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| Pianthology Piano solo University Of York Music Press
Piano SKU: BT.MUSM570360413 By Nicky Losseff. Classical. Book Only. Unive...(+)
Piano SKU: BT.MUSM570360413 By Nicky Losseff. Classical. Book Only. University of York Music Press #MUSM570360413. Published by University of York Music Press (BT.MUSM570360413). English. Pianthology is a new collection of seven contemporary Piano works by living composers which includes a recording of each of the works performed by Nicky Losseff, the volume's editor. Nicky Losseff, who combines a Senior Lectureship at the University of York with an active career as a concert pianist, has written extensive performance and analysis notes on all of the works, giving helpful suggestions about the study and performance os each piece in turn. The anthology is aimed at university and conservatiore level Piano students, but will serve as an excellent introduction to new music for the Piano for any dedicated player looking to broaden their range. The worksincluded in Pianthology are: Anthony Gilbert - Three Papillon Postcards Sadie Harrison - Impresa Amorosa Ed Hughes - Third Orchid Jo Kondo - A Dance For Piano, 'Europeans' David Lumsdaine - Six Postcard Pieces Hilda Paredes - Caligrama Thomas Simaku - Des Pas Chromatiques Pianthology was launched at the York University Spring New Music Festival on May 8th 2008, when all seven works were performed, some by Nicky Losseff and some by her students from the University of York. Includes Nicky Losseff's recordings of all works. Three Papillon Postcards Impresa Amorosa 1. $21.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| A Dance for Piano, Europeans Piano solo University Of York Music Press
Piano SKU: BT.MUSM570204298 Composed by Jo Kondo. Classical. Book Only. 6...(+)
Piano SKU: BT.MUSM570204298 Composed by Jo Kondo. Classical. Book Only. 6 pages. University of York Music Press #MUSM570204298. Published by University of York Music Press (BT.MUSM570204298). English. Published 1990. Commissioned by Satoko Inoue. First performance: Tokyo, 1991, Satoko Inoue. $12.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Poco Piano For Young Children - Book 4 Piano solo Hal Leonard Europe
Piano SKU: BT.ALF009834304854 Book Only. Hal Leonard Europe #ALF009834304...(+)
Piano SKU: BT.ALF009834304854 Book Only. Hal Leonard Europe #ALF009834304854. Published by Hal Leonard Europe (BT.ALF009834304854). ISBN 9789834304850. English. With its highly attractive, full-colour, age-appropriate layout, Poco Piano For Young Children encourages young children to take the first steps on a difficult, but thoroughly rewarding journey. Together withthe Music Theory for Young Children books, the Poco Piano For Young Children series leads the child from the very beginning to grade 1 level. Poco Piano for Young Children includesexercises to help the child develop technique, rhythm and reading, and it involves the child in activities such as pasting, colouring, tracing, circling and clapping. Book 4 reinforces and revisesallconcepts learned in Books 1-3. It contains attractive repertoire in various styles and from different periods. Each piece has a comprehensive preparation section covering the musical, technical and structural matters which willbe encountered. The aim is to cultivate critical thinking and musical awareness in the student. As in previous books, the child is actively involved through the use of writing, colouring, tracing and pasting, thereby making thepreparation an enjoyable activity. The standard of the repertoire approaches that of Grade 1. $11.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Sarabande Piano solo - Advanced De Haske Publications
Piano - advanced SKU: BT.DHP-1165709-401 Piano Reduction. By Paul ...(+)
Piano - advanced SKU: BT.DHP-1165709-401 Piano Reduction. By Paul Mann. By Jon Lord. Piano Reduction. Composed 2016. 80 pages. De Haske Publications #DHP 1165709-401. Published by De Haske Publications (BT.DHP-1165709-401). ISBN 9789043150231. Jon Lord’s Sarabande was composed during 1975 and released as a solo album the following year. This new revised edition of the composer’s 2010 concert version represents the first appearance of the work in print in anyform. Lord intended it for his own use in live performance, as a companion to his celebrated Concerto for Group and Orchestra. It is a brilliant showpiece for the combined forces of rock band and orchestra, takinginspiration from the keyboard suites of J.S. Bach. This new full score is edited by Jon Lord’s long-time musical collaborator, the conductor Paul Mann, and makes use of many previously unavailable sources including themanuscriptscores of the original version and a copy of the score corrected in consultation with the composer following the 2010 premiere. It can therefore be said to represent as closely as possible Jon Lord’s final thoughts onthe work.
Jon Lords Sarabande werd gecomponeerd in 1975 en het jaar daarop uitgebracht als soloalbum. Deze nieuwe, herziene uitgave van de concertversie die de componist zelf in 2010 vervaardigde, is de eerste editie op papier dieooit van het werk is verschenen. Lord gebruikte de basisversie zelf bij live optredens, wanneer hij het werk uitvoerde naast zijn gevierde Concerto for Group and Orchestra. Het is een geweldig stuk voor een combinatie vanrockband en orkest, ge nspireerd op de klavecimbelsuites van Johann Sebastian Bach. Deze nieuwe partituur is bewerkt door dirigent Paul Mann, met wie de componist op muzikaal gebied al jaren samenwerkt. Er zijn veelvoorheenontoegankelijke bronnen voor gebruikt, waaronder de handgeschreven partituren van de originele versie en een partituur die na de première in 2010 is verbeterd in overleg met de componist. Daarom kan worden gesteld datdeze bewerking de laatste gedachten van Jon Lord over dit werk zo nauwkeurig mogelijk weergeeft.
Partitur und Klavierauszug der Sarabande können käuflich erworben werden. Das Einzelstimmen-Set ist ausschließlich Leihmaterial. Auskunft über Leih-Bedingungen und Preise erhalten Sie auf Nachfrage. Bitte kontaktierenSie: HalLeonard Europe BV - Rental department E-Mail: rental@halleonardeurope.nl
Jon Lords Sarabande entstand 1975 und wurde im darauffolgenden Jahr alsSoloalbum veröffentlicht. Die überarbeitete Ausgabe der Konzertversion des Komponisten aus dem Jahr 2010 erscheint hiermit zum ersten Mal in gedruckter Form. Lord hattediese Version für seine eigenen Live-Auftritte gedacht, alseine Art Ergänzung zu seinem berühmten Concerto for Group and Orchestra. Das Werk ist ein brillantes Paradebeispiel für die vereinte Kraft von Rockband und Orchester und wurde von denSuiten J. S. Bachs inspiriert. Dieseneue Ausgabe der Partitur wurde von Paul Mann, Jon Lords langjährigem musikalischem Freund, herausgegeben. Sie basiert auf zahlreichen bisher nicht zugänglichen Quellen wie dem Manuskript der Originalversion undeiner Kopie der inAbsprache mit dem Komponisten korrigierten Partitur nach der Aufführung im Jahr 2010. Es werden somit Jon Lords letzte Gedanken zu diesem Werk so genau wie möglich dargestellt.
Sarabande de Jon Lord fut composé en 1975 et sorti comme disque solo l’année d’après. Cette nouvelle édition révisée, basée sur la version de concert du compositeur de 2010, est la toute première version publiée de l’œuvre.Lord l’avait conçue pour accompagner son Concerto for Group and Orchestra lors d’interprétations en direct. Un morceau virtuose qui combine les forces de groupe de rock et d’orchestre, inspiré par les suites pour clavier deJean-Sébastien Bach. Cette nouvelle édition complète est éditée par le chef d’orchestre Paul Mann, collaborateur musical de Jon Lord depuis longtemps. Elle se repose sur de nombreuses sources qui étaient indisponiblesauparavant,comme le manuscrit de la version originale, ainsi qu’une copie de la partition corrigée en consultation avec le compositeur après la première de 2010. Par conséquent, cette édition est sans doute une représentationaussi précise que possible des dernières réflexions de Jon Lord sur cette œuvre. $38.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Piano ABC 1 Piano solo - Beginner EMB (Editio Musica Budapest)
Piano - Grade 1 SKU: BT.EMBZ14019 Piano tutor for beginners. Compo...(+)
Piano - Grade 1 SKU: BT.EMBZ14019 Piano tutor for beginners. Composed by Lajos Papp. EMB ABC Series. Method. Book Only. Composed 1995. 36 pages. Editio Musica Budapest #EMBZ14019. Published by Editio Musica Budapest (BT.EMBZ14019). English-German-Hungarian. In the Piano ABC the musical contents and teaching experiences of Eastern and Western Europe are combined. Thus this piano tutor can mediate musically between Eastern and Western Europe. The Piano ABC is suitable for individual learning and group instruction alike.
In the Piano ABC the musical contents and teaching experiences of Eastern and Western Europe are combined. Thus this piano tutor can mediate musically between Eastern and Western Europe. The Piano ABC is suitable forindividual learning and group instruction alike.
In Klavier - ABC sind musikalische Inhalte und Lehrmethoden aus Ost- und Westeuropa vereint. KLavierlehrer können mit diesem Buch also den Anfängern unter ihren Schülern beide musikalischen Welten vermitteln. Klavier - ABC kann sowohl im Einzel- als auch im Gruppenunterricht eingesetzt werden. $21.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 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 | | |
| The European Anthem Piano solo Schott
Piano; Piano/Keyboard SKU: HL.49005517 Music from the Last Movement of...(+)
Piano; Piano/Keyboard SKU: HL.49005517 Music from the Last Movement of the Ninth Symphony - Piano Solo. Composed by Ludwig van Beethoven. Arranged by Herbert von Karajan. This edition: Folding. Sheet music. Edition Schott. Exklusiv bei Schott: Die offizielle Hymne der neuen, grosseren Europaischen Union! Classical. 4 pages. Schott Music #ED 5203. Published by Schott Music (HL.49005517). ISBN 9790001059350. UPC: 073999193732. 9.0x12.0x0.009 inches. In 1972 the Council of Europe adopted Beethoven's 'Ode to Joy' as its anthem. The well-known conductor Herbert von Karajan was commissioned to arrange three instrumental versions - for solo piano, wind orchestra and symphony orchestra. Without words, in the universal language of music, the anthem is an expression of the idealistic values of freedom, peace and solidarity which Europe stands for. In 1985 the heads of state and government adopted the hymn as the EU's official anthem. It does not replace the national anthems of the member states, but rather celebrates common values as well as unity in diversity. $9.99 - See more - Buy online | | |
| Auswahl Solo Gespielter Jazz-Piano-Stucke Piano solo [Sheet music + DVD] Hal Leonard
Piano SKU: BT.MUSMG0180 Method. Book and DVD. 80 pages. Hal Leonard Europ...(+)
Piano SKU: BT.MUSMG0180 Method. Book and DVD. 80 pages. Hal Leonard Europe #MUSMG0180. Published by Hal Leonard Europe (BT.MUSMG0180). German. $24.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Joseph and The Amazing Technicolor Dreamcoat Piano solo Hal Leonard
Piano Solo. Composed by Andrew Lloyd Webber. TV-Film-Musical-Show. Book Only. 48...(+)
Piano Solo. Composed by Andrew Lloyd Webber. TV-Film-Musical-Show. Book Only. 48 pages. Hal Leonard Europe #MUSRG10571. Published by Hal Leonard Europe
$17.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Piano Abc Volume 1 Piano solo - Beginner EMB (Editio Musica Budapest)
Piano - Grade 1 SKU: HL.50485932 Piano Tutor for Beginners - Individua...(+)
Piano - Grade 1 SKU: HL.50485932 Piano Tutor for Beginners - Individuals or Groups -Using European Children's and Folk Songs. Composed by Lajos Papp. EMB. Volume 1. Method, Tutor. Softcover. 36 pages. Editio Musica Budapest #Z14019. Published by Editio Musica Budapest (HL.50485932). ISBN 9780634082214. UPC: 073999221435. 9.0x12.0x0.115 inches. Hungarian, English, German. In the Piano ABC the musical contents and teaching experiences of Eastern and Western Europe are combined. Thus this piano tutor can mediate musically between Eastern and Western Europe. The Piano ABC is suitable for individual learning and group instruction alike. $24.95 - See more - Buy online | | |
| Piano Abc Volume 2 Piano solo - Beginner EMB (Editio Musica Budapest)
Piano - Grade 1-2 SKU: HL.50485933 Piano Tutor for Beginners Using Eur...(+)
Piano - Grade 1-2 SKU: HL.50485933 Piano Tutor for Beginners Using European Children's and Folk Songs. Composed by Lajos Papp. EMB. Volume 2. Method, Tutor. Softcover. 76 pages. Editio Musica Budapest #Z14064. Published by Editio Musica Budapest (HL.50485933). ISBN 9780634082283. UPC: 073999859331. 9.0x12.0x0.222 inches. Hungarian, English, German. In the Piano ABC the musical contents and teaching experiences of Eastern and Western Europe are combined. Thus this piano tutor can mediate musically between Eastern and Western Europe. The Piano ABC is suitable for individual learning and group instruction alike. $22.95 - See more - Buy online | | |
| Sight Reading Success - Piano Grade 2 Piano solo [Sheet music + CD] - Easy Hal Leonard
Ear Training and Sight Reading - Grade 2 SKU: BT.MUSRHG526 Composed by Ma...(+)
Ear Training and Sight Reading - Grade 2 SKU: BT.MUSRHG526 Composed by Malcolm Riley and Paul Terry. Sight Reading Success. Exam Material. Book with Online Audio. 24 pages. Hal Leonard Europe #MUSRHG526. Published by Hal Leonard Europe (BT.MUSRHG526). ISBN 9781780381190. English. Each book in the exciting new Sight Reading Success series contains expert advice and a series of practice tests that will help your students to tackle the sight reading element of their Piano exams with confidence.
Uniquely, each book is accompanied by a CD, providing guidance through each test and demonstrating how it should sound (with Vocals by Kate Johnson and Piano by Harriet Power). The Sight Reading Success books are ideal for independent use by students of all ages.
These books are a brilliant way for students of Piano to be guided through the fundamentals of sight-reading, a hugely important skill forall players of Piano. This Grade 2 book takes you through everything you need to prepare for this exam, from rhythm and tempo, dotted and tied notes, playing with both hands together and new keys. Towards the end of the book, you are presented with lots of pieces so that you can practise the techniques you've learned on your own. This practice is essential for Sight Reading Success and you can listen to each and every track on the CD provided to see how it's meant to sound.
Written by experienced examiners and teachers, Sight Reading Success accurately reflects the style of the revised ABRSM tests. This also means that you will get some insider insight into the best ways to practise and prepare for the actual exam, as well as what to expect at the time.
$9.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Mein Zaubergarten II Piano solo - Intermediate Hal Leonard
Piano - late intermediate SKU: BT.OKTA001-21 22 kleine Fantasiestüc...(+)
Piano - late intermediate SKU: BT.OKTA001-21 22 kleine Fantasiestücke für Klavier. Composed by Thomas Doss. Classical. Book Only. Composed 2021. 92 pages. Hal Leonard Europe #OKTA001-21. Published by Hal Leonard Europe (BT.OKTA001-21). My Magic Garden II is the sequel to the piano book My Magic Garden I. In this collection there are 18 different atmospheric pieces for piano with 2 hands and 4 pieces for piano with 4 hands. The 22 works in the moderate to difficult of difficulty describe in a pictorial tonal language various imaginative processes in a flourishing Garden from a child's point of view. Nothing stands in the way of an exciting journey.
Mein Zaubergarten II ist die Fortsetzung des Klavierbuches Mein Zaubergarten I. In der vorliegenden Sammlung befinden sich 18 unterschiedliche Stimmungsstücke für Klavier zu 2 Händen und 4 Stücke für Klavier zu 4 Händen. Die 22 Werke im mittleren bis schwierigem Schwierigkeitsgrad beschreiben in einer bildhaften Tonsprache verschiedenste fantasievolle Vorgänge in einem blühenden Garten aus der Sicht eines Kindes. Einer spannenden Reise steht nichts im Wege. $29.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Spil Bare Løs 1 Piano solo Hal Leonard
Electric Organ, Piano, Keyboard SKU: BT.WHTING187 Piano. Composed ...(+)
Electric Organ, Piano, Keyboard SKU: BT.WHTING187 Piano. Composed by Ebbe Nielsen. Spil Bare Løs - Piano-Keyboard. Tuition. Book Only. 32 pages. Hal Leonard Europe #WHTING187. Published by Hal Leonard Europe (BT.WHTING187). ISBN 9788787999878. Danish. Spil Bare Løs 1 , by Ebbe Nielsen , is an introduction to Keyboard, Electric Organ or Piano playing. $12.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Spil Bare Løs 2 Piano solo Hal Leonard
Keyboard, Electric Organ and Piano SKU: BT.WHTING189 Piano. Compos...(+)
Keyboard, Electric Organ and Piano SKU: BT.WHTING189 Piano. Composed by Ebbe Nielsen. Spil Bare Løs - Piano-Keyboard. Tuition. Book Only. Hal Leonard Europe #WHTING189. Published by Hal Leonard Europe (BT.WHTING189). ISBN 9788787999892. Danish. Spil bare løs 2 , is an introduction to El-Organ, Piano or Keyboard playing by Ebbe Nielsen . $12.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Hummel: Leichte Klavierstücke Piano solo EMB (Editio Musica Budapest)
Piano SKU: BT.EMBZ14802 Composed by Johann Nepomuk Hummel. EMB Musical Ex...(+)
Piano SKU: BT.EMBZ14802 Composed by Johann Nepomuk Hummel. EMB Musical Expeditions. Educational Tool. Book Only. Composed 2012. 48 pages. Editio Musica Budapest #EMBZ14802. Published by Editio Musica Budapest (BT.EMBZ14802). Johann Nepomuk Hummel is a key figure of the transition period between Viennese classicism and Romanticism: a pupil of Mozart, a contemporary of Beethoven, and a model for the composers of the next generation, especially Chopin. He was not only a composer but also one of the greatest virtuoso pianists of that time, who gave enormously successful concerts all over Europe, and wrote one of the most important piano tutors of the first half of the 19th century (Ausführlich theoretisch-practische Anweisung zum Pianoforte Spiel). The majority of the pieces that feature in this collection are from that piano tutor.
Johann Nepomuk Hummel ist eine Schlüsselfigur der Übergangsepoche zwischen der Wiener Klassik und der Romantik: Er war Schüler von Mozart, Zeitgenosse von Beethoven und das Vorbild der nachfolgenden Generation,vor allem von Chopin. Er war nicht nur Komponist, sondern einer der größten Klaviervirtuosen seiner Zeit, dessen Kunst europaweit gefeiert wurde. Er schrieb eine der wichtigsten Klavierschulen in der ersten Hälfte des 19. Jahrhunderts: Ausführlich theoretisch-practische Anweisung zum Pianoforte Spiel. Der Großteil der Stücke in dieser Sammlung stammt aus dieser Klavierschule.
Johann Nepomuk Hummel est une figure clé de la période de transition entre classicisme viennois et romantisme : il fut l'élève de Mozart, le contemporain de Beethoven, et un modèle pour les compositeurs de la génération suivante, notamment Chopin. Il était non seulement compositeur, mais aussi l'un des plus grands pianistes virtuoses de l'époque, ayant donné des concerts succès dans toute l'Europe. Éminent professeur de piano, sa méthode Anweisung zum Pianofortespiel remporta un vif succès tout au long de la première moitié du 19e siècle. $14.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Piano Course Book 1 Piano solo [Sheet music + Audio access] - Beginner Hal Leonard
With mp3 files. Composed by Leila Fletcher. Method. Book with Audio-Online. ...(+)
With mp3 files. Composed by
Leila Fletcher. Method. Book
with Audio-Online. Hal
Leonard Europe #LF001.
Published by Hal Leonard
Europe
$19.95 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Upbeat For Piano Piano solo Hal Leonard
Piano SKU: BT.SUBJECT1898771049 Level 1. Composed by Alison Bowdit...(+)
Piano SKU: BT.SUBJECT1898771049 Level 1. Composed by Alison Bowditch. Book Only. 16 pages. Hal Leonard Europe #SUBJECT1898771049. Published by Hal Leonard Europe (BT.SUBJECT1898771049). ISBN 9781898771043. Upbeat! for Piano by Alison Bowditch is a set of twelve original compositions that you will find exciting, inspiring and entertaining whatever your age. This is the first in a series of five levels designed to captureyour imagination and increase your enjoyment. Though the levels become increasingly harder, this is a progressive challenge as each piece is an adventure with its own mood and rhythms. As you progress you will meet a wideningrange of key signatures and rhythm patterns including Jazz, Swing, Rock, Boogie and Blues making this delightful collection great fun to hear and play. $4.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Upbeat For Piano Piano solo Hal Leonard
Piano SKU: BT.SUBJECT189877109X Level 0. Composed by Alison Bowdit...(+)
Piano SKU: BT.SUBJECT189877109X Level 0. Composed by Alison Bowditch. Book Only. 16 pages. Hal Leonard Europe #SUBJECT189877109X. Published by Hal Leonard Europe (BT.SUBJECT189877109X). ISBN 9781898771098. Upbeat! for Piano by Alison Bowditch is a set of eleven original compositions that you will find exciting, inspiring and entertaining whatever your age. This is the the easiest level in a series of six books designedto capture your imagination and increase your enjoyment.
Though the levels become increasingly harder, this is a progressive challenge as each piece is an adventure with its own mood and rhythms. As you progress youwill meet a widening range of key signatures and rhythm patterns including Jazz, Swing, Rock, Boogie and Blues making this delightful collection great fun to hear and play. $4.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| 864 Accords piano Piano solo - Easy Hal Leonard
Piano - easy SKU: BT.DARSB2279 Composed by Philippe Ganter. Studies and E...(+)
Piano - easy SKU: BT.DARSB2279 Composed by Philippe Ganter. Studies and Exercises. Book Only. 64 pages. Hal Leonard Europe #DARSB2279. Published by Hal Leonard Europe (BT.DARSB2279). ISBN 9782917280140. French. 864 accords piano, diagrammes présentés sur 4 pages par fondamentale (18 accords par page). Avec une section théorique de 12 pages : présentation de la construction des accords et de leur notation. $13.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Spil Bare Løs 4 Piano solo Hal Leonard
Keyboard, Piano, Electric Organ SKU: BT.WHTING193 Piano. Composed ...(+)
Keyboard, Piano, Electric Organ SKU: BT.WHTING193 Piano. Composed by Ebbe Nielsen. Spil Bare Løs - Piano-Keyboard. Tuition. Book Only. Hal Leonard Europe #WHTING193. Published by Hal Leonard Europe (BT.WHTING193). ISBN 9788787999939. Danish. Melodier ordnet efter akkordantal i dur og mol - 4 akkorder og derover - udvidede harmoniseringer. I I'eren og II'eren og III'eren arbejdes med melodier, der kan spilles med op til 3 akkorder. Her i IV'eren bringes, ordnet efter akkordantal, 40 melodier på 4 akkorder og derover, dels med akkorder, der er indført tidligere, dels med nye akkorder. Dur- og molakkorderne blandes nu i de enkelte melodier og optræder således i mange nye sammenhænge. Der gøres udførligt rede for en række muligheder for udvidede harmoniseringer - anvendelse af flere akkorder i en melodi end de helt nødvendige. Dels som generelle udvidelsesmuligheder af de tidligere bragte melodier i I'eren, II'eren ogIII'eren - hvordan bestemte enkle og karakteristiske akkordfølger med held kan udbygges - dels som mere specifikke og mere individuelle harmoniseringsmuligheder i en række tidligere bragte melodier. Der indføres nye og sværere akkompagnementsmønstre med nye bastonemuligheder. Gehørspil og akkordopbygning udbygges yderligere, bl.a. opbygning af dim-akkorder. $12.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Upbeat For Piano Piano solo Hal Leonard
Piano SKU: BT.SUBJECT1898771073 Level 4. Composed by Alison Bowdit...(+)
Piano SKU: BT.SUBJECT1898771073 Level 4. Composed by Alison Bowditch. Book Only. Hal Leonard Europe #SUBJECT1898771073. Published by Hal Leonard Europe (BT.SUBJECT1898771073). ISBN 9781898771074. This series aims to capture the imagination and increase enjoyment of music. Whatever your age these original compositions for both piano and keyboard are exciting and inspiring. Among the many varied rhythmical styles are thoseof jazz, swing, rock, blues and boogie. Fifth book in the series. $5.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Pete's Piano Pieces WV 338 Piano solo Hal Leonard
Piano SKU: BT.KECF33 15 easys piano pieces, swinging and romantic....(+)
Piano SKU: BT.KECF33 15 easys piano pieces, swinging and romantic. Composed by Peter Bernard Smith. Book Only. Hal Leonard Europe #KECF33. Published by Hal Leonard Europe (BT.KECF33). German-English. $13.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Upbeat For Piano Piano solo Hal Leonard
Piano SKU: BT.SUBJECT1898771057 Level 2. Composed by Alison Bowdit...(+)
Piano SKU: BT.SUBJECT1898771057 Level 2. Composed by Alison Bowditch. Book Only. 24 pages. Hal Leonard Europe #SUBJECT1898771057. Published by Hal Leonard Europe (BT.SUBJECT1898771057). ISBN 9781898771050. Upbeat! for Piano by Alison Bowditch is a set of twelve original compositions that you will find exciting, inspiring and entertaining whatever your age. This is the first in a series of five levels designed to captureyour imagination and increase your enjoyment. Though the levels become increasingly harder, this is a progressive challenge as each piece is an adventure with its own mood and rhythms. As you progress you will meet a wideningrange of key signatures and rhythm patterns including Jazz, Swing, Rock, Boogie and Blues making this delightful collection great fun to hear and play. $4.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Upbeat For Piano Piano solo Hal Leonard
Piano SKU: BT.SUBJECT1898771065 Level 3. Composed by Alison Bowdit...(+)
Piano SKU: BT.SUBJECT1898771065 Level 3. Composed by Alison Bowditch. Jazz. Book Only. 24 pages. Hal Leonard Europe #SUBJECT1898771065. Published by Hal Leonard Europe (BT.SUBJECT1898771065). ISBN 9781898771067. Upbeat! for Piano by Alison Bowditch is a set of compositions that you will find exciting, inspiring and entertaining whatever your age. This is the third in a series of five levels designed to capture your imaginationand increase your enjoyment. Though the levels become increasingly harder, this is a progressive challenge as each piece is an adventure with its own mood and rhythms. As you progress you will meet a widening range of keysignatures and rhythm patterns including Jazz, Swing, Rock, Boogie and Blues making this delightful collection great fun to hear and play. $4.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Maailman ympari 30 biisissa Piano solo Fennica Gehrman
Piano SKU: FG.55011-532-3 Around the world in 30 pit-stops. Compos...(+)
Piano SKU: FG.55011-532-3 Around the world in 30 pit-stops. Composed by Sami Juntunen. Book. Fennica Gehrman #55011-532-3. Published by Fennica Gehrman (FG.55011-532-3). ISBN 9790550115323. Around the World in 30 Pit Stops is a collection of practice pieces designed to cast you into a whirlpool of world music. The rhythms, harmonies and melodies of different cultural and geographical regions pose multiple challenges. The pieces are fresh, fun and suitable for both elementary and more advanced pupils. They range from easy to difficult, and therefore also serve professionals wanting to improve their handling of rhythm and comping style. The book supplements those in use at music schools, providing new material for use in piano teaching. The pieces are grouped according to geographical region - Asia, Africa, South and Central America, the Nordic Countries, other parts of Europe, and North America - from four to six in each. Among the themes are On The Great Wall of China (Asia), Savannah (Africa), The Road to Havana (South and Central America), Pasta Bolognese (Europe), A View of Swing (North America) and Shoes Made of Birchbark (Nordic Countries). Some are in the older, traditional styles, while others represent trends emerging over the past few decades. Jump on board for a journey round the world and expand your repertoire with these ethno etudes! $47.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Cançoner català tradicional popular per a piano Piano solo Hal Leonard
Piano SKU: BT.CAPAPUB-75112 Composed by Joan Capafons. Book Only. Compose...(+)
Piano SKU: BT.CAPAPUB-75112 Composed by Joan Capafons. Book Only. Composed 2020. 121 pages. Hal Leonard Europe #CAPAPUB-75112. Published by Hal Leonard Europe (BT.CAPAPUB-75112). ISBN 9788409224302. Catalan. $22.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Akkoorden op de piano, deel 1 (Vlaamse editie) Piano solo Hal Leonard
Piano SKU: BT.HUMM05 Popsongs begeleiden zonder notenschrift. Comp...(+)
Piano SKU: BT.HUMM05 Popsongs begeleiden zonder notenschrift. Composed by Tijs Krammer. Studies & Exercises. Book Only. Composed 2023. 104 pages. Hal Leonard Europe #HUMM05. Published by Hal Leonard Europe (BT.HUMM05). ISBN 9789083351414. $22.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Cancionero popular infantil para piano Piano solo Hal Leonard
Piano SKU: BT.CAPAPUB-59221 Composed by Joan Capafons. Book Only. Compose...(+)
Piano SKU: BT.CAPAPUB-59221 Composed by Joan Capafons. Book Only. Composed 2021. 150 pages. Hal Leonard Europe #CAPAPUB-59221. Published by Hal Leonard Europe (BT.CAPAPUB-59221). ISBN 9788409369263. Spanish. $22.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
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| EMONTS FRITZ - METHODE DE
PIANO EUROPEENNE VOL.1 Français Piano solo [Sheet music + Audio access] Schott
La Méthode de Piano européenne en trois langues : un départ ludique sans note...(+)
La Méthode de Piano européenne en trois langues : un départ ludique sans notes, des chansons venant de plusieurs pays d?Europe, improvisation et jeu avec les touches noires, formation de l?ouïe et de la représentation intérieure du son, méthode systématique et facile à suivre, de nombreux morceaux à quatre mains, présentation attrayante en couleur. / Méthodes et pédagogie / Piano et instrument à clavier / Piano / SCHOTT
20.10 EUR - Sold by Woodbrass Pre-shipment lead time: In Stock | |
| Metodo Europeo per
Pianoforte Vol. 1 Piano solo [Sheet music] Schott
Espagnol / Portugais / Italien. Par EMONTS FRITZ. La Méthode de Piano européen...(+)
Espagnol / Portugais / Italien. Par EMONTS FRITZ. La Méthode de Piano européenne en trois langues: un départ ludique sans notes, des chansons venant de plusieurs pays d?Europe, improvisation et jeu avec les touches noires, formation de l?ouïe et de la représentation intérieure du son, méthode systématique et facile à suivre, de nombreux morceaux à quatre mains, présentation attrayante en Couleur. / Date parution : 2024-02-17/ Méthode / Piano
21.09 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: 3-10 days - In Stock Supplier | |
| Franz Liszt: Masterpieces
For Solo Piano: Piano:
Instrumental Album Piano solo - Advanced Dover Publications
13 Works-One of the most influential musical forces of 19th-century Europe Fran...(+)
13 Works-One of the most influential musical forces of 19th-century Europe Franz Liszt was the reigning piano virtuoso of his time. This volume contains a rich selection of his finest compositions for solo piano. Reprinted from authoritative early editions.
17.30 GBP - Sold by Musicroom UK Pre-shipment lead time: In Stock | |
| Pianthology: Piano:
Instrumental Album Piano solo [Sheet music] University Of York Music Press
Pianthology is a new collection of seven contemporary Piano works by living comp...(+)
Pianthology is a new collection of seven contemporary Piano works by living composers which includes a recording of each of the works performed by Nicky Losseff the volume's editor. Nicky Losseff who combines a SeniorLectureship at the University of York with an active career as a concert pianist has written extensive performance and analysis notes on all of the works giving helpful suggestions about the study and performance os each piecein turn. The anthology is aimed at university and conservatiore level Piano students but will serve as an excellent introduction to new music for the Piano for any dedicated player looking to broaden their range.Theworks included in Pianthology are: Anthony Gilbert - Three Papillon Postcards Sadie Harrison - Impresa Amorosa Ed Hughes - Third Orchid Jo Kondo - A Dance For Piano 'Europeans' David Lumsdaine - Six PostcardPieces Hilda Paredes - Caligrama Thomas Simaku - Des Pas ChromatiquesPianthology was launched at the York University Spring NewMusic Festival on May 8th 2008 when all seven works were performed some by Nicky Losseff and some by her students from the University of York.Includes Nicky Losseff's recordings of all works. Three Papillon Postcards
15.00 GBP - Sold by Musicroom UK | |
| An Die Freude (BEETHOVEN
LUDWIG VAN) Piano solo Schott
Par BEETHOVEN LUDWIG VAN. The European Hymn is the hymn not only of the European...(+)
Par BEETHOVEN LUDWIG VAN. The European Hymn is the hymn not only of the European Union but of Europe in a broader sense. The melody has been taken from the Ninth Symphony by Ludwig van Beethoven from 1823.
In the last movement of this symphony Beethoven set music to the 'Ode to Joy' by Friedrich von Schiller from 1785. This poem sprang from Schiller's idealistic vision of men who become brothers – a vision Beethoven shared with him.
In 1972 the Council of Europe adopted Beethoven's 'Ode to Joy' as its anthem. The well-known conductor Herbert von Karajan was commissioned to arrange three instrumental versions – for solo piano, wind orchestra and symphony orchestra. Without words, in the universal language of music, the anthem is an expression of the idealistic values of freedom, peace and solidarity which Europe stands for.
In 1985 the heads of state and government adopted the hymn as the EU's official anthem. It does not replace the national anthems of the member states, but rather celebrates common values as well as unity in diversity.
The score of this offical anthem is exclusively available from the Schott publishing house./ Répertoire / Piano
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| Beytelmann G. (arr.) -
Solo Tango Solo Piano Piano solo [Sheet music] - Advanced Universal Edition
Gustavo Beytelmann has taken some of the most beautiful tango music ever written...(+)
Gustavo Beytelmann has taken some of the most beautiful tango music ever written and created his own arrangements for solo piano. His collection shows how varied the genre is, from the ragtime-like lilt of El esquinazo to the romantic waltz La loca de amor by Pablo José Vázquez and the energetic El entrerriano by Rosendo Menizabal, as well as a new arrangement of Carlos Gardel's immortal El dia que me quieras. Beytelmann shows too how technically varied these works can be. Each of the pieces features specific performance techniques such as accents, tempo changes, balance and attack and he advises Spend some time concentrating on these elements and you will find the works even more enjoyable. These immensely rewarding pieces are equally suited to the concert stage as to the piano lesson. Gustavo Beytelmann has made a significant contribution to the evolution of the Tango, through his numerous recordings, performances and through his teaching. Born in Argentina, he began his professional career writing music for the cinema, working as pianist and arranger for the record industry and performing with various jazz ensembles. After moving to Paris, Astor Piazzolla invited him to participate in his European tour. He has continued to perform and compose across Europe and the Americas. From 1993 onwards he intensified his work as a composer. www.gustavobeytelmann.com Arolas Eduardo: Comme il faut Gardel Carlos: Cuesta abajo Gardel Carlos: El dia que me quieras Mendizábal Rosendo: El entrerriano Villoldo Angel: El esquinazo Arolas Eduardo: El marne Villoldo Angel: El portenito Vázquez Pablo José: La loca de amor Greco Vicente: Ojos negros Santa Cruz Domingo: Union civica Title: Solo Tango Solo Piano Scored for: for piano Arranger: Beytelmann Gustavo Degree of difficulty: 3-4 ISBN: 978-3-7024-6788-3 ISMN: 979-0-008-08139-2 Order number: UE34679
30.50 EUR - Sold by Woodbrass Pre-shipment lead time: On order | |
| A Guide To Non-Jazz
Improvisation: Piano
Edition (WEISSMAN DICK) Piano solo [Sheet music + CD] Mel Bay
Par WEISSMAN DICK. Ce livre plaira aux pianistes qui veulent apprendre à improv...(+)
Par WEISSMAN DICK. Ce livre plaira aux pianistes qui veulent apprendre à improviser dans de nombreux styles courant aujourd'hui y compris de blues, rock, musique latino-américaine, pays, New Age, World, etc.. La série non-jazz improvisation est un concept qui a germé dans l'esprit de Dick Weissman, alors qu'il fréquentait école de musique. Il a écrit un arrangement de 15 pièces de vieux rythme square dance, Cripple Creek et voulait que le trombone à prendre un solo dans le cadre de l'arrangement. Quand le tromboniste gardé jouant un solo de bebop qui était tout à fait inapproprié pour le graphique, Dick a réalisé que - en plus des nombreux musiciens qui ne pas improviser - il y a même des jazzmen qui ne savent pas comment improviser hors des limites de leurs propres origines stylistiques. La série non-jazz improvisation comprend principalement des nouvelles musiques originales qui visent à montrer comment d'improviser dans de nombreux styles musicaux, y compris: * Blues * pays * American folk * latino-américain * World music, y compris l'Amérique du Sud, Europe de l'est et d'Asie * étrange... / Niveau : Débutant à Intermédiaire / All Styles - Improvisation / Recueil / Piano
32.65 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: 3-10 days - In Stock Supplier | |
| Concerto pour violoncelle
en fa Majeur ? réduction
piano (FIORENZA NICOLO)
(FIORENZA NICOLO) Piano solo [Reduction] Editions Buissonnieres
Par FIORENZA NICOLO. Compositeur italien, violoncelliste à la cour napolitaine,...(+)
Par FIORENZA NICOLO. Compositeur italien, violoncelliste à la cour napolitaine, premier violon du Royal Court Orchestra, professeur de violon et d'alto, Nicolò Fiorenza fait partie des compositeurs qui développèrent l'école napolitaine, aux côtés de Johann Adolf HASSE ou Nicola PORPORA (voir le concerto pour violoncelle de Porpora). Naples était en effet un foyer musical parmi les plus importants en Europe, comptant plusieurs théâtres, académies, et 4 conservatoires, foyer qui donnera jour à nombre de grands compositeurs et musiciens.
Tombé injustement dans l'oubli après sa mort, Nicolò Fiorenza a pourtant laissé quelques oeuvres magnifiques, empreintes d'une forte personnalité musicale : une trentaine de compositions, parmi lesquelles des sonates pour violons, des sonates en trio, des sinfonie, et quelques concerti solo. L'écriture de Nicolò Fiorenza offre de grands moments de lyrisme, des mouvements aux rythmes fortement contrastés.
Ce concerto pour violoncelle séduira les cellistes à la recherche d'OEuvres peu connues : l'écriture y est légère et brillante parfois, sensible et plaintive dans un extraordinaire largo../ Répertoire / Piano
20.90 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: On order | |
| Argentinian Tango And
Folk Tunes For Piano Piano solo [Sheet music + CD] Schott
Argentinian Tango and Folk Tunes for Piano presents a collection of beautiful pi...(+)
Argentinian Tango and Folk Tunes for Piano presents a collection of beautiful pieces arranged for solo piano drawn from the rich tradition of Argentinean music. Highly regarded performer, author and teacher Julian Rowlands provides notes on all of the pieces, explaining their background and history. The volume is accompanied by a CD with a recording of all tunes. German and French translations of all texts are available as pdf downloads from the Schott Music website. Suitable for players of grades 3-8.Part of the best selling World Music series, which also includes music from England, Ireland, Scotland, Wales, Eastern Europe, America, Mexico, India, China and Korea. / Piano
24.50 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: In Stock | |
| Irish Folk Tunes for
Piano Piano solo [Sheet music + Audio access] - Intermediate Schott
32 Pièces traditionelles. Par . \'Irish Folk Tunes\' (\'Airs populaires irlanda...(+)
32 Pièces traditionelles. Par . \'Irish Folk Tunes\' (\'Airs populaires irlandais\') est un recueil de merveilleuses pièces pour piano solo héritées de la riche tradition musicale populaire d?Irlande. C?est à l?auteur et arrangeur expérimenté Barrie Carson-Turner que l?on doit les indications fournies avec chacune des pièces, ainsi que les explications sur leur contexte et leur histoire. Ce volume est accompagné de pistes audio comprenant des enregistrements de toutes les mélodies. Les traductions en allemand et en français de tous les textes sont accessibles par téléchargement du PDF sur le site web de Schott Music. Adapté aux musiciens de niveaux 3 à 8. Édité dans la collection de best-sellers \'World Music\', où l?on trouve également de la musique anglaise, galloise, écossaise, d?Europe centrale, d?Amérique, d?Argentine, de l?Inde, de Chine et de Corée. / Niveau : Moyen / Date parution : 2022-11-12/ Recueil / Piano
22.76 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: In Stock | |
| The Library Of Classical
Music: Piano: Mixed
Songbook Piano solo [Sheet music] - Intermediate/advanced Amsco Wise Publications
The Library Of Classical Music is a wonderfully vast collection of the greatest ...(+)
The Library Of Classical Music is a wonderfully vast collection of the greatest pieces of music from the Classical period. Featuring a diverse range of compositions from the innovators and masters each work isarranged for solo Piano in a conveniently spiral-bound volume. Among the many composers whose work is included are C.P.E. Bach J.C. Bach Beethoven Clementi Czerny Gluck Haydn Hummel Mozart and Weber. Thesheer amount of incredible music featured within The Library Of Classical Music makes this an essential book to have on your bookshelf or music stand. The joy of playing this music will be in learning yourfavourite pieces or discovering new ones by unfamiliar names. The Classical period saw a broad reaction against the layered complexities of Baroque music and led to a simplerrelationship between melody and harmony. It reflected the mid-18th century’s wider enthusiasm for reviving the clean well-ordered structures of Greek classicism across the arts. The orchestra expanded in size woodwind became aself-contained section and the Harpsichord was increasingly displaced by the recently invented fortepiano. Instrumental music dominated notably symphony and string quartet with examples of both strands represented here inbeautiful and accurate Piano arrangements that are perfect for seasoned players of Classical music or those new to the period. The Library Of Classical Music sheet musicsongbook covers the rich musical period that followed Baroque and preceded Romantic. The Classical era saw some of Europe’s greatest composers exploring new musical possibilities spanning some 70 years startingin the mid-18th century. The spirit of Classicism would last until the new preoccupations of Romanticism defined the next major period of Western music. All of this makes The Library Of
24.99 GBP - Sold by Musicroom UK Pre-shipment lead time: In Stock | |
| Eugénie Rocherolle:
Continental Suite: Vocal
and Piano: Instrumental
Album Piano solo [Sheet music + CD] Hal Leonard
Enjoy the wonders of Europe through Eugénie Rocherolle's Continental Suite six...(+)
Enjoy the wonders of Europe through Eugénie Rocherolle's Continental Suite six original piano solos at the intermediate level: Belgian Lace • In Old Vienna • La Piazza • Les Avenues De Paris • Oktoberfest • Rondo Capichio. The CD features piano solo recordings by Eugénie Rocherolle.
15.99 GBP - Sold by Musicroom UK | |
| Paul Englishby: A Royal
Night Out: Piano: Album
Songbook Piano solo [Sheet music] Amsco Wise Publications
This matching folio for A Royal Night Out features selections from the original ...(+)
This matching folio for A Royal Night Out features selections from the original music of the film composed by the renowned Paul Englishby. Arranged for solo Piano the beautiful music fits the Royal themeperfectly making it an absolute joy to play. The film sees the young Princesses Elizabeth and Margaret venturing out of Buckingham Palace during the VE day celebrations. The music reflects the comic dramathat the film portrays with the celebratory mood after the Victory in Europe. The film has been acclaimed by critics and audiences alike for acting direction but also the beautifully fitting originalscore.? This songbook includes 17 selections from the film that underscore key moments such as Margaret Goes to Chelsea Café In Paris Elizabeth Asks Trafalgar Square?and ofcourse Princess Elizabeth (Opening Titles). Not only does A Royal Night Out include fantastic engravings of these wonderful pieces it also features a foreword by composer PaulEnglishby?himself in which he details his compositional process in fascinating detail as well as some wonderful full colour shots from the film. Boasting some lovely music inspired by theperiod combining swinging jazz as well as an intimacy for the portrayal of Elizabeth the score for A Royal Night Out?is highly enjoyable playing allowing you to relive those dramatic and comic moments fromthe film at your own Piano.
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| Barrie Carson Turner:
Irish Folk Tunes for
Piano: Piano:
Instrumental Album Piano solo [Sheet music + CD] - Intermediate/advanced Schott
32 Traditional Pieces-Irish Folk Tunes presents a collection of beautiful pieces...(+)
32 Traditional Pieces-Irish Folk Tunes presents a collection of beautiful pieces for solo piano drawn from the rich tradition of Irish folk music. Experienced author and arranger Barrie Carson-Turner provides notes on all of the pieces explaining their background and history. The volume is accompanied by a CD with a recording of all tunes. German and French translations of all texts are available as pdf downloads from the Schott Music website. Suitable for players of grades 3-8.Part of the best selling World Music series which also includes music from England Wales Scotland Eastern Europe America Argentina India China and Korea.
17.50 GBP - Sold by Musicroom UK Pre-shipment lead time: In Stock | |
| Barrie Carson Turner:
Scottish Folk Tunes for
Piano: Piano:
Instrumental Album Piano solo [Sheet music + CD] Schott
32 Traditional Pieces-Scottish Folk Tunes presents a collection of beautiful pie...(+)
32 Traditional Pieces-Scottish Folk Tunes presents a collection of beautiful pieces for solo Piano drawn from the rich tradition of Scottish folk music. Experienced author and arranger Barrie Carson-Turner provides notes on all of the pieces explaining their background and history.This volume is accompanied by a CD with a recording of all tunes. German and French translations of all texts are available as PDF downloads from the Schott Music website.This book is suitable for players of grades 3-8 and is part of the best selling World Music series which also includes music from England Ireland Scotland Eastern Europe America Argentina India China andKorea.
17.50 GBP - Sold by Musicroom UK Pre-shipment lead time: In Stock | |
| Welsh Folk Tunes Piano solo [Sheet music + CD] Schott
Welsh Folk Tunes presents a collection of beautiful pieces for solo piano drawn ...(+)
Welsh Folk Tunes presents a collection of beautiful pieces for solo piano drawn from the rich tradition of Welsh folk music. Experienced author and arranger Barrie Carson-Turner provides notes on all of the pieces, explaining their background and history. The volume is accompanied by a CD with a recording of all tunes. German and French translations of all texts are available as pdf downloads from the Schott Music website. Suitable for players of grades 3-8.Part of the best selling World Music series, which also includes music from England, Ireland, Scotland, Eastern Europe, America, Argentina, India, China and Korea. / Piano
22.12 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: In Stock | |
| English Folk Tunes For
Piano: Piano: Mixed
Songbook Piano solo Schott
32 Traditional Pieces-English Folk Tunes presents a collection of beautiful piec...(+)
32 Traditional Pieces-English Folk Tunes presents a collection of beautiful pieces for solo Piano drawn from the rich tradition of English folk music. Experienced author and arranger Barrie Carson-Turner provides notes on all of the pieces explaining their background and history.The volume is accompanied by a CD with a recording of all tunes. German and French translations of all texts are available as pdf downloads from the Schott Music website. Suitable for players of grades 3-8.Part of the best selling World Music series which also includes music from England Ireland Scotland Eastern Europe America Argentina India China and Korea.
17.50 GBP - Sold by Musicroom UK Pre-shipment lead time: In Stock | |
| Benet Casablancas:
Haikus: Piano:
Instrumental Work Español Piano solo Unión Musical Ediciones
Benet Casablancas' Haikus for solo Piano. Widely regarded as one of the leading...(+)
Benet Casablancas' Haikus for solo Piano. Widely regarded as one of the leading Spanish composers of his generation Casablancas studied in Vienna at the Academy of Music and in Barcelona at the Universidad Autònoma from which he graduated with a degree in philosophy before gaining a PhD in musicology. His music firmly rooted in the great modernist tradition is notable for its great individuality structural complexity and extraordinary richness of textural detail. In the 1990s he became more concerned with harmony timbral differentiation and instrumental virtuosism. Critics highlight his concern for balancingconstructional rigour and expressive strength lyricism dramatic character and whimsical register. Benet Casablancas' works are performed regularly around Europe Canada US Japan and Latin America. His first opera 'L´Enigma Di Lea' was commissioned by Gran Teatre del Liceu de Barcelona for its 2017 season. In 2013 he was appointed first composer in residence for the Barcelona Symphony Orchestra and L´Auditori and was awarded with the most prestigious composition prize in Spain the National Music Prize granted by the Spanish Ministry of Culture.
10.99 GBP - Sold by Musicroom UK | |
| Patrick Doyle:
Cinderella: Music From
The Mot. Picture
Soundtrack: Piano: Piano solo [Sheet music] Hal Leonard
A baker's dozen selections from the soundtrack to this 2015 live-action Disney f...(+)
A baker's dozen selections from the soundtrack to this 2015 live-action Disney feature inspired by the classic fairy tale featuring compositions by Patrick Doyle who also penned the music for Disney's Brave. Includes the single “Strong” by Sonna Rele. Songs with lyrics are presented in P/V/G arrangements and the others are Piano solo. Also includes eight pages of gorgeous full-colour photos from the film! Cinderella opened in March 2015 across most of Europe with high initial earnings in most countries. The music for the film is composed by Scottish composer Patrick Doyle whose output includes music forHarry Potter and the Goblet of Fire.
25.99 GBP - Sold by Musicroom UK Pre-shipment lead time: In Stock | |
| Edward Gregson: Friday
a.m.: Piano: Instrumental
Work Piano solo Novello & Co Ltd.
Friday a.m. For solo piano. This expansive miniature was written in 1981 in resp...(+)
Friday a.m. For solo piano. This expansive miniature was written in 1981 in response from the composer to the emotional impact of listening to the Adagietto from Mahler?s 5th Symphony. Indeed, the main melody of my piece follows the melodic line of Mahler?s, but takes off in a different direction and ?gradually metamorphosises into a lighter style reminiscent of a jazz improvisation? as though we move from the philharmonic hall in Central Europe to a Manhattan jazz club around 2am, when everything is subdued and transient? (McLachlan).
10.95 GBP - Sold by Musicroom UK | |
| Complete Sonatas For
Keyboard Solo II Piano solo [Sheet music] Barenreiter
Comme le principal représentant de la musique tchèque à Vienne du 18e siècle...(+)
Comme le principal représentant de la musique tchèque à Vienne du 18e siècle, Leopold Kozeluh (17471818) a été observée principalement comme compositeur, pianiste et professeur de clavier. Ses 50 sonates pour clavier couvrent toute sa carrière et marquent non seulement la transition entre le clavecin et clavicorde manière le style fortepiano entièrement idiomatique, mais aussi le développement de la 'sonate classique' de l'ordre de trois décennies (17731806) .Jusqu'à présent, les pianistes ont eu peu de chance de se familiariser avec la gamme complète des sonates de Ko?eluh depuis quelques existait dans les éditions modernes. Cette nouvelle édition complète par Christopher Hogwood présente pour la première fois toutes les sonates de Ko?eluh pour solo de clavier.Le projet est divisé en quatre volumes qui paraîtront en 2007 et 2008, allant chronologiquement à travers les séries publiées. Volume 4 contient également ces sonates qui ne se trouvent que dans les sources manuscrites. La première édition complète des Sonates pour clavier du compositeur tchèque Leopold Kozeluh Remplit un vide dans le répertoire du répertoire classique tchèque et de l'Europe centrale Convient pour les amateurs et les professionnels, et idéal pour les fins d'enseignement Introduction détaillée (Cz / Eng / Ger...), Commentaire critique (Fr.) et facsimilés / Clavier
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| Solitude and Multitude
for Piano Solo (GLORIEUX
FRANCOIS) Piano solo [Sheet music] Metropolis Music Publishers
Par GLORIEUX FRANCOIS. François Glorieux was born in Belgium in 1932, and accla...(+)
Par GLORIEUX FRANCOIS. François Glorieux was born in Belgium in 1932, and acclaimed throughout Europe, the USA, Latin America, Canada, Japan, China, the Middle East and Africa. He is one of the most widely accomplished and versatile musicians traveling the international circuit today: pianist composer conductor, commentator, entertainer, honorary professor of chamber music at the Royal Music Conservatory of Ghent and guest professor at Yale University (USA). His particular art was the rare one of improvisation presented in five languages. Glorieux practices all musical styles and has been highly considered by great artists such as André Cluytens, Arthur Rubinstein, Yves Nat, Hiroyuki Iwaki, Enrique Jorda, Raphael Frühbeck de Burgos, but also Michael Jackson, Stan Kenton, Stéphane Grappelli, Paul McCartney, Toots Thielemans, Jacky Collins, Annie Girardot, Dionne Warwick, A.C. Jobim, and so on. / Date parution : 2022-11-29/ Répertoire / Piano
18.54 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: 3-10 days - In Stock Supplier | |
| t Eilandje for Piano Solo
(GLORIEUX FRANCOIS) Piano solo [Sheet music] Metropolis Music Publishers
Par GLORIEUX FRANCOIS. François Glorieux was born in Belgium in 1932, and accla...(+)
Par GLORIEUX FRANCOIS. François Glorieux was born in Belgium in 1932, and acclaimed throughout Europe, the USA, Latin America, Canada, Japan, China, the Middle East and Africa. He is one of the most widely accomplished and versatile musicians traveling the international circuit today: pianist composer conductor, commentator, entertainer, honorary professor of chamber music at the Royal Music Conservatory of Ghent and guest professor at Yale University (USA). His particular art was the rare one of improvisation presented in five languages. Glorieux practices all musical styles and has been highly considered by great artists such as André Cluytens, Arthur Rubinstein, Yves Nat, Hiroyuki Iwaki, Enrique Jorda, Raphael Frühbeck de Burgos, but also Michael Jackson, Stan Kenton, Stéphane Grappelli, Paul McCartney, Toots Thielemans, Jacky Collins, Annie Girardot, Dionne Warwick, A.C. Jobim, and so on. / Date parution : 2022-11-29/ Répertoire / Piano
17.30 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: 3-10 days - In Stock Supplier | |
| Romantic Walk for Piano
Solo (GLORIEUX FRANCOIS) Piano solo [Sheet music] Metropolis Music Publishers
Par GLORIEUX FRANCOIS. François Glorieux was born in Belgium in 1932, and accla...(+)
Par GLORIEUX FRANCOIS. François Glorieux was born in Belgium in 1932, and acclaimed throughout Europe, the USA, Latin America, Canada, Japan, China, the Middle East and Africa. He is one of the most widely accomplished and versatile musicians traveling the international circuit today: pianist composer conductor, commentator, entertainer, honorary professor of chamber music at the Royal Music Conservatory of Ghent and guest professor at Yale University (USA). His particular art was the rare one of improvisation presented in five languages. Glorieux practices all musical styles and has been highly considered by great artists such as André Cluytens, Arthur Rubinstein, Yves Nat, Hiroyuki Iwaki, Enrique Jorda, Raphael Frühbeck de Burgos, but also Michael Jackson, Stan Kenton, Stéphane Grappelli, Paul McCartney, Toots Thielemans, Jacky Collins, Annie Girardot, Dionne Warwick, A.C. Jobim, and so on. / Date parution : 2022-11-29/ Répertoire / Piano
17.30 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: 3-10 days - In Stock Supplier | |
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