de Mozart, les « Petits Préludes » ou les fameuses « Fugues », les « Inventions à 2 et 3 voies » de J.S.Bach, les « Romances sans Paroles » de Mendelssohn, l? « Album pour la jeunesse », « Scènes d?enfants » de Schumann, les « Moments Musicaux », les « Impromptus » de Schubert, « Les Arabesques », le « Children?s Corner » ,« Le Petit Nègre» de Debussy, les « Ragtimes » de Scott Joplin, pour ne citer qu?eux... De Haendel, Schubert, Beethoven, en passant entre autres par Tchaïkovski ou Purcell, Couperin, Gounod, Scarlatti?. / DVD /
59.00 EUR - Sold by Note4Piano Pre-shipment lead time: 3-10 days - In Stock Supplier | |
| Frédéric Chopin:
Polonaise Fantaisie
Op.61: Piano:
Instrumental Work Piano solo Zen-on
Frédéric Chopin's Polonaise Fantaisie Op.61 for solo Piano.
4.99 GBP - Sold by Musicroom UK | |
| AMERICAN COLLECTION 38
CLASSIC COMPOSITIONS ARR.
SOLO PIANO Piano solo [Sheet music] Chester
A superb 160 page volume packed with solo Piano arrangements of great American m...(+)
A superb 160 page volume packed with solo Piano arrangements of great American music from the 19th to 20th centuries. By composers including Barber, MacDowell, Sousa, Joplin, Bacharach and Glass.
<br>
<br>A specially-written foreword places the music in historical and national context and includes biographical details of many of the featured composers. The arrangements are intended for the intermediate to advanced pianist, but the book will give any player a unique practical and historical insight into America's immense contribution to the international world of music. / Partition /
26.50 EUR - Sold by Note4Piano Pre-shipment lead time: 3-10 days - In Stock Supplier | |
| Frédéric Chopin:
Nocturnes and Polonaises:
Piano: Instrumental Album Piano solo Dover Publications
Serious pianists will want to have these authoritative texts of 31 of Chopin's m...(+)
Serious pianists will want to have these authoritative texts of 31 of Chopin's most popular and enduring works. Edited by Carl Mikuli
25.40 GBP - Sold by Musicroom UK Pre-shipment lead time: In Stock | |
| Robert Schumann: Arabeske
Op.18 / Blumenstuck
Op.19: Piano:
Instrumental Album Piano solo - Intermediate/advanced ABRSM Publishing
Robert Schumann's Arabeske Op.18 and Blumenstuck Op.19 for solo Piano as edited...(+)
Robert Schumann's Arabeske Op.18 and Blumenstuck Op.19 for solo Piano as edited and annotated for the ABRSM by Howard Ferguson.
7.50 GBP - Sold by Musicroom UK Pre-shipment lead time: In Stock | |
| Concerto for Pianoforte
and Orchestra in D major
op. 61 (BEETHOVEN LUDWIG
VAN) Piano solo [Sheet music] Barenreiter
Par BEETHOVEN LUDWIG VAN. After attending the premiere of Beethoven?s stately co...(+)
Par BEETHOVEN LUDWIG VAN. After attending the premiere of Beethoven?s stately concerto for violin and orchestra Muzio Clementi approached the composer and requested the work in a transcription for piano and orchestra; his wish was fulfilled in 1807 providing us with not just an alternative version of the composition but also one with authentic cadenzas which Beethoven had not written for the Violin Concerto! This version has waited a long time to be properly edited after the existing sources and the famed Beethoven scholar Jonathan Del Mar has done just that!
Working with all known sources, Del Mar finally presents us with Beethoven?s solo piano articulation and dynamics and Beethoven?s cadenzas. And, for the first time we now have clarity regarding the meaning of Beethoven?s Solo and Tutti markings.
All in all, a groundbreaking scholarly critical edition; a ?must? for every pianist, every orchestra and every music library.
The piano reduction will be presented in a new format:
As customary in the 19 th century there will be a solo piano part containing tutti passages, cues and the piano solo. This part will be inserted ? as with string and wind concertos ? in the piano reduction. This affords the soloist sensible page turns and offers the possibility to lead the ensemble from the piano. The piano reduction will include the reduction of the orchestral score as well as the solo piano part above it in small print. / Date parution : 2022-02-25/ Répertoire / Piano
44.10 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: In Stock | |
| Disney Hits - Super Easy
Songbook Piano solo [Sheet music] - Easy Hal Leonard
Par . Looking for a fun and easy way to learn your favorite Disney songs? Look n...(+)
Par . Looking for a fun and easy way to learn your favorite Disney songs? Look no further than the Hal Leonard Disney Hits Super Easy Songbook! With simplified arrangements of everyone's favorite tunes from timeless classics like The Lion King and Aladdin to modern favorites like Frozen and Moana, this book is perfect for beginners of all ages. With no page turns, simple right-hand melodies, letter names inside each note, and basic left-hand chord diagrams, you'll be playing along to your favorite Disney songs in no time! Songs include: For the First Time in Forever · He's a Pirate · How Far I'll Go · I Just Can't Wait to Be King · Into the Unknown · Love Is an Open Door · Nobody like U · The Place Where Lost Things Go · Remember Me (Ernesto de la Cruz) · Speechless · Spirit · We Don't Talk About Bruno · When Will My Life Begin? · You'll Be in My Heart (Pop Version) · You're Welcome · and more. / Niveau : Facile / Date parution : 2023-10-31/ Recueil / Piano
22.80 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: On order | |
| Elgar Essential Gold
Collection Piano Piano solo [Sheet music] - Intermediate Chester
The latest book in this popular series features the music of Sir Edward Elgar, i...(+)
The latest book in this popular series features the music of Sir Edward Elgar, in honour of his 150th birthday in 2007.<br>Includes solo-piano arrangements of Elgar's best-loved works, including selections from Sea Pictures, the Cello Concerto, Enigma Variations, Pomp and Circumstance March No. 1, and much more.<br>Arranged for intermediate solo piano. An essential addition to your piano library. / Classique / Partition /
20.50 EUR - Sold by Note4Piano Pre-shipment lead time: 24 hours - In Stock Only 1 left in stock, order soon ! | |
| Heinrich Karl Johann
Hofmann: 17 Miscellaneous
Pieces from Op.11 37 77
85 88: Piano solo - Easy ABRSM Publishing
Easier Piano Pieces 49-17 works from Op.11 37 77 85 and 88 edited by Thomas A...(+)
Easier Piano Pieces 49-17 works from Op.11 37 77 85 and 88 edited by Thomas A. Johnson.
5.95 GBP - Sold by Musicroom UK | |
| The Piano Player Series:
Uplifting Classics Piano solo [Sheet music] Faber Music Limited
Par . The Piano Player: Uplifting Classics presents 20 of the most famous pieces...(+)
Par . The Piano Player: Uplifting Classics presents 20 of the most famous pieces of classical music, ideal to lift the spirits specially arranged for intermediate solo piano. Contents include Can-Can by Offenbach, Jerusalem by Parry and William Tell Overture by Rossini. The striking cover features Edward Bawden?s colour linocut Aesop?s Fables: Peacock and Magpie, 1970, and a 4-page pullout provides the full artwork as a beautiful collectible.
The Piano Player series includes six wonderful collections of some of the greatest classical music ever written, specially arranged for the intermediate pianist, each with its own collectible pull-out poster of the stunning Edward Bawden cover artwork. / Date parution : 2023-07-31/ Recueil / Piano
14.70 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: In Stock | |
| 32 Easy Piano Pieces With
Practice Tips Piano solo Wiener Urtext
La nouvelle collection Primo ('Urtext Primo-Reihe') de la Wiener Urtext Edition ...(+)
La nouvelle collection Primo ('Urtext Primo-Reihe') de la Wiener Urtext Edition ('édition viennoise - texte original') a pour objectif de remédier au manque qui existe entre la fin de l'étude d'une méthode de piano et le passage à la suite du processus sous forme de cours. Au sortir d'un niveau défini dans ses grandes lignes par le menuet en sol de Bach (BWV Anh. 116), le menuet en fa de Mozart (KV 5) ou le Cavalier sauvage de Schumann, chaque cahier du Urtext Primo-Reihe se compose d'oeuvres choisies parmi celles de trois compositeurs différents, le but étant d'offrir à chaque élève de piano (ou à chaque adulte reprenant le piano) un éventail de morceaux du répertoire à l'aide desquels on sera en mesure de continuer à développer ses capacités techniques. Le cadre de difficulté des pièces est défini avec une relative étroitesse de manière à permettre une utilisation continue du volume sur une période d'environ deux ans. C'est en cela que le concept de 'Urtext Primo-Reihe' se distingue de presque tous les autres albums ou recueils. Dans le choix du répertoire, on tient compte de la nécessité d'y faire figurer des pièces habituelles au cadre du cours de piano classique, d'une part, mais aussi d'autre part des pièces moins connues dont la pertinence dans un cours de piano n'est pas moindre. Les volumes de la collection Urtext Primo-Reihe sont publiés au standard international de la Wiener Urtext-Ausgabe. Les explications adjointes à chaque volume ont pour objet d'approfondir les connaissances en matière de styles, d'histoire de la musique, et de données spécifiques au piano. Un tableau du répertoire porté à la fin de chaque volume donne une idée très globale de la difficulté des pièces y figurant. Le volume 6 de Urtext Primo contient, avec Clementi, Czerny et Cramer, des pièces de piano faciles de trois compositeurs qui ont tous trois fait partie du premier rang des pédagogues du piano, ayant composé pour lui des méthodes et des pièces de répertoire d'étude. De Muzio Clementi, il n'existe pas seulement une sélection de ses sonatines les plus populaires, les pièces choisies de Carl Czerny démontrent qu'on n'a pas toujours besoin des vieilles recettes de leçons de piano, tandis que Johann Baptist Cramer (rendu célèbre par les Etudes de Cramer-Bülow) est l'auteur d'un répertoire qui n'est pas exclusivement destiné aux pianistes de haut niveau. / Piano
18.00 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: In Stock | |
| Dmitri Kabalevsky: Sechs
Präludien und Fugen Op.
61: Piano: Instrumental
Work Piano solo Boosey and Hawkes
Zen On Japenese language edition of Dmitri Kabalevsky's 6 Preludes And Fugues fr...(+)
Zen On Japenese language edition of Dmitri Kabalevsky's 6 Preludes And Fugues from Opus 61 for Piano Solo.
11.99 GBP - Sold by Musicroom UK | |
| Augure op. 61 (GUILLOU
JEAN) Piano solo Schott
op. 61. Par GUILLOU JEAN. Augure' is not about looking into the future. This pie...(+)
op. 61. Par GUILLOU JEAN. Augure' is not about looking into the future. This piece does not attempt to conjure up omens; instead, it describes figures that may subsequently be interpreted in the listener's mind. The richest of conjectures may be carried by the music, prophecies hinted at by an atmosphere of sound whose vast expanses at the beginning of this work envelop us with a completely unadorned theme.
The introduction of material that is essentially rhythmical and aggressive does not preclude a sustained return to the original mood, but this time it is wrapped in an increasingly dense halo of sound, only to disappear at the end like plumes of smoke from a sacrifice./ Répertoire / Piano
21.19 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: On order | |
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