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| Piano for Singers Piano solo [Sheet music + CD] - Beginner Hal Leonard
(Learn to Accompany Yourself and Others). Keyboard instruction. Softcover with C...(+)
(Learn to Accompany Yourself and Others). Keyboard instruction. Softcover with CD. 72 pages. Published by Hal Leonard
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| Forty Easy Piano Pieces (Pieces by Behr, Gurlitt, Streabbog, Wohlfahrt, and others) Piano solo [Sheet music] Kalmus
Pieces by Behr, Gurlitt, Streabbog, Wohlfahrt, and others. Masterworks; Piano Co...(+)
Pieces by Behr, Gurlitt, Streabbog, Wohlfahrt, and others. Masterworks; Piano Collection. Kalmus Edition. Masterwork. Book. 68 pages. Kalmus Classic Edition #00-K02095. Published by Kalmus Classic Edition
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| German Masters of the 17th and 18th Century, Easy Pieces (Pieces by Kuhlau, Pachelbel, Telemann, and others) Piano solo [Sheet music] Alfred Publishing
For Piano. Piano Collection. Kalmus Edition. Masterwork. Book. 32 pages. Publish...(+)
For Piano. Piano Collection. Kalmus Edition. Masterwork. Book. 32 pages. Published by Alfred Publishing. Level: Advanced.
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| Early Italian Keyboard Music Piano solo - Advanced Dover Publications
49 Works by Frescobaldi, Scarlatti, Martini, and Others. Edited by M. Esp...(+)
49 Works by Frescobaldi, Scarlatti, Martini, and Others. Edited by M. Esposito. Masterworks; Piano Collection. Dover Edition. Masterwork. Book. Published by Dover Publications (AP.6-441881).
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| 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 | | |
| Entertainer and Maple Leaf 2in1 (PS) Piano solo Santorella Publications
Entertainer and Maple Leaf Rag * 2 in 1 * Original Piano Solo by Scott Joplin ...(+)
Entertainer and Maple Leaf Rag * 2 in 1 * Original Piano Solo by Scott Joplin (1868-1917). For piano solo. This edition: Paperback. Solo. Ragtime. Sheet Music. Text Language: English. 12 pages. Published by Santorella Publications
$5.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Entertainer and Maple Leaf Rag * New Masterpiece Edition Piano solo Santorella Publications
Piano SKU: SP.ME1032 Composed by Scott Joplin. Solo; Ragtime. Score. Sant...(+)
Piano SKU: SP.ME1032 Composed by Scott Joplin. Solo; Ragtime. Score. Santorella Publications #ME1032. Published by Santorella Publications (SP.ME1032). ISBN 9781585607440. The Masterpiece Edition series, published exclusively by Santorella Publications, is a collection of original piano works, as well as challenging arrangements and transcriptions designed for the experienced to advanced pianist. The series is meticulously engraved and printed on heavy cover stock and quality paper to last for generations. With original works from the great masters, Bach, Beethoven, Mozart, and alike, as well as arrangements and transcriptions from some of the greatest works of all time, these Masterpiece Editions are sure to be popular favorites while enhancing the repertoire of most any serious pianist. In this case, we are extremely proud to release the original, unedited, Masterpiece Edition of Joplin's Entertainer and Maple Leaf Rag as a 2 in 1 sheet in its purest form. Our ultimate goal is to emphasize the necessity of exceptional quality in printed sheet music. Time has heard the strains of a myriad of musical styles. Some styles liven with age while others fade. The same is true of the composers themselves; some are regarded as brilliant masters from the beginning of their lives while others are praised only posthumously. Endurance is the ultimate test. Scott Joplin endured great injustices and criticism, yet he remains the King of Ragtime. We remember the genius of Scott Joplin by publishing The Entertainer and Maple Leaf Rag in this 2 in 1 original edition. Joplin's most popular rag, The Entertainer reached high acclaim in 1973 as a recognizable theme from the film classic, The Sting. This Academy Award-Winning film was solely responsible for the resurgence of ragtime in general, but more specifically brought renewed interest in the works of Scott Joplin. The Maple Leaf Rag, unlike so many others, became quite popular during Joplin's lifetime, so much so that it was the first sheet of music to sell over one million copies. We are pleased to combine these two rags in one as a special part of our Masterpiece Ragtime Selections. This newly engraved edition is clean, sharp, distinct, and accurate. An absolute pleasure to read as each crisp note seems to pop off the page. $6.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Solace, Entertainer and Maple Leaf Rag * 3 in 1 * Original Piano Solo Piano solo Santorella Publications
Solace, Entertainer and Maple Leaf Rag * 3 in 1 * Original Piano Solo composed b...(+)
Solace, Entertainer and Maple Leaf Rag * 3 in 1 * Original Piano Solo composed by Scott Joplin (1868-1917). For piano solo. This edition: Paperback. Solo. Ragtime. Sheet Music. Text Language: English. 12 pages. Published by Santorella Publications
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| Sonata No. 1 in D minor, Op. 28 Piano solo LudwigMasters Publications
Solo Piano SKU: AP.36-W713091 Composed by Sergei Rachmaninoff. Piano Solo...(+)
Solo Piano SKU: AP.36-W713091 Composed by Sergei Rachmaninoff. Piano Solo, Unaccompanied, Book. Well Tempered Press. Book. LudwigMasters Publications #36-W713091. Published by LudwigMasters Publications (AP.36-W713091). ISBN 9798888528327. UPC: 659359916120. English. Sergei Rachmaninoff (1873-1943) completed his Piano Sonata No. 1 in D minor, Op. 28, in 1908, and it is the first of three Dresden pieces, the others being his Symphony No. 2 and part of an opera. Although he eventually abandoned the idea, the sonata was originally inspired by Goethe's play Faust, which has inspired so many works of the 19th and 20th centuries. The premiere took place on October 17, 1908, in Moscow, with Konstantin Igumnov at the piano. These products are currently being prepared by a new publisher. While many items are ready and will ship on time, some others may see delays of several months. $12.95 - See more - Buy online | | |
| Valentine
Piano solo Peters
By Fred Hersch. For Piano Solo. Modern. Sheet Music. Composed Composed: 2001. Du...(+)
By Fred Hersch. For Piano Solo. Modern. Sheet Music. Composed Composed: 2001. Duration circa 2.5 minutes. Published by Edition Peters
(1)$9.95 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Modern Miniatures for Piano Solo, Volume 1 Piano solo [Sheet music] - Easy FJH
By Dianne Goolkasian Rahbee. For Piano. FJH Contemporary Editions. This artistic...(+)
By Dianne Goolkasian Rahbee. For Piano. FJH Contemporary Editions. This artistic collection of over 30 piano miniatures are contrasting in nature - some are energetic, others lyrical - some are sad, others humorous. Contemporary. Level: Late Elementary/Intermediate. Book. Published by The FJH Music Company Inc.
(1)$10.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Solace, Entertainer and Maple Leaf * New Masterpiece Edition Piano solo Santorella Publications
Piano SKU: SP.ME1033 Composed by Scott Joplin. Solo; Ragtime. Score. Sant...(+)
Piano SKU: SP.ME1033 Composed by Scott Joplin. Solo; Ragtime. Score. Santorella Publications #ME1033. Published by Santorella Publications (SP.ME1033). ISBN 9781585607457. The Masterpiece Edition series, published exclusively by Santorella Publications, is a collection of original piano works, as well as challenging arrangements and transcriptions designed for the experienced to advanced pianist. The series is meticulously engraved and printed on heavy cover stock and quality paper to last for generations. With original works from the great masters, Bach, Beethoven, Mozart, and alike, as well as arrangements and transcriptions from some of the greatest works of all time, these Masterpiece Editions are sure to be popular favorites while enhancing the repertoire of most any serious pianist. In this case, we are extremely proud to release the original, unedited, Masterpiece Edition of Joplin's Solace, Entertainer and Maple Leaf Rag as a 3 in 1 sheet in its purest form. Our ultimate goal is to emphasize the necessity of exceptional quality in printed sheet music. Time has heard the strains of a myriad of musical styles. Some styles liven with age while others fade. The same is true of the composers themselves; some are regarded as brilliant masters from the beginning of their lives while others are praised only posthumously. Endurance is the ultimate test. Scott Joplin endured great injustices and criticism, yet he remains the King of Ragtime. We remember the genius of Scott Joplin by publishing Solace, The Entertainer, and Maple Leaf Rag in a remarkable 3 in 1 original edition. Joplin's most popular rag, The Entertainer reached high acclaim in 1973 as a recognizable theme from the film classic, The Sting. This Academy Award-Winning film was solely responsible for the resurgence of ragtime in general, but more specifically brought renewed interest in the works of Scott Joplin. Solace was frequently heard in the background of many scenes in which the character was deep in thought. Subtitled, A Mexican Serenade, Solace has a serene Latin feel, unlike no other samba written and is the favorite of many Joplin enthusiasts. While the Maple Leaf Rag, actually became quite popular during Joplin's lifetime, so much so that it was the first printed sheet of music to sell over one million copies. We are pleased to combine these three original rags in one sheet as a special part of our Masterpiece Ragtime Selections. These newly engraved editions are clean, sharp, distinct, and accurate. An absolute pleasure to read as each crisp note seems to pop off the page. $8.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Debussy Inconnu: Album of works for the piano by Claude Debussy completed by Robert Orledge, Vol. 2 Piano solo - Advanced Musik Fabrik
Piano - Grade 5 SKU: FA.MFCD017B By Nicolas Horvath. By Claude Debussy an...(+)
Piano - Grade 5 SKU: FA.MFCD017B By Nicolas Horvath. By Claude Debussy and Robert Orledge. Rediscoverd Debussy. Christmas. Score. Musik Fabrik #MFCD017B. Published by Musik Fabrik (FA.MFCD017B). 8.27 x 11.69 inches. Contains Le Roi Lear: Prelude,Premiere Fanfare, and La Mort de Cordelia,Toomai des elephants, Rodrigue et Chimene: Prelude a l'acte 1p. Le Martyre de Saint Sebastien: La Passion , and No-ja-li ou Le Palais du Silence
From Robert Orledge's notes:
My interest in the wonderful music of Claude Debussy began in the 1980s when I researched and published a book with Cambridge University Press entitled Debussy and the Theatre. During the course of my studies in Paris, I was amazed to discover that Debussy planned over 50 theatrical works but only finished two of these entirely by himself (the opera Pelleas et Melisande in 1893-1902 and the ballet Jeux for Diaghilev's Ballets Russes in 1912-13). Of the rest, many were never started musically (like Siddartha and Orphee-roi with the Oriental scholar Victor Segalen, 1907); some had a few tantalising sketches (like the Edgar Allan Poe opera Le Diable dans le beffroi, 1902-03); some were half-finished (like his other Poe opera La Chute de la Maison Usher, 1908-17); while others were musically complete but had their orchestrations completed by other composers (like Khamma, by Charles Koechlin, 1912-13; or Le Martyre de Saint Sebastien and La Boite a joujoux by his 'angel of corrections' ['l'ange des Corrections'] Andre Caplet in 1911 and 1919 respectively).
For it has to be admitted that what some scholars call Debussy's 'compulsive achievement' could equally well be viewed as laziness, especially as far as the minute detail required for calligraphing his orchestral scores was concerned. It was as if creating the music itself was of greater importance than controlling its final sound, even if Debussy was an imaginative orchestrator when he found the time and energy to do it. It also seems true that Debussy also preferred inventing ideas to turning them into complete pieces. However, despite the lack of detail in many of his sketches (missing clefs, key signatures, dynamics, phrasing, etc.) the notes themselves are surprisingly accurate, whether or not they can be compared with a later draft. Thus, a large number of sketches exist for his Chinese ballet No-ja-li ou Le Palais du Silence and it is not too difficult to see which parts of Georges de Feure's 1913 scenario (see below) inspired which ideas. But Debussy hardly made any attempt to join them together after the first few bars.
It was usually up to his publisher, Jacques Durand, to find solutions when Debussy risked a breach of contract. Debussy was supposed to supervise the orchestrations completed by others, but this supervision was usually very light and restricted to quiet, sensitive moments in which problems were easier to spot. Far from jealously guarding every one of his created notes, as Ravel did, Debussy once even went as far as to ask Koechlin to 'write a ballet for him that he would sign' on 26 March 1914 when he was hard-pressed to fulfil his lucrative contract for No-ja-li with Andre Charlot at the Alhambra Theatre in London. In the end, Debussy (through Durand) sent Charlot the symphonic suite Printemps instead, whose orchestration had been completed by Henri Busser in the Spring of 1912.
So, when I was offered early retirement as Professor of Music at Liverpool University in 2004, I seized the opportunity it would give me to spend time trying to reconstruct some of Debussy's lost potential masterpieces from his existing sketches and drafts--then orchestrating them in Debussy's style when this was appropriate. I had begun this mission in 2001 with the most promising project, the missing parts of Scene 2 of La Chute de la Maison Usher and the sheer joy it gave me at every stage persuaded me to tackle other projects, especially when Debussy experts were unable to identify exactly where I took over from Debussy (and vice versa) in Usher. $48.69 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Chopin: Waltzes (Complete) Piano solo [Sheet music + CD] Alfred Publishing
A Practical Performing Edition. By Frederic Chopin. Edited by Willard A. Palmer....(+)
A Practical Performing Edition. By Frederic Chopin. Edited by Willard A. Palmer. Perf. Idil Biret. For Piano. Piano Collection. Masterwork CD Editions. Masterwork. Book & CD. Published by Alfred Publishing.
$15.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Nyx Piano solo University Of York Music Press
Piano SKU: BT.MUSM570364961 Composed by Evis Sammoutis. Classical. Book O...(+)
Piano SKU: BT.MUSM570364961 Composed by Evis Sammoutis. Classical. Book Only. 116 pages. University of York Music Press #MUSM570364961. Published by University of York Music Press (BT.MUSM570364961). English. Nyx was expertly composed by Evis Sammoutis for Bassoon and Piano. The piece was completed in 2013 and performed at the 62 Internationaler Musikwettbewerb der ARD München. TheCypriote born composer has worked with some of the worlds leading composers including, among many others, Brian Ferneyhough, Georges Aperghis, George Benjamin, as well as studying under Thomas Simaku for his Phd in MusicalComposition. Sammoutis’ works have been commissioned by festivals and organisations such as Venice Biennale, Klangspuren, Royaumont and ARD, and performed at leading festivals and contemporary music seriesinmore than 40 countries across the globe. Sammoutis has been awarded over 35 compositional awards including, among many others, the Royal Philharmonic Society Award and the Irino Prize. $22.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Debussy Inconnu: Album of works for the piano by Claude Debussy completed by Robert Orledge, Vol. 1 Piano solo Musik Fabrik
By Nicolas Horvath. By Robert Orledge and Claude Debussy (1862-1918). Redi...(+)
By Nicolas Horvath. By
Robert Orledge and Claude
Debussy (1862-1918).
Rediscoverd Debussy.
Christmas. Score. Musik
Fabrik #MFCD017A. Published
by Musik Fabrik
$48.69 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Burleske in D minor for Piano and Orchestra, IRS 11 (TrV 145; AV 85) Piano solo LudwigMasters Publications
Detailed Instrumentation: 2+Picc.2.2.2: 4.2.0.0: Timp: Str (9-8-7-6-5 in set): S...(+)
Detailed Instrumentation: 2+Picc.2.2.2: 4.2.0.0: Timp: Str (9-8-7-6-5 in set): Solo Piano SKU: AP.36-A212648 Composed by Richard Strauss. This edition: Kalmus Orchestra Library. Performance Music Ensemble; Piano, Solo with Piano; Single Titles. Kalmus Edition. Form: Sonata. 20th Century; Masterwork. Book. LudwigMasters Publications #36-A212648. Published by LudwigMasters Publications (AP.36-A212648). ISBN 9798888520994. UPC: 676737744748. English. Richard Strauss (1864-1949) originally wrote this work for solo piano and orchestra under the title Scherzo in D minor in 1886 for conductor and pianist Hans von Bülow, a large influence on Strauss' career. Von Bülow, however, consider the work a complicated piece of nonsense and wanted nothing to do it. Discouraged, Strauss set the work aside until 1889, when he met Scottish pianist Eugen d'Albert, who liked it while also suggesting some changes. With a new title, Burleske, and a dedication to d'Albert, the work was premiered on June 21st, 1890 in Eisenach at the Tonkünstlerfest with d'Albert at the piano and Strauss conducting. Despite this, Strauss remained convinced that the work lacked merit and refused to have the work published until 1894, although it eventually became one of his favorite works. Strauss never gave the work an opus number, but many consider it to be Op. 11, which is actually assigned to his Horn Concerto No. 1 in E-flat. Instrumentation: 2+Picc.2.2.2: 4.2.0.0: Timp: Str (9-8-7-6-5 in set): Solo Piano. This is the solo piano and orchestra piano reduction. These products are currently being prepared by a new publisher. While many items are ready and will ship on time, some others may see delays of several months. $10.00 - See more - Buy online | | |
| Paganini Variations: Piano Concerto No. 3 Piano solo - Intermediate/advanced Wilhelm Hansen
Piano - Grade 4 SKU: HL.233151 Solo Piano Part. Composed by Poul R...(+)
Piano - Grade 4 SKU: HL.233151 Solo Piano Part. Composed by Poul Ruders. Music Sales America. Classical. Softcover. Composed 2017. 20 pages. Edition Wilhelm Hansen #WH32201C. Published by Edition Wilhelm Hansen (HL.233151). ISBN 9788759886427. 10.0x14.5 inches. English. Piano solo part for Paganini Variations - Piano Concerto No.3 by Poul Ruders (2014). Score available: WH32201 Programme note: In 1999 my friend, American guitar virtuoso David Starobin, wanted me to write a concerto for guitar and orchestra. It quickly dawned on me, that this commission presented a golden opportunity to contribute to the time-honoured tradition of composing a series of variations on Nicolo Paganini's famous 24th Caprice for violin solo, a work which itself is a set of variations. The 16 bar (with the first 4 bars repeated) theme is not particularly sophisticated or intricate, but its inherent simplicity and logic just grow on you, almost to the point ofdistraction - and the secret behind it being hauled through the wringer by composers as disparate as Liszt, Brahms, Rachmaninoff and Lutoslawski is perhaps found in its - what I'll call, with a quick nervous look over my shoulder: brilliant banality. You can do anything with that tune, it'll always be recognizable and just there, however much you maul it. The piece (subtitled Guitar Concerto no 2) was written pretty quickly, premiered and subsequently recorded for Bridge Records with David and the Odense Symphony Orchestra conducted by Jan Wagner, and everybody was happy. But the story didn't end there, and it must be the ultimate proof of the durability of the theme, not to mention the flexibility and far-sightedness of David Starobin , when he 14 years later suggested why not transcribe the solo part for piano?. The idea appealed to me immediately. One thing was clear from the beginning: the new version could in no way sound like a transcription. My aim was to end up with a solo-part sounding like were it the one-and-only, the real thing, if you like. The orchestral score remains exactly the same in both cases. Both versions, the two Paganini Variations, are comparable to a set of twins, not quite identical, but almost. And both each others's equal. Poul Ruders. $29.99 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Essential Film Themes 5 Piano solo Music Sales | | |
| L' Evolution du Piano Solo dans le Jazz Piano solo Advance Music
Piano SKU: AP.1-ADV20073 Styles Traditionelles & Styles Modernes (Fren...(+)
Piano SKU: AP.1-ADV20073 Styles Traditionelles & Styles Modernes (French Language Edition). Composed by Bill Dobbins. Jazz DVD; Method/Instruction; Reference Textbooks; Technique Musicianship. Advance Music. Jazz. DVD. Advance Music #01-ADV20073. Published by Advance Music (AP.1-ADV20073). UPC: 805095200737. French. The Evolution of Solo Jazz Piano is a study of solo piano styles developed by 24 of the most influential solo pianists from 1900 to the present. In order to clearly illustrate the specific contributions of the various pianists, Bill Dobbins composed a theme based on the well-known standard All of Me. By applying the stylistic approaches of the different pianists to the same theme, one becomes aware of the subtle yet evocative elements of each individual style. Common elements between Waller, Ellington, Tatum, Monk and Rowles, Tatum, Hines and Wilson, Smith and Ellington, Corea and Beirach etc., should make it clear that musical individuality is largely the result of the subconscious emphasis of some musical elements over others, rather than the self-conscious cultivation of originality for its own sake. We sincerely hope that this DVD may serve as a stimulus toward the further study of the solo jazz piano tradition in particular and for creative music in general. De façon à montrer clairement les contributions particulières des différents pianistes, Bill Dobbins a composé un thème basé sur le changement d'accords très connu d'un classique du jazz All Of Me. En appliquant les approches stylistiques des différents pianistes au même thème, chacun devient conscient des éléments subtils mais cependant évocateurs de chaque style individuel. $29.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| The Evolution of Solo Jazz Piano Piano solo Advance Music
Piano SKU: AP.1-ADV20071 Part 1--2 Traditional Styles + Modern Styles<...(+)
Piano SKU: AP.1-ADV20071 Part 1--2 Traditional Styles + Modern Styles. Composed by Bill Dobbins. Jazz DVD; Method/Instruction; Reference Textbooks; Technique Musicianship. Advance Music. Jazz. DVD. Advance Music #01-ADV20071. Published by Advance Music (AP.1-ADV20071). UPC: 805095200713. English. The Evolution of Solo Jazz Piano is a study of solo piano styles developed by 24 of the most influential solo pianists from 1900 to the present. In order to clearly illustrate the specific contributions of the various pianists, Bill Dobbins composed a theme based on the well-known standard All of Me. By applying the stylistic approaches of the different pianists to the same theme, one becomes aware of the subtle yet evocative elements of each individual style. Common elements between Waller, Ellington, Tatum, Monk and Rowles, Tatum, Hines and Wilson, Smith and Ellington, Corea and Beirach etc., should make it clear that musical individuality is largely the result of the subconscious emphasis of some musical elements over others, rather than the self-conscious cultivation of originality for its own sake. We sincerely hope that this DVD may serve as a stimulus toward the further study of the solo jazz piano tradition in particular and for creative music in general.
Titles: Part 1: Traditional Styles Scott Joplin * Jelly Roll Morton * James P. Johnson * Willie The Lion Smith * Earl Fatha Hines * Thomas Fats Waller * Teddy Wilson * Duke Ellington * Art Tatum * Meade Lux Lewis * Pete Johnson * Jimmy Yancey * Part 2: Modern Styles Thelonious Monk * Bud Powell * Oscar Peterson * Erroll Garner * Lennie Tristano * Bill Evans * Clare Fischer * Jimmy Rowles * Cecil Taylor * Chick Corea * Keith Jarrett * Richie Beirach. $29.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Sounds of the City Piano solo - Intermediate Beriato Music
Piano - intermediate SKU: BT.BMI15010643 15 Easy Pieces for Piano Solo...(+)
Piano - intermediate SKU: BT.BMI15010643 15 Easy Pieces for Piano Solo. Composed by Bert Appermont. Beriato Music Instrumental. Book Only. Composed 2015. 35 pages. Beriato Music #BMI15010643. Published by Beriato Music (BT.BMI15010643). ISBN 9789043147880. English-German-French-Dutch. This album contains fifteen easy compositions for piano solo, inspired by the city: from honking cars, and dark alleys to imposing skyscrapers…one of the pieces is even based on mobile phone ringtones. The album is aimed at students who have beenplaying the piano for three to four years; the level of difficulty varies for each piece some are slightly easier, or trickier, than the others. Each work has its own specific mood and style, and where possible I have also tried to incorporatevarious techniques or characters within one composition. This music would make a suitable competition selection, as well as appropriate concert or exam pieces.
Deze pianobundel bestaat uit vijftien eenvoudige composities voor pianosolo, ge nspireerd op de geluiden van een stad: van toeterende auto’s, duistere stegen tot imposante wolkenkrabbers… Er zit zelfs een werkje bij dat is gebaseerd op gsm-ringtones.Het album is bedoeld voor leerlingen die drie vier jaar piano spelen; de moeilijkheidsgraad varieert per stuk het ene is wat makkelijker of moeilijker dan het andere. Elk werk heeft een specifieke sfeer en stijl, en waar mogelijk heb ik ookgeprobeerd om diverse technieken of karakters in één compositie te verwerken. De muziek is daarom erg geschikt als verplicht werk, en eveneens om te spelen tijdens een concert of examen.
Dieses Album enthält 15 leichte Kompositionen für Klavier solo, die von Klängen der Stadt inspiriert wurden: von hupenden Autos und dunklen Gassen bis hin zu imposanten Wolkenkratzern. Ein Stück basiert sogar auf Handyklingeltönen. Das Album richtetsich an Schüler, die seit drei oder vier Jahren Klavier spielen. Der Schwierigkeitsgrad der Stücke ist unterschiedlich manche sind etwas einfacher, manche schwieriger als die anderen Stücke. Jedes Werk hat eine eigene Stimmung und einen speziellenStil. Wo es möglich war, habe ich auch versucht, verschiedene Techniken oder Charaktere innerhalb einer Komposition zu verwenden. Diese Musik eignet sich gut für Wettbewerbe, aber auch als Konzert- oder Prüfungsstücke.
Cet album contient quinze compositions faciles pour piano solo, inspirées par les sons d’une ville : des voitures klaxonnantes et ruelles sombres aux gratte-ciels imposants…l’un des morceaux est même basé sur des sonneries de portable. L’album viseles étudiants jouant du piano depuis trois ou quatre ans ; le niveau de difficulté varie entre chaque pièce - certaines sont plus faciles que d’autres. Chaque morceau a son propre ton et style, et, si possible, j’ai aussi essayé d’inclure destechniques et caractères différents par composition. Cette musique est convenable pour des concours, concerts ou examens. $26.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Entertainer and Maple Leaf * 2 in 1 * Easy Piano Solo Piano solo Santorella Publications
Entertainer and Maple Leaf * 2 in 1 * Easy Piano Solo composed by Scott Joplin (...(+)
Entertainer and Maple Leaf * 2 in 1 * Easy Piano Solo composed by Scott Joplin (1868-1917). Arranged by Tony Santorella. For easy piano solo. This edition: Paperback. Solo. Ragtime. Sheet Music. Text Language: English. 12 pages. Published by Santorella Publications
(1)$4.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| On An Overgrown Path Piano solo LudwigMasters Publications
Piano Solo SKU: AP.36-M108391 Composed by Leos Janacek. Arranged by Frant...(+)
Piano Solo SKU: AP.36-M108391 Composed by Leos Janacek. Arranged by Frantisek Schaefer and Vilem Kurz. Performance Music Ensemble; Solo; Solo Piano. Master Piano Series. Part(s). LudwigMasters Publications #36-M108391. Published by LudwigMasters Publications (AP.36-M108391). ISBN 9781581068344. English. Leos Janacek wrote the first part of the cycle for solo piano On an Overgrown Path between 1902-1908. The second part was later published along with the second edition of part one. The cycle originated during Janacek's autobiographical period, a period of gloom and sorrow for the composer. Songs included: 1. Our evening, 2. A blown-away leaf, 3. Come along with us!, 4. The Virgin of Frydek, 5 They chattered like swallows, 6.Words fail, 7. Good Night!, 8.Unutterable anguish, 9. In tears, 10. the little owl continues screeching, 11. Andante, 12. Allegretto - Presto, 13. Piu mosso, 14. Vivo, and 15. Allegro. These products are currently being prepared by a new publisher. While many items are ready and will ship on time, some others may see delays of several months. $10.95 - See more - Buy online | | |
| Funerailles Piano solo Oxford University Press
Solo piano (Solo) - Moderately Difficult SKU: OU.9780193356733 Composed b...(+)
Solo piano (Solo) - Moderately Difficult SKU: OU.9780193356733 Composed by Martin Butler. Piano (Solo). 24 pages. Duration 13'. Oxford University Press #9780193356733. Published by Oxford University Press (OU.9780193356733). ISBN 9780193356733. 12 x 8 inches. For solo piano Funerailles is probably best thought of as an extended study in piano sonorities, at times deep, dark, and resonant, at others vivid and bright. $18.99 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Guia Pratico, Book 2 Piano solo LudwigMasters Publications
Solo Piano SKU: AP.36-M203391 Composed by Heitor Villa Lobos. Method/Inst...(+)
Solo Piano SKU: AP.36-M203391 Composed by Heitor Villa Lobos. Method/Instruction; Piano, Solo, Unaccompanied; Reference Textbooks; Solo; Solo Small Ensembles. Master Piano Series. Book. LudwigMasters Publications #36-M203391. Published by LudwigMasters Publications (AP.36-M203391). ISBN 9798888522219. UPC: 676737510077. English. In effort to reform the music educational system of Brazil during his tenure as Superindendência de Educação Musical e Artistica, Heitor Villa-Lobos (1887-1959) compiled folk songs from various parts of the country in a multi-album series called Guia prático. This collection of piano pieces is from that collection. 1. Brinquedo (Le Jouet), 2. Machadinha (La Hachette), 3. Espanha (L'Espagne), 4. Samba-le-le, 5. Senhora Dona Viúva (Madame Veuve). These products are currently being prepared by a new publisher. While many items are ready and will ship on time, some others may see delays of several months. $3.95 - See more - Buy online | | |
| Album for Adolescent Children, Part 2: from Peches de Vieillesse (Sins of Old Age), Vol. 5 Piano solo LudwigMasters Publications
Piano Solo SKU: AP.36-M143591 Composed by Gioachino Rossini. Arranged by ...(+)
Piano Solo SKU: AP.36-M143591 Composed by Gioachino Rossini. Arranged by Sergio Cafaro. Performance Music Ensemble; Solo Piano. Ludwig Masters. Score and Part(s). LudwigMasters Publications #36-M143591. Published by LudwigMasters Publications (AP.36-M143591). UPC: 660355124358. English. While best known for his operas, Gioachina Rossini (1792-1868) did compose other music, among which is the large collection, PÉCHÉS DE VIEILLESSE ("SINS OF OLD AGE"). Composed of 150 vocal, chamber and solo piano pieces, the collection is grouped into fourteen albums, with the ordering of the works in each album not reflective of the dates or sequence of composition. Written as salon music, intended for performance in the privacy of Rossini's own drawing room, the entire collection was sold by Rossini's widow following his death in 1868. This edition of Vol. 5, titled ALBUM POUR LES ENFANTS ADOLESCENTS (ALBUM FOR ADOLESCENT CHILDREN), is written for solo piano and includes ten pieces across two books: M143491 and M143591. Edited by Sergio Cafaro. These products are currently being prepared by a new publisher. While many items are ready and will ship on time, some others may see delays of several months. $12.95 - See more - Buy online | | |
| Guia Pratico, Book 3 Piano solo LudwigMasters Publications
Solo Piano SKU: AP.36-M195091 Composed by Heitor Villa Lobos. Method/Inst...(+)
Solo Piano SKU: AP.36-M195091 Composed by Heitor Villa Lobos. Method/Instruction; Piano, Solo, Unaccompanied; Reference Textbooks; Solo; Solo Small Ensembles. Master Piano Series. Book. LudwigMasters Publications #36-M195091. Published by LudwigMasters Publications (AP.36-M195091). ISBN 9798888522202. UPC: 676737509934. English. In effort to reform the music educational system of Brazil during his tenure as Superindendência de Educação Musical e Artistica, Heitor Villa-Lobos (1887-1959) compiled folk songs from various parts of the country in a multi-album series called Guia prático. This collection of piano pieces is from that collection. 1. O pastorzinho (Le petit berger), 2. João Cambuête (Jean Cambuete), 3. A freira (La Religieuse), 4. Garibaldi foi à missa (Garibaldi a ete a la messe), 5. O pião (La Toupte). These products are currently being prepared by a new publisher. While many items are ready and will ship on time, some others may see delays of several months. $3.95 - See more - Buy online | | |
| Cottage Album, Part 1: from Peches de Vieillesse (Sins of Old Age), Vol. 7 Piano solo LudwigMasters Publications
Piano Solo SKU: AP.36-M160791 Composed by Gioachino Rossini. Arranged by ...(+)
Piano Solo SKU: AP.36-M160791 Composed by Gioachino Rossini. Arranged by Sergio Cafaro. Performance Music Ensemble; Solo Piano. Ludwig Masters. Score and Part(s). LudwigMasters Publications #36-M160791. Published by LudwigMasters Publications (AP.36-M160791). UPC: 660355124372. English. While best known for his operas, Gioachina Rossini (1792-1868) did compose other music, among which is the large collection, PÉCHÉS DE VIEILLESSE ("SINS OF OLD AGE"). Composed of 150 vocal, chamber and solo piano pieces, the collection is grouped into fourteen albums, with the ordering of the works in each album not reflective of the dates or sequence of composition. Written as salon music, intended for performance in the privacy of Rossini's own drawing room, the entire collection was sold by Rossini's widow following his death in 1868. Vol. This edition of Vol. 7, titled ALBUM DE CHAUMIÈRE (COTTAGE ALBUM), is written for solo piano and includes twelve pieces across three books: M160791, M160891 and M160691. Edited by Sergio Cafaro. These products are currently being prepared by a new publisher. While many items are ready and will ship on time, some others may see delays of several months. $12.95 - See more - Buy online | | |
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| Texas Mothers Lullaby:
Piano: Instrumental Album Piano solo Schaum Publications 3.50 GBP - Sold by Musicroom UK | |
| The Holly and the Ivory:
Piano: Instrumental Album Piano solo Shawnee Press
Featuring arrangements from Heather Sorenson Lee Dengler Matt Hyzer Shirley B...(+)
Featuring arrangements from Heather Sorenson Lee Dengler Matt Hyzer Shirley Brendlinger Brad Nix and othersA Christmas gift for every church pianist this new compilation is filled with wonderful carolarrangements for sanctuary or concert use. The variety found in this book is sure to please the discerning musician and be useful for seasonal service playing or as a helpful resource for your next holiday party or gathering.Includes: The Holly and the Ivy ? Bring a Torch Jeanette Isabella ? Once in Royal David's City ? The Huron Carol ? and many others.
19.99 GBP - Sold by Musicroom UK | |
| SOLO PIECES (HAUSCHKA) Piano solo [Sheet music] Bosworth
Par HAUSCHKA. Featuring songs by the renowned composer and master of the prepare...(+)
Par HAUSCHKA. Featuring songs by the renowned composer and master of the prepared Piano Volker Bertelmann, AKA Hauschka, Solo Pieces is a wonderful compilation of some of his most beautifully engrossing and hypnoticcompositions, as well as some fantastic illustrations and writings.
A unique figure in the contemporary classical world, Hauschka\'s works defy categorisation while remaining uniquely effective. Knownfor his prepared Piano pieces, Hauschka writes that he considers the Piano a keyboard, string and percussion instrument, thereby opening its sonic possibilities to include diverse timbres, tones and textures.Somesongs in Solo Pieces are for natural Piano, but others include instructions on how to prepare your own Piano, using everyday materials like foil, greaseproof paper, rubber wedges orerasers.
The spirit of Solo Pieces is experimentation, something that Hauschka has always embraced. You don\'t need to prepare your Piano, or you could use differentmaterials to create a unique performance of the work. Some of the pieces like One Wish feature wonderfully metallic buzzing sounds that complement the changing dynamics of the piece, while others like Early InThe Park have unique tinkling percussive effects, adding completely new facets to the already evocative melodies.
Far from being simply a collection of Hauschka sheet music,this book is a wonderfully inviting publication, featuring introductory words from Hauschka on his inspirations and processes, as well as notes on his favourite materials throughout. Also included are interestingpieces like short stories, letters and fantastic sketches that are fitting for a personality and artist like Hauschka. This book of Hauschka sheet music is ideal for fans of the inventive composer, but alsopianists who looking for some new and unique music to play.
Solo Pieces by Hauschka is both a collection of excellent Piano pieces and an aesthetically pleasing / Date parution : 2022-09-15/ Recueil / Piano
22.67 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: In Stock | |
| Hauschka - Solo Pieces -
Piano Piano solo Chester
Description Featuring songs by the renowned composer and master of the prepared...(+)
Description Featuring songs by the renowned composer and master of the prepared Piano Volker Bertelmann, AKA Hauschka, Solo Pieces is a wonderful compilation of some of his most beautifully engrossing and hypnotic compositions, as well as some fantastic illustrations and writings. A unique figure in the contemporary classical world, Hauschka's works defy categorisation while remaining uniquely effective. Known for his prepared Piano pieces, Hauschka writes that he considers the Piano a keyboard, string and percussion instrument, thereby opening its sonic possibilities to include diverse timbres, tones and textures. Some songs in Solo Pieces are for natural Piano, but others include instructions on how to prepare your own Piano, using everyday materials like foil, greaseproof paper, rubber wedges or erasers. The spirit of Solo Pieces is experimentation, something that Hauschka has always embraced. You don't need to prepare your Piano, or you could use different materials to create a unique performance of the work. Some of the pieces like One Wish feature wonderfully metallic buzzing sounds that complement the changing dynamics of the piece, while others like Early In The Park have unique tinkling percussive effects, adding completely new facets to the already evocative melodies. Far from being simply a collection of Hauschka sheet music, this book is a wonderfully inviting publication, featuring introductory words from Hauschka on his inspirations and processes, as well as notes on his favourite materials throughout. Also included are interesting pieces like short stories, letters and fantastic sketches that are fitting for a personality and artist like Hauschka. This book of Hauschka sheet music is ideal for fans of the inventive composer, but also pianists who looking for some new and unique music to play. Solo Pieces by Hauschka is both a collection of excellent Piano pieces and an aesthetically pleasing publication that celebrates great music. Brooklyn Chat Noir Early In The Park Femme Assise Flingern Heimat Mount Hood One Wish Sehnsucht Zahnlücke
22.99 EUR - Sold by Woodbrass Pre-shipment lead time: On order | |
| Chopin Frederic -
Waltzes For Piano + Cd -
Piano Solo Piano solo G. Henle
The 17 waltzes comprising this volume are among Chopin's most popular compositio...(+)
The 17 waltzes comprising this volume are among Chopin's most popular compositions. Composed over a period of 20 years (from 1827 to 1847), only eight waltzes were published during Chopin's lifetime. Many of the others were written as gifts for women with whom he was acquainted. This Practical Performing Edition is clearly spaced for ease in reading and contains a thematic index. Also included is an outstanding CD recording from the Naxos label by internationally renowned artist Idil Biret. She has made more than 70 recordings and has received numerous awards including: Lily Boulanger Memorial, Boston; Harriet Cohen - Dinu Lipatti gold medal, London; Chevalier de l'Ordre du Merite, France; State Artist, Turkey and many others.
21.70 EUR - Sold by Woodbrass Pre-shipment lead time: On order | |
| Peter Broderick: Piano
Works - Volume 1: Piano:
Artist Songbook Piano solo Erased Tapes
In this his first volume of sheet music Peter Broderick collects 20 works for...(+)
In this his first volume of sheet music Peter Broderick collects 20 works for solo piano alongside exclusive new recordings. Taken from his piano-led records such as Docile Float How TheyAre Partners and Grunewald some are original solo works while others have been stripped back and arranged for solo piano for the first time. The collection also includes the composer’s performanceand repertoire notes. Unique recordings exclusively available through digital download 20 beautiful piano scores bound in a two-colour-printed volume Personal notes written by the composer Composers Note: Ever since I started releasing records of piano music back in 2007 it seems that every few months I get an email from a stranger asking me if I have sheet music for my piano songs.Sometimes people even write to me assuming that the sheet music already exists asking in regards to a particular song “Where can I find the sheet music?” My response to all these requests has been always been thesame… “Unfortunately the music is only written in my head and in my fingers but I do hope that maybe one day I’ll be able to write some of it out and publish a book of sheet music.” And finally ten yearslater that day is here! I am very proud to announce that Piano Works Vol. 1 my first book of piano sheet music will be available in mid-June. Thanks to my dear friends at Erased Tapes and Music Sales for helpingthis come to fruition. - Peter Broderick
19.99 GBP - Sold by Musicroom UK Pre-shipment lead time: In Stock | |
| The Essential Collection:
Ballet Gold (CD Edition):
Piano: Instrumental Album Piano solo [Sheet music + CD] - Intermediate Chester
Ballet Gold (CD Edition)-This fine selection features the most famous melodies a...(+)
Ballet Gold (CD Edition)-This fine selection features the most famous melodies and magical moments from your favourite ballets containing both sheet music and full audio on CD. Melodies by Berlioz Borodin Chopin and others are arranged here forthe solo Piano to be enjoyed again and again. Every piece has been composed or specially arranged for solo piano and is accompanied by high quality demonstration performances on a specially commissioned music CD. Anessential addition to your piano library.
16.99 GBP - Sold by Musicroom UK Pre-shipment lead time: In Stock | |
| In Your Garden of Life
(LINNEMANN MARIA) Piano solo [Sheet music] Ricordi
7 Stücke für Klavier solo / 7 Pieces for Solo Piano. Par LINNEMANN MARIA. In h...(+)
7 Stücke für Klavier solo / 7 Pieces for Solo Piano. Par LINNEMANN MARIA. In her new piano publication, the composer Maria Linnemann revisits a whole series of memories. The birth of a child in her immediate family provided the impetus for the composition of two pieces, including the eponymous In Your Garden of Life. A number of pieces reflect on various aspects of the relationship between two people, while others are simply inspired by special moments in the composer?s life. All the compositions in this album are characterised by a moderate difficulty, as well as a catchy, approachable musical style. / Date parution : 2023-03-11/ Recueil / Piano
13.79 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: On order | |
| Early Italian Keyboard
Music 49 Works By: Piano:
Instrumental Album Piano solo - Intermediate/advanced Dover Publications
This outstanding collection brings together forty-nine of the finest keyboard wo...(+)
This outstanding collection brings together forty-nine of the finest keyboard works by major Italian composers of the 17th and 18th centuries. With works by Frescobaldi Scarlatti Martini and others arranged for piano solo or other keyboard instruments. The beautiful melodies flowing elegance and charm of these pieces will leave you uplifted and energised. 49 works arranged for Solo piano.
20.30 GBP - Sold by Musicroom UK | |
| Laverne A. - Chords In
Motion - Piano Piano solo Jamey Aebersold Jazz
Noted jazz pianist, composer, recording artist and educator Andy LaVerne has dra...(+)
Noted jazz pianist, composer, recording artist and educator Andy LaVerne has drawn from his decades of experience playing with master musicians from Getz to Lovano to create this comprehensive compendium of contemporary moving voicings. Quartal, quintal, drop 2, dominant 7b9/diminished, triadic, whole tone and chromatic performance proven voicings pioneered by McCoy Tyner, Chick Corea, Herbie Hancock, and Andy himself are presented and fleshed out in all twelve keys. This book picks up where others leave off, enabling you to replace static chords with voicings that move melodically, dramatically, and gracefully over the entire range of the keyboard. Firmly rooted in contemporary jazz theory, the emphasis is on practical performance applications. Andy ties it all together with illustrations of comping choruses for five standard jazz tunes. Chords in Motion satisfies a long awaited need in actual comping situations, and shows you how to move chords through varying harmonic rhythms. FINALLY ? a book that gives you moving voicings, and sets them in motion in all twelve keys. Chords in Motion is a valuable resource for all keyboardists, arrangers, and instrumentalists. Activate, animate, and energize your comping with this encyclopedic volume. 156 pages, spiral bound for easy opening. Andy carries the flame of jazz piano tradition and just great music. He always inspires me. Chick Corea This is a great book! I am going to sit down and play through this!! I am always telling my non-piano playing students how important it is to work with (and internalize) the sounds that we live with all our lives as Jazz musicians. Coltrane spent years sitting at the piano and so should all of us!!! John Patitucci Berklee College of Music One thing about Andy?he is complete as can be and has been consistently so for years in both his teaching materials and playing. He is completely knowledgeable in such a way that when I play with him, I know he KNOWS!! Plus he is one of the smoothest and polished of players around. Great book?encyclopedic in content. Dave Liebman Founder, Artistic Director, International Association of Schools of Jazz (IASJ) I've played and recorded with Andy LaVerne many times over the years and in many different settings and he's always come up with the hippest, most interesting chords in the most musical way! His way of playing and looking at chords inspires me as a drummer and his rhythm section partner to play things that are in turn inspiring to the rest of the band. This book, helps musicians, understand, in a clear thoughtful presentation, how to go about getting this together. Billy Drummond Jazz Drummer, Educator, Juilliard, NYU Chords in Motion is an outstanding and comprehensive guide by Andy LaVerne, whose encyclopedic knowledge, decades of experience and brilliance as a performer and educator make this an invaluable handbook of modern jazz piano harmony. Its user-friendly, intelligent design enables musicians to expand their harmonic palette and potentially transform their playing, writing and arranging. Chords in Motion is an invaluable contribution to jazz musicians! Lynne Arriale Jazz Pianist, Composer, Educator, Associate Professor of Jazz Piano, Director of Small Ensembles, University of North Florida Chords in Motion is exactly the book I'd expect from Andy LaVerne. It's clear, openhearted and inspiring, as has been every conversation I've had with Andy over the years. Long a fan of his playing, I have enjoyed this look behind the curtain at how Andy LaVerne formulated his signature style. One other thing -- any pianist, no matter his/her approach, will gain insight into what will surely be new and exciting musical directions. Pete Malinverni Jazz Pianist, Educator, Director of Jazz Studies, SUNY Purchase College Conservatory of Music What a great resource for expanding the harmonic palette! Chords in Motion is a must have for the aspiring young jazz pianist as well as the seasoned veteran. Another winner from Andy! Paul Schmeling Jazz Pianist, Educator, Chair Emeritus, Piano Department, Berklee College of Music In Chords in Motion, I recognize chords and sounds that have inspired me to compose and play: harmony from the music of Chick Corea, Herbie Hancock and McCoy Tyner. This book is well organized, and from the beginning gets you playing. Each chord structure is explained and developed. There is plenty to practice. I especially like the exercises using contrary motion, arpeggiation
24.60 EUR - Sold by Woodbrass Pre-shipment lead time: On order | |
| Grieg E. - Peer Gynt
Suite, Holdberg Suite Et
Autres Pieces - Piano Piano solo Dover Publications
Treasury of piano music by great Norwegian composer, including the perennial fav...(+)
Treasury of piano music by great Norwegian composer, including the perennial favorites, Peer Gynt Suites Nos. 1 and 2 and the Holberg Suite, as well as a rich selection of other pieces: Vier Stucke, Op. 1, Humoresker, Op. 6, Sonata in E Minor, Op. 7, and many others. Content : Four Pieces [Vier Stücke], Op. 1 (dedicated to E. F. Wenzel) I. Allegro con leggerezza II. Non Allegro e molto espressivo III. Mazurka IV. Allegretto con moto Poetic Tone-Pictures [Poetiske tonebilleder], Op. 3 (dedicated to Benjamin Feddersen) I. Allegro, ma non troppo II. Allegro cantabile III. Con moto IV. Andante con sentimento V. Allegro moderato VI Allegro scherzando Humoresques [Humoresker], Op. 6 (dedicated to Rikard Nordraak) I. Tempo di Valse II. Tempo di Menuetto ed energico III. Allegretto con grazia IV. Allegro alla burla Sonata in E Minor, Op. 7 (dedicated to Niels W. Gade) Allegro moderato Andante molto Alla Menuetto, ma pocco più lento Finale Concerto in A Minor, Op. 16, Arranged for Solo Piano (dedicated to Edmund Neupert) Allegro molto moderato Adagio Allegro moderato e molto marcato Four Album Leaves [Fire albumblade], Op. 28 (dedicated to Minna Petersen) I. Allegro con moto II. Allegretto espressivo III. Vivace IV. Andantino serioso Two Elegiac Melodies [Zwei elegische Melodien], Op. 34 (dedicated to Heinrich von Herzogenberg; arrangement of a work for string orchestra based on the songs Op. 33, nos. 3 and 2) I. Heart's Wounds [Herzwunden] II. Last Spring [Letzter Frühling] From Holberg's Time [Fra Holbergs tid; Holberg Suite], Op. 40 (dedicated to Erika Lie-Nissen) I. Praeludium II. Sarabande III. Gavotte IV. Air V. Rigaudon Piano Pieces after His Own Songs [Klavierstücke nach eigenen Liedern] (I), Op. 41 I. Lullaby [Wiegenlied] II. Little Haakon [Klein Haakon] III. I Love Thee [Ich liebe dich] IV. She Is So White [Wenn einst sie lag an meiner Brust/Sie ist so weiss] V. The Princess [Die Prinzessin] VI. To Springtime [An den Lenz] Peer Gynt Suite No. 1, Op. 46 (arrangement of orchestral work) I. Morning Mood [Morgenstimmung] II. Åse's Death [Åses Tod] III. Anitra's Dance [Anitras Tanz] IV. In the Hall of the Mountain King [In der Halle des Bergkönigs] Piano Pieces after His Own Songs [Klavierstücke nach eigenen Liedern] (II), Op. 52 I. A Mother's Grief [Mutterschmerz] II. The First Meeting [Erstes Begegnen] III. The Poet's Heart [Des Dichters Herz] IV. Solvejg's Song [Solvejgs Lied] V. Love [Liebe] VI. The Old Mother [Die alte Mutter] Two Melodies [Zwei Melodien], Op. 53 (dedicated to Franz Neruda; arrangement of a work for string orchestra based on the songs Op. 33, no. 12, and Op. 21, no I. Norwegian [Norwegisch] II. The First Meeting [Erstes Begegnen] Peer Gynt Suite No.2, Op 55 (arrangement of orchestral work) I. Ingrid's Lament [Ingrids Klage] II. Arabian Dance [Arabischer Tanz] III. Peer Gynt's Return Home [Peer Gynts Heimkehr] IV. Solvejg's Song [Solvejgs Lied] Moods [Stimmungen], Op. 73 I. Resignation II. Scherzo-Impromptu III. Night Ride [Natligtridt] IV. Folksong [Folketone] V. Study [Studie] (Hommage à Chopin) VI. Students' Serenade [Studenternes serenade] VII. The Mountaineer's Song [Lual?t] Nordraak's Funeral March [Sörgemarsch over Rikard Nordraak], WoOp. Three Piano Pieces [Drei Klavierstückel], WoOp. I. White Clouds [Hvide skyer] II. Gnomes' Tune [Tusselsl?t] III. The Dance Goes On [Dansen går]
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| A Treasury of Christmas
Songs for Solo Piano Piano solo - Easy Dover Publications
For Beginner and Intermediate Level. A treasure trove of timeless holiday classi...(+)
For Beginner and Intermediate Level. A treasure trove of timeless holiday classics for the pianist in one budget-friendly volume! This collection of thirty-six Christmas favorites is perfect for beginner to intermediate classical players looking to add a festive flair to their repertoire. Selections include such beloved classics as ?Away in a Manger,? ?Deck the Halls,? ?The First Noel,? ?Go Tell It on the Mountain,? ?Jingle Bells,? ?Joy to the World,? ?O Christmas Tree,? ?O, Come All Ye Faithful,? ?O Little Town of Bethlehem,? ?Silent Night,? and many others. These arrangements for solo piano are sure to become a staple in your holiday music library and bring joy to your heart for years to come.
11.20 GBP - Sold by Musicroom UK Pre-shipment lead time: In Stock | |
| Piano Playbook: Musical
Showstoppers: Piano:
Instrumental Album Piano solo - Intermediate/advanced Amsco Wise Publications
This Musical Showstoppers edition of the brilliant Piano Playbook series offers ...(+)
This Musical Showstoppers edition of the brilliant Piano Playbook series offers excellent new arrangements of 35 of the greatest most enduring showstoppers from the biggest musicals of all time.All tunes are arranged for solo Piano including vocal melody and chord symbols so you can stop your very own shows with these powerfully perennial numbers. Certain songs from certain musicals have that winningcombination of emotion melody and a cracking singer that elevates the tune into the upper echelons of the show itself. These songs are the ones that everyone remembers the ones that effectively stop the show and thisPiano Playbook?collects the best of these Musical Showstoppers?so that you too can relive those moments that send shivers up your spine. Songs like I Dreamed A Dream from 'LesMisérables '?Can You Feel The Love Tonight?from 'The Lion King' and Defying Gravity from 'Wicked.' Each of the tunes in this?Musical Showstoppers songbookperfectly encapsulates what the show itself is about this is why they are so well-loved. You'll be able to play Dancing Queen Cabaret A Whole New World and Singin' In The Rain on the Piano among many others.You can take as your inspiration for learning from this show tunes sheet music the many incredible singers who originally performed such songs and the composers who wrote them. Each song has been beautifully arranged allowing youto recapture the quintessence of the musicals that you love and the songs to which you keep coming back. This selection has been chosen to reflect a number of moods and has been produced to thehighest standards in a handy format that combines convenience with durability. The spiral binding ensures that the Playbook sits flat on a piano or other music stand while the crisp engraving is a pleasure to
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| Janet Vogt Leon Bates: Le
Voyage Magique - Niveau
2A Explorateur: Piano:
Theory Piano solo [Sheet music] - Easy Leduc, Alphonse
Théorie 2A-Conceived for Piano beginners ?Piano Discoveries Theory - Niveau 2A ...(+)
Théorie 2A-Conceived for Piano beginners ?Piano Discoveries Theory - Niveau 2A (Exploring Theory)?is very progressive and includes many illustrations which enable children to get familiar with music theory only. The third in a series of eight it completes the Piano method. Le Voyage magique is the translation and adaptation by St?phane Blet of the American series Piano Discoveries by Janet Vogt and Leon Bates. The pedagogy of this book has been studied to be quite close to the language of children in order to develop their interest and concentration. Janet Vogt is anAmerican pianist and professor at the College-Conservatory of Music. She also composed pieces for Keyboards for Choirs and some pop music. Leon Bates (born 1949) is a renowned American pianist who performed with the New York Symphony the Cleveland Symphony and many others. He is also a professor and participated in the conception of this method. St?phane Blet is an international solo pianist who decided to focus on the composition of pieces and on teaching. He is currently professor in the ?cole Normale de Musique “Alfred Cortot”.
12.50 GBP - Sold by Musicroom UK | |
| Berklee Jazz Piano:
Piano: Instrumental Tutor Piano solo [Sheet music + CD] - Intermediate Berklee
Play jazz piano with new facility and expression as Ray Santisi one of the most...(+)
Play jazz piano with new facility and expression as Ray Santisi one of the most revered educators at the Berklee College of Music and mentor to Keith Jarrett Diana Krall Joe Zawinul and thousands of others reveals thepedagogy at the core of Berklee's jazz piano curriculum. From beginning through advanced levels Berklee Jazz Piano maps the school's curriculum: a unique blend of theory and application that gives you a deep practicalunderstanding of how to play jazz. Concepts are illustrated by the accompanying practice CD where you'll hear how one of the great jazz pianists and educators of our time applies these concepts to both jazz standards and originalcompositions and how you can do the same.You will learn:Jazz chords and their characteristic tension substitutions in many voicings and configurationsModes and scales common in jazzTechniques forcomping developing bass lines harmonizing melodies melodizing harmonies and improvisationPractice techniques for committing these concepts to your muscle memoryVariations for solo and ensemble playingAdvancedconcepts such as rhythmic displacement approach-chord harmonization and jazz counterpoint.
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| Janet Vogt Leon Bates: Le
Voyage Magique - Niveau 1
Découvreur: Instrumental Piano solo [Sheet music] - Beginner Leduc, Alphonse
Théorie 1 (avec portées)-Conceived for Piano beginners Piano Discoveries Theo...(+)
Théorie 1 (avec portées)-Conceived for Piano beginners Piano Discoveries Theory - Niveau 1 Discovery with staves (equivalent to volume 1B) is progressive and includes many illustrations which enable children to become familiar with music theory only. The second in a series of eight it completes the Piano method. Le Voyage magique is the translation and adaptation by St?phane Blet of the American series Piano Discoveries by Janet Vogt and Leon Bates. The pedagogy of this book has been studied to be quite close to the language of children in order to develop their interest and concentration. Janet Vogt is an American pianist professor at the College-Conservatory of Music. She also composed pieces for Keyboards for Choirs and some pop music. <>br Leon Bates (born 1949) is a renowned American pianist who performed with the New York Symphony the Cleveland Symphony and many others. He is also a professor and participated in the conception of this method. St?phane Blet is an international solo pianist who decided to focus on the composition of pieces and on teaching. He is currently professor in the ?cole Normale de Musique “Alfred Cortot”.
11.99 GBP - Sold by Musicroom UK Pre-shipment lead time: In Stock | |
| More Great Hymns: Piano:
Instrumental Album Piano solo Curnow Music
Instrumental Solos for Worship-More Great Hymns contains hymns from around the w...(+)
Instrumental Solos for Worship-More Great Hymns contains hymns from around the world. They are delightfully arranged in fresh settings by some of the foremost arrangers in the instrumental field. The accompaniment CD (included in the solo book) provides a demonstration performance of each solo. It also allows the soloist to practice or perform with the CD when an accompanist is not available. Contains: Amazing Grace O for a Thousand Tongues to Sing Holy Holy Holy Softly and Tenderly and others
10.99 GBP - Sold by Musicroom UK | |
| Janet Vogt Leon Bates: Le
Voyage Magique - Niveau
3A Aventurier: Piano: Piano solo [Sheet music + CD] - Easy Leduc, Alphonse
Cahier 3A Piano-Conceived for Piano beginners who have already been introduced t...(+)
Cahier 3A Piano-Conceived for Piano beginners who have already been introduced to music reading Le Voyage magique - Niveau 3A Aventurier follows up on Le Voyage magique - Niveau 2B Explorateur. Fifth in a series of eight it familiarises the students to more complex melodies and rhythms and to the techniques of playing. This volume uses the same characters as the previous books who evolve through new illustrations which guide the young pianists. Le Voyage magique is the translation and adaptation by Stéphane Blet of the American series Piano Discoveries by Janet Vogt and Leon Bates. The pedagogy of this bookhas been studied to be quite close to the language of children in order to develop their interest and concentration. A CD is provided to accompany the player while learning with Le Voyage magique offering some small melodic pieces to develop a musical ear. Janet Vogt is an American pianist professor at the College-Conservatory of Music. She also composed pieces for Keyboards for Choirs and some pop music. Leon Bates (born 1949) is a renowned American pianist who performed with the New York Symphony the Cleveland Symphony and many others. He is also a professor and participated to the conception of this method. Stéphane Blet is an international solo pianist who decided to focus on the composition of pieces and on teaching. He is currently professor in the École Normale de Musique “Alfred Cortot”.
19.50 GBP - Sold by Musicroom UK Pre-shipment lead time: In Stock | |
| Janet Vogt Leon Bates: Le
Voyage Magique - Niveau 1
Découvreur: Piano: Piano solo [Sheet music + CD] - Beginner Leduc, Alphonse
Cahier 1 Piano (avec portées)-Conceived for Piano beginners Le Voyage Magique ...(+)
Cahier 1 Piano (avec portées)-Conceived for Piano beginners Le Voyage Magique - Niveau 1 D?couvreur with staves (equivalent to the 1B) is really progressive and includes nice illustrations which enable children to get familiar with the instrument and with the theory. The second of a series of eight it introduces the reading of musical sheets and the positioning of the notes on the staves. Le Voyage Magique is the translation and adaptation by St?phane Blet of the American series Piano Discoveries by Janet Vogt and Leon Bates. The pedagogy of this book has been studied to be quite close to the language ofchildren in order to develop their interest and concentration. A CD is provided to accompany the player while learning with Le Voyage Magique offering some small melodic pieces to develop a musical ear. Janet Vogt is an American pianist professor at the College-Conservatory of Music. She also composed pieces for Keyboards for Choirs and some pop music. <>br Leon Bates (born 1949) is a renowned American pianist who performed with the New York Symphony the Cleveland Symphony and many others. He is also a professor and participated to the conception of this method. St?phane Blet is an international solo pianist who decided to focus on the composition of pieces and on teaching. He is currently professor in the ?cole Normale de Musique “Alfred Cortot”.
19.50 GBP - Sold by Musicroom UK Pre-shipment lead time: In Stock | |
| Janet Vogt Leon Bates: Le
Voyage Magique - Niveau
3A Aventurier: Piano:
Theory Piano solo [Sheet music] - Easy Leduc, Alphonse
Théorie 3A-Conceived for Piano beginners who have already been introduced to mu...(+)
Théorie 3A-Conceived for Piano beginners who have already been introduced to music reading ?Le Voyage Magique Th?orie - Niveau 3A Adventurier?is the fifth of a series of eight completing the Piano method of the same name. It familiarises the young pianist to theory including harmonious sixths intervals rhythms perfect chords broken chords and additional notes and techniques of playing. This volume uses the same characters as the previous books who evolves through new illustrations to guide the young pianists. Le Voyage magique is the translation and adaptation by St?phane Blet of the American series PianoDiscoveries by Janet Vogt and Leon Bates. The pedagogy of this book has been studied to be quite close to the language of children in order to develop their interest and concentration. Janet Vogt is an American pianist professor at the College-Conservatory of Music. She also composed pieces for Keyboards for Choirs and some pop music. Leon Bates (born 1949) is a renowned American pianist who performed with the New York Symphony the Cleveland Symphony and many others. He is also a professor and participated to the conception of this method. St?phane Blet is an international Solo Pianist who decided to focus on the composition of pieces and on teaching. He is currently professor in the ?cole Normale de Musique “Alfred Cortot”.
12.50 GBP - Sold by Musicroom UK Pre-shipment lead time: In Stock | |
| Karl Aage Rasmusson:
Etudes and Postludes:
Piano: Instrumental Work Piano solo [Sheet music] - Intermediate Wilhelm Hansen
Karl Aage Rasmussen's Etudes And Postludes (1989-90) for Piano solo.Programme No...(+)
Karl Aage Rasmussen's Etudes And Postludes (1989-90) for Piano solo.Programme NoteThe title suggests two kinds of music: something which is far away maybe almost out of reach but which you nevertheless try to embrace; and something close and familiar which you are taking leave of. Thus in a sense the pieces form a diary. The Postludes allude to other musics former music of my own and of others. The Etudes open new doors – they make use of working strategies and mind models that were quite new to me at the time. Piecesrelated to Charles Ives Igor Stravinsky and Friedric Chopin (together with a ragtime and a mournful melody) form the basis for a music pointing backwards – the Postludes. The Etudes are all based on different kinds of multiplication where a few notes or a tiny musical module repeatedly twists back on itself and closes a loop. The general name for this is self-reference and the Etudes reflect themselves endlessly the way a mirror mirrors another mirror. The result is that rhythmic and melodic patterns emerge unpredictably like gifts from unknown muses. Etudes and Postludes was commissioned by the late Yvar Mikhashoff and they are dedicated to his memory and to their first performer Erik Kaltoft. And between lines also to György Ligeti the re-discovered and sophisticated master of the classic etude for piano. The pieces can be played in any number and in any order. It is left to the discretion of the player to group pieces in suites respecting simple rules of variety.Karl Aage Rasmussen
68.99 GBP - Sold by Musicroom UK | |
| Everybody's Favorite
Piano Pieces: Piano:
Instrumental Album Piano solo Music Sales
Piano Solo. Entirely devoted to the best-known compositions of the great compose...(+)
Piano Solo. Entirely devoted to the best-known compositions of the great composers, this book will be a permanent part of any pianist's library. There are 61 works by Beethoven, Brahms, Chopin, Liszt, Schubert, and many others. Each composer is introduced in a short biography.
15.99 GBP - Sold by Musicroom UK Pre-shipment lead time: In Stock | |
| Nomadland (EINAUDI
LUDOVICO) Piano solo [Sheet music] Hal Leonard
Music from the Motion Picture Soundtrack. Par EINAUDI LUDOVICO. Nomadland won th...(+)
Music from the Motion Picture Soundtrack. Par EINAUDI LUDOVICO. Nomadland won the hearts of audiences along with six Academy Awards including Best Picture. The mesmerizing soundtrack features a unique blend of works from Ludovico Einaudi among others. Our folio features seven piano solo arrangements / Date parution : 2022-02-10/ Recueil / Piano
26.61 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: In Stock | |
| Michael Finnissy: History
Of Photography In Sound:
Piano: Instrumental Work Piano solo Oxford University Press
The piece lasting around five and a half hours is divided into eleven sections...(+)
The piece lasting around five and a half hours is divided into eleven sections. The fifth and ninth are quite short in duration (between 10 and 15 minutes) the eighth is long (between 75 and 80 minutes) the others average half an hour. It was designed to be performed in whole or part either as a solo piano 'recital' or as an 'installation' with video slides and film.
145.95 GBP - Sold by Musicroom UK | |
| William Busch: Theme
Variations And Fugue:
Piano: Parts Piano solo Chester
Theme Variations And Fugue is William Busch’s most well-known work for s...(+)
Theme Variations And Fugue is William Busch’s most well-known work for solo Piano admired by Gerald Finzi and Bernard van Dieren amongst others. Theme Variations AndFugue was first performed in March 1929.
11.99 GBP - Sold by Musicroom UK | |
| Ludovico Einaudi: Le
Onde: Piano: Instrumental
Album Piano solo Ricordi
Solo Piano work written in 1996 by the acclaimed Milanese composer. Einaudi writ...(+)
Solo Piano work written in 1996 by the acclaimed Milanese composer. Einaudi writes 'The idea of Le Onde was to write something inspired by Virginia Woolf's novel The Waves. I was really intrigued by the form of the novel which is very complex and interesting because some parts are written in italics and others in normal text. The parts in italics are like a cadence running through the book. The book is a description of what people see during one day starting from the light of the morning and by the end of the book night has fallen. Every time the italic chapters come back you see a different change of light on what's happening on the shore.' He started writingall the pieces for Le Onde inspired by this idea but reached a point when he felt there was still a piece lacking from the overall picture. 'I said 'yes it's missing Le Onde' which had in its opening the cadence of a wave. The idea was that the music flowed and was developing by itself from the opening arpeggio like when you see a wave developing in its space it's developing because it has to. It's perpetual motion.'
19.50 GBP - Sold by Musicroom UK Pre-shipment lead time: In Stock | |
| Emily Bear: Once Upon a
Wish: A Holiday
Collection and More..:
Piano: Piano solo Hal Leonard
Once upon a Wish 7-year-old Emily Bear's third CD features original compositio...(+)
Once upon a Wish 7-year-old Emily Bear's third CD features original compositions that Emily hopes will help and inspire others to make a difference in the world. This beautiful matching songbook features many pages of colorful photos notes about Emily and piano solo arrangements of ten pieces: Giving · Motherlove · Christmas Bells · Once upon a Wish · Mary's Hope · and more.
19.99 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 | |
| Bach J.s. - Complete
Keyboard Transcriptions
Of Concertos By Baroque
Composer - Piano Piano solo Dover Publications
Features 16 of Bach's transcriptions for solo keyboard instruments (piano and ha...(+)
Features 16 of Bach's transcriptions for solo keyboard instruments (piano and harpsichord) of concertos for violin and other non-keyboard instruments by Vivaldi, Telemann, and others. Reprinted from the definitive Bach-Gesellschaft edition prepared by Ernst Naumann. Content : Concerto No. 1 in D major, BWV 972 (based on a violin concerto by Antonio Vivaldi, op. 3, no. 9) [ALLEGRO]. LARGHETTO. ALLEGRO. Concerto No. 2 in G major, BWV 973 (based on a violin concerto by Antonio Vivaldi, op. 7, book 2, no. 2) [ALLEGRO]. LARGO. ALLEGRO. Concerto No. 3 in D minor, BWV 974 (based on an oboe concerto by Allessandro Marcello) [ALLEGRO]. ADAGIO. PRESTO. Concerto No. 4 in G minor, BWV 975 (based on a violin concerto by Antonio Vivaldi, op. 4, no. 6) [ALLEGRO]. LARGO. GIGA: PRESTO. Concerto No. 5 in C major, BWV 976 (based on a violin concerto by Antonio Vivaldi, op. 3, no. 12) [ALLEGRO]. LARGO. ALLEGRO. Concerto No. 6 in C major, BWV 977 (source unknown) [ALLEGRO]. ADAGIO. GIGA. Concerto No. 7 in F major, BWV 978 (based on a violin concerto by Antonio Vivaldi, op. 3, no. 3) ALLEGRO. LARGO. ALLEGRO. Concerto No. 8 in B minor, BWV 979 (source unknown) [ADAGIO]-ALLEGRO. ADAGIO. ALLEGRO. Concerto No. 9 in G major, BWV 980 (based on a violin concerto by Antonio Vivaldi, op. 4, no. 1) [ALLEGRO]. LARGO. ALLEGRO. Concerto No. 10 in C minor, BWV 981 (based on a concerto by Benedetto Marcello, op. 1, no. 2) [ADAGIO. VIVACE. [LARGO]. PRESTISSIMO. Concerto No. 11 in B-flat major, BWV 982 (based on a violin concerto by Duke Johann Ernst of Saxe-Weimar, op. 1, no. 1) [ALLEGRO]. ADAGIO. ALLEGRO. Concerto No. 12 in G minor, BWV 983 (source unknown) [ALLEGRO]. ADAGIO. ALLEGRO. Concerto No. 13 in C major, BWV 984 (based on a concerto by Duke Johann Ernst of Saxe-Weimar) [ALLEGRO]. ADAGIO E AFFETTUOSO. ALLEGRO ASSAI. Concerto No. 14 in G minor, BWV 985 (based on a violin concerto by Georg Philipp Telemann) [ALLEGRO]. ADAGIO. ALLEGRO. Concerto No. 15 in G major, BWV 986 (source unknown) [ALLEGRO]. ADAGIO. ALLEGRO. Concerto No. 16 in D minor, BWV 987 (based on a violin concerto by Duke Johann Erns of Saxe-Weimar, op. 1, no. 4) [GRAVE]-PRESTO. ALLEGRO.
20.80 EUR - Sold by Woodbrass Pre-shipment lead time: On order | |
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