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| Franz Schubert Piano Works with CD Performing Artist Series Piano solo [CD] Belwin
By Franz Schubert. Edited by Gail Lew. Arranged by Edited By Joseph Banowetz. Cl...(+)
By Franz Schubert. Edited by Gail Lew. Arranged by Edited By Joseph Banowetz. Classical piano. Level: late-intermediate. 84 pages. Published by Belwin.
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| Piano Classics @ Grade 8 Piano solo Wiener Urtext
(A selection of repertoire for the ABRSM piano syllabus 2011 - 2012). By Johann ...(+)
(A selection of repertoire for the ABRSM piano syllabus 2011 - 2012). By Johann Sebastian Bach, George Frideric Handel, Franz Joseph Haydn, Franz Liszt, Ludwig Van Beethoven, Wolfgang Amadeus Mozart, Franz Schubert, Robert Schumann. For Piano. 61 pages. Published by Wiener Urtext/Vienna Urtext
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| Themes from the Great Symphonies Piano solo [Solo Part] Theodore Presser Co.
By Various. Arranged by Henry Levine. For piano. Published by Theodore Presser C...(+)
By Various. Arranged by Henry Levine. For piano. Published by Theodore Presser Company.
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| Great Piano Music Piano solo [Solo Part] - Intermediate Theodore Presser Co.
Graded Solos in Their Original Form - Classic to Modern - Volume Three - Interme...(+)
Graded Solos in Their Original Form - Classic to Modern - Volume Three - Intermediate. By Ada Richter; Anton Diabelli; Bela Bartok; Cesar Franck; Domenico Scarlatti; Edvard Grieg; Franz Joseph Haydn; Franz Schubert; Frederic Chopin; George Frideric Handel; Geza Horvath; Herbert Elwell; Isadore Freed; Paul Nordoff; Reinhold Gliere. Edited by Ada Richter, Isadore Freed. Text: Ada Richter. Solo piano. For Piano Solo. Theodore Presser Company Distinguished Collection Series. Solo part. 40 pages. Published by Theodore Presser Company.
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| Mastering Classic Favorites-Bk. 4 Piano solo - Easy Carl Fischer
28 Original Beginning Piano Solos by "the Masters" - Plus an Enhanced CD with Pe...(+)
28 Original Beginning Piano Solos by "the Masters" - Plus an Enhanced CD with Performances, Master Class Lessons and Midi Files. By Albert Ellmenreich; Bela Bartok; Carl Maria Von Weber; Carl Philipp Emanuel Bach; Edvard Grieg; Francois Couperin; Franz Joseph Haydn; Franz Schubert; Henry Purcell; Johann F.F. Burgmuller; Ludwig Van Beethoven; Peter Ilyich Tchaikovsky; Robert Schumann. Edited by Paul Sheftel, Phyllis Alpert Lehrer. Solo piano. For Piano Solo. Score and Audio CD. 48 pages. Published by Carl Fischer.
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| Sonatina Album for the Piano Piano solo [Solo Part] Theodore Presser Co.
With A Detailed Analysis of the Musical Form and Structure, Together with Finger...(+)
With A Detailed Analysis of the Musical Form and Structure, Together with Fingering and Phrasing. By Carl Maria Von Weber; Felix Mendelssohn; Franz Joseph Haydn; Franz Schubert; Friedrich Kuhlau; Johann Ladislaus Dussek; Johann Sebastian Bach; Ludwig Van Beethoven; Muzio Clementi; Wolfgang Amadeus Mozart. Edited by Percy Goetschius. Arranged by Louis Kohler. Solo piano. For piano. Music Education Series. Classical. Solo part. 147 pages. Published by Theodore Presser Company.
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| Classique Au Jazz Vol. 2 Piano solo Billaudot
Piano SKU: PR.510049550 7 Jazz Improvisations on Classical Pieces....(+)
Piano SKU: PR.510049550 7 Jazz Improvisations on Classical Pieces. Composed by Bela Bartok, Franz Joseph Haydn, Franz Schubert, Johann Sebastian Bach, Ludwig van Beethoven, Robert Schumann, and Wolfgang Amadeus Mozart. Arranged by Benoit Urbain. Collection Florence Aramburu et Anne-Lise Gastaldi. Full score. With Standard notation. Gerard Billaudot Editeur #510-04955. Published by Gerard Billaudot Editeur (PR.510049550). $31.99 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| 45 Sonatinas for Piano Piano solo - Advanced Wilhelm Hansen
Piano - Grade 5 SKU: HL.14029181 By Ludwig Schytte. Edited by Ludvig Schy...(+)
Piano - Grade 5 SKU: HL.14029181 By Ludwig Schytte. Edited by Ludvig Schytte. Music Sales America. Classical. Book [Softcover]. Composed 2002. 136 pages. Edition Wilhelm Hansen #WH13718. Published by Edition Wilhelm Hansen (HL.14029181). ISBN 9788774551843. 8.75x11.75x0.75 inches. German. From Bach, Beethoven and Clementi, to Handel, Mozart, Schubert and Tchaikovsky. This is a wonderful collection of 45 Sonatinas for piano solo which has been edited by Ludvig Schytte. $31.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Master Melodies For The Junior Solo Piano solo Carl Fischer
By Cecile Chaminade; Claude Debussy; Eduard Schutt; Edvard Grieg; Edward A. Macd...(+)
By Cecile Chaminade; Claude Debussy; Eduard Schutt; Edvard Grieg; Edward A. Macdowell; Felix Mendelssohn; Franz Joseph Haydn; Franz Liszt; Franz Schubert; Frederic Chopin; George Frideric Handel; Giovan Battista Pergolesi; Jean Sibelius; Johannes Brahms. Arranged by Maxwell Eckstein. Solo piano. For Piano. Classical. Student Book. 31 pages. Published by Carl Fischer.
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| Kadenzen Zum Konzert D-Dur Hob.XIII:11 Piano solo Holzschuh Musikverlag
Piano and Orchestra SKU: BT.JSCH91 Composed by Franz Joseph Haydn. Piano ...(+)
Piano and Orchestra SKU: BT.JSCH91 Composed by Franz Joseph Haydn. Piano Reduction. Edward Schuberth & Co #JSCH91. Published by Edward Schuberth & Co (BT.JSCH91). $6.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Transcriptions of Lieder Piano solo Carl Fischer
Chamber Music Piano SKU: CF.PL1056 Composed by Clara Wieck-Schumann, Fran...(+)
Chamber Music Piano SKU: CF.PL1056 Composed by Clara Wieck-Schumann, Franz Schubert, and Robert Schumann. Edited by Nicholas Hopkins. Collection. With Standard notation. 128 pages. Carl Fischer Music #PL1056. Published by Carl Fischer Music (CF.PL1056). ISBN 9781491153390. UPC: 680160910892. Transcribed by Franz Liszt. Introduction It is true that Schubert himself is somewhat to blame for the very unsatisfactory manner in which his admirable piano pieces are treated. He was too immoderately productive, wrote incessantly, mixing insignificant with important things, grand things with mediocre work, paid no heed to criticism, and always soared on his wings. Like a bird in the air, he lived in music and sang in angelic fashion. --Franz Liszt, letter to Dr. S. Lebert (1868) Of those compositions that greatly interest me, there are only Chopin's and yours. --Franz Liszt, letter to Robert Schumann (1838) She [Clara Schumann] was astounded at hearing me. Her compositions are really very remarkable, especially for a woman. There is a hundred times more creativity and real feeling in them than in all the past and present fantasias by Thalberg. --Franz Liszt, letter to Marie d'Agoult (1838) Chretien Urhan (1790-1845) was a Belgian-born violinist, organist and composer who flourished in the musical life of Paris in the early nineteenth century. According to various accounts, he was deeply religious, harshly ascetic and wildly eccentric, though revered by many important and influential members of the Parisian musical community. Regrettably, history has forgotten Urhan's many musical achievements, the most important of which was arguably his pioneering work in promoting the music of Franz Schubert. He devoted much of his energies to championing Schubert's music, which at the time was unknown outside of Vienna. Undoubtedly, Urhan was responsible for stimulating this enthusiasm in Franz Liszt; Liszt regularly heard Urhan's organ playing in the St.-Vincent-de-Paul church in Paris, and the two became personal acquaintances. At eighteen years of age, Liszt was on the verge of establishing himself as the foremost pianist in Europe, and this awakening to Schubert's music would prove to be a profound experience. Liszt's first travels outside of his native provincial Hungary were to Vienna in 1821-1823, where his father enrolled him in studies with Carl Czerny (piano) and Antonio Salieri (music theory). Both men had important involvements with Schubert; Czerny (like Urhan) as performer and advocate of Schubert's music and Salieri as his theory and composition teacher from 1813-1817. Curiously, Liszt and Schubert never met personally, despite their geographical proximity in Vienna during these years. Inevitably, legends later arose that the two had been personal acquaintances, although Liszt would dismiss these as fallacious: I never knew Schubert personally, he was once quoted as saying. Liszt's initial exposure to Schubert's music was the Lieder, what Urhan prized most of all. He accompanied the tenor Benedict Randhartinger in numerous performances of Schubert's Lieder and then, perhaps realizing that he could benefit the composer more on his own terms, transcribed a number of the Lieder for piano solo. Many of these transcriptions he would perform himself on concert tour during the so-called Glanzzeit, or time of splendor from 1839-1847. This publicity did much to promote reception of Schubert's music throughout Europe. Once Liszt retired from the concert stage and settled in Weimar as a conductor in the 1840s, he continued to perform Schubert's orchestral music, his Symphony No. 9 being a particular favorite, and is credited with giving the world premiere performance of Schubert's opera Alfonso und Estrella in 1854. At this time, he contemplated writing a biography of the composer, which regrettably remained uncompleted. Liszt's devotion to Schubert would never waver. Liszt's relationship with Robert and Clara Schumann was far different and far more complicated; by contrast, they were all personal acquaintances. What began as a relationship of mutual respect and admiration soon deteriorated into one of jealousy and hostility, particularly on the Schumann's part. Liszt's initial contact with Robert's music happened long before they had met personally, when Liszt published an analysis of Schumann's piano music for the Gazette musicale in 1837, a gesture that earned Robert's deep appreciation. In the following year Clara met Liszt during a concert tour in Vienna and presented him with more of Schumann's piano music. Clara and her father Friedrich Wieck, who accompanied Clara on her concert tours, were quite taken by Liszt: We have heard Liszt. He can be compared to no other player...he arouses fright and astonishment. His appearance at the piano is indescribable. He is an original...he is absorbed by the piano. Liszt, too, was impressed with Clara--at first the energy, intelligence and accuracy of her piano playing and later her compositions--to the extent that he dedicated to her the 1838 version of his Etudes d'execution transcendante d'apres Paganini. Liszt had a closer personal relationship with Clara than with Robert until the two men finally met in 1840. Schumann was astounded by Liszt's piano playing. He wrote to Clara that Liszt had played like a god and had inspired indescribable furor of applause. His review of Liszt even included a heroic personification with Napoleon. In Leipzig, Schumann was deeply impressed with Liszt's interpretations of his Noveletten, Op. 21 and Fantasy in C Major, Op. 17 (dedicated to Liszt), enthusiastically observing that, I feel as if I had known you twenty years. Yet a variety of events followed that diminished Liszt's glory in the eyes of the Schumanns. They became critical of the cult-like atmosphere that arose around his recitals, or Lisztomania as it came to be called; conceivably, this could be attributed to professional jealousy. Clara, in particular, came to loathe Liszt, noting in a letter to Joseph Joachim, I despise Liszt from the depths of my soul. She recorded a stunning diary entry a day after Liszt's death, in which she noted, He was an eminent keyboard virtuoso, but a dangerous example for the young...As a composer he was terrible. By contrast, Liszt did not share in these negative sentiments; no evidence suggests that he had any ill-regard for the Schumanns. In Weimar, he did much to promote Schumann's music, conducting performances of his Scenes from Faust and Manfred, during a time in which few orchestras expressed interest, and premiered his opera Genoveva. He later arranged a benefit concert for Clara following Robert's death, featuring Clara as soloist in Robert's Piano Concerto, an event that must have been exhilarating to witness. Regardless, her opinion of him would never change, despite his repeated gestures of courtesy and respect. Liszt's relationship with Schubert was a spiritual one, with music being the one and only link between the two men. That with the Schumanns was personal, with music influenced by a hero worship that would aggravate the relationship over time. Nonetheless, Liszt would remain devoted to and enthusiastic for the music and achievements of these composers. He would be a vital force in disseminating their music to a wider audience, as he would be with many other composers throughout his career. His primary means for accomplishing this was the piano transcription. Liszt and the Transcription Transcription versus Paraphrase Transcription and paraphrase were popular terms in nineteenth-century music, although certainly not unique to this period. Musicians understood that there were clear distinctions between these two terms, but as is often the case these distinctions could be blurred. Transcription, literally writing over, entails reworking or adapting a piece of music for a performance medium different from that of its original; arrangement is a possible synonym. Adapting is a key part of this process, for the success of a transcription relies on the transcriber's ability to adapt the piece to the different medium. As a result, the pre-existing material is generally kept intact, recognizable and intelligible; it is strict, literal, objective. Contextual meaning is maintained in the process, as are elements of style and form. Paraphrase, by contrast, implies restating something in a different manner, as in a rewording of a document for reasons of clarity. In nineteenth-century music, paraphrasing indicated elaborating a piece for purposes of expressive virtuosity, often as a vehicle for showmanship. Variation is an important element, for the source material may be varied as much as the paraphraser's imagination will allow; its purpose is metamorphosis. Transcription is adapting and arranging; paraphrasing is transforming and reworking. Transcription preserves the style of the original; paraphrase absorbs the original into a different style. Transcription highlights the original composer; paraphrase highlights the paraphraser. Approximately half of Liszt's compositional output falls under the category of transcription and paraphrase; it is noteworthy that he never used the term arrangement. Much of his early compositional activities were transcriptions and paraphrases of works of other composers, such as the symphonies of Beethoven and Berlioz, vocal music by Schubert, and operas by Donizetti and Bellini. It is conceivable that he focused so intently on work of this nature early in his career as a means to perfect his compositional technique, although transcription and paraphrase continued well after the technique had been mastered; this might explain why he drastically revised and rewrote many of his original compositions from the 1830s (such as the Transcendental Etudes and Paganini Etudes) in the 1850s. Charles Rosen, a sympathetic interpreter of Liszt's piano works, observes, The new revisions of the Transcendental Etudes are not revisions but concert paraphrases of the old, and their art lies in the technique of transformation. The Paganini etudes are piano transcriptions of violin etudes, and the Transcendental Etudes are piano transcriptions of piano etudes. The principles are the same. He concludes by noting, Paraphrase has shaded off into composition...Composition and paraphrase were not identical for him, but they were so closely interwoven that separation is impossible. The significance of transcription and paraphrase for Liszt the composer cannot be overstated, and the mutual influence of each needs to be better understood. Undoubtedly, Liszt the composer as we know him today would be far different had he not devoted so much of his career to transcribing and paraphrasing the music of others. He was perhaps one of the first composers to contend that transcription and paraphrase could be genuine art forms on equal par with original pieces; he even claimed to be the first to use these two terms to describe these classes of arrangements. Despite the success that Liszt achieved with this type of work, others viewed it with circumspection and criticism. Robert Schumann, although deeply impressed with Liszt's keyboard virtuosity, was harsh in his criticisms of the transcriptions. Schumann interpreted them as indicators that Liszt's virtuosity had hindered his compositional development and suggested that Liszt transcribed the music of others to compensate for his own compositional deficiencies. Nonetheless, Liszt's piano transcriptions, what he sometimes called partitions de piano (or piano scores), were instrumental in promoting composers whose music was unknown at the time or inaccessible in areas outside of major European capitals, areas that Liszt willingly toured during his Glanzzeit. To this end, the transcriptions had to be literal arrangements for the piano; a Beethoven symphony could not be introduced to an unknowing audience if its music had been subjected to imaginative elaborations and variations. The same would be true of the 1833 transcription of Berlioz's Symphonie fantastique (composed only three years earlier), the astonishingly novel content of which would necessitate a literal and intelligible rendering. Opera, usually more popular and accessible for the general public, was a different matter, and in this realm Liszt could paraphrase the original and manipulate it as his imagination would allow without jeopardizing its reception; hence, the paraphrases on the operas of Bellini, Donizetti, Mozart, Meyerbeer and Verdi. Reminiscence was another term coined by Liszt for the opera paraphrases, as if the composer were reminiscing at the keyboard following a memorable evening at the opera. Illustration (reserved on two occasions for Meyerbeer) and fantasy were additional terms. The operas of Wagner were exceptions. His music was less suited to paraphrase due to its general lack of familiarity at the time. Transcription of Wagner's music was thus obligatory, as it was of Beethoven's and Berlioz's music; perhaps the composer himself insisted on this approach. Liszt's Lieder Transcriptions Liszt's initial encounters with Schubert's music, as mentioned previously, were with the Lieder. His first transcription of a Schubert Lied was Die Rose in 1833, followed by Lob der Tranen in 1837. Thirty-nine additional transcriptions appeared at a rapid pace over the following three years, and in 1846, the Schubert Lieder transcriptions would conclude, by which point he had completed fifty-eight, the most of any composer. Critical response to these transcriptions was highly favorable--aside from the view held by Schumann--particularly when Liszt himself played these pieces in concert. Some were published immediately by Anton Diabelli, famous for the theme that inspired Beethoven's variations. Others were published by the Viennese publisher Tobias Haslinger (one of Beethoven's and Schubert's publishers in the 1820s), who sold his reserves so quickly that he would repeatedly plead for more. However, Liszt's enthusiasm for work of this nature soon became exhausted, as he noted in a letter of 1839 to the publisher Breitkopf und Hartel: That good Haslinger overwhelms me with Schubert. I have just sent him twenty-four new songs (Schwanengesang and Winterreise), and for the moment I am rather tired of this work. Haslinger was justified in his demands, for the Schubert transcriptions were received with great enthusiasm. One Gottfried Wilhelm Fink, then editor of the Allgemeine musikalische Zeitung, observed of these transcriptions: Nothing in recent memory has caused such sensation and enjoyment in both pianists and audiences as these arrangements...The demand for them has in no way been satisfied; and it will not be until these arrangements are seen on pianos everywhere. They have indeed made quite a splash. Eduard Hanslick, never a sympathetic critic of Liszt's music, acknowledged thirty years after the fact that, Liszt's transcriptions of Schubert Lieder were epoch-making. There was hardly a concert in which Liszt did not have to play one or two of them--even when they were not listed on the program. These transcriptions quickly became some of his most sough-after pieces, despite their extreme technical demands. Leading pianists of the day, such as Clara Wieck and Sigismond Thalberg, incorporated them into their concert programs immediately upon publication. Moreover, the transcriptions would serve as inspirations for other composers, such as Stephen Heller, Cesar Franck and later Leopold Godowsky, all of whom produced their own transcriptions of Schubert's Lieder. Liszt would transcribe the Lieder of other composers as well, including those by Mendelssohn, Chopin, Anton Rubinstein and even himself. Robert Schumann, of course, would not be ignored. The first transcription of a Schumann Lied was the celebrated Widmung from Myrten in 1848, the only Schumann transcription that Liszt completed during the composer's lifetime. (Regrettably, there is no evidence of Schumann's regard of this transcription, or even if he was aware of it.) From the years 1848-1881, Liszt transcribed twelve of Robert Schumann's Lieder (including one orchestral Lied) and three of Clara (one from each of her three published Lieder cycles); he would transcribe no other works of these two composers. The Schumann Lieder transcriptions, contrary to those of Schubert, are literal arrangements, posing, in general, far fewer demands on the pianist's technique. They are comparatively less imaginative in their treatment of the original material. Additionally, they seem to have been less valued in their day than the Schubert transcriptions, and it is noteworthy that none of the Schumann transcriptions bear dedications, as most of the Schubert transcriptions do. The greatest challenge posed by Lieder transcriptions, regardless of the composer or the nature of the transcription, was to combine the vocal and piano parts of the original such that the character of each would be preserved, a challenge unique to this form of transcription. Each part had to be intact and aurally recognizable, the vocal line in particular. Complications could be manifold in a Lied that featured dissimilar parts, such as Schubert's Auf dem Wasser zu singen, whose piano accompaniment depicts the rocking of the boat on the shimmering waves while the vocal line reflects on the passing of time. Similar complications would be encountered in Gretchen am Spinnrade, in which the ubiquitous sixteenth-note pattern in the piano's right hand epitomizes the ever-turning spinning wheel over which the soprano voice expresses feelings of longing and heartache. The resulting transcriptions for solo piano would place exceptional demands on the pianist. The complications would be far less imposing in instances in which voice and piano were less differentiated, as in many of Schumann's Lieder that Liszt transcribed. The piano parts in these Lieder are true accompaniments for the voice, providing harmonic foundation and rhythmic support by doubling the vocal line throughout. The transcriptions, thus, are strict and literal, with far fewer demands on both pianist and transcriber. In all of Liszt's Lieder transcriptions, regardless of the way in which the two parts are combined, the melody (i.e. the vocal line) is invariably the focal point; the melody should sing on the piano, as if it were the voice. The piano part, although integral to contributing to the character of the music, is designed to function as accompaniment. A singing melody was a crucial objective in nineteenth-century piano performance, which in part might explain the zeal in transcribing and paraphrasing vocal music for the piano. Friedrich Wieck, father and teacher of Clara Schumann, stressed this point repeatedly in his 1853 treatise Clavier und Gesang (Piano and Song): When I speak in general of singing, I refer to that species of singing which is a form of beauty, and which is a foundation for the most refined and most perfect interpretation of music; and, above all things, I consider the culture of beautiful tones the basis for the finest possible touch on the piano. In many respects, the piano and singing should explain and supplement each other. They should mutually assist in expressing the sublime and the noble, in forms of unclouded beauty. Much of Liszt's piano music should be interpreted with this concept in mind, the Lieder transcriptions and opera paraphrases, in particular. To this end, Liszt provided numerous written instructions to the performer to emphasize the vocal line in performance, with Italian directives such as un poco marcato il canto, accentuato assai il canto and ben pronunziato il canto. Repeated indications of cantando,singend and espressivo il canto stress the significance of the singing tone. As an additional means of achieving this and providing the performer with access to the poetry, Liszt insisted, at what must have been a publishing novelty at the time, on printing the words of the Lied in the music itself. Haslinger, seemingly oblivious to Liszt's intent, initially printed the poems of the early Schubert transcriptions separately inside the front covers. Liszt argued that the transcriptions must be reprinted with the words underlying the notes, exactly as Schubert had done, a request that was honored by printing the words above the right-hand staff. Liszt also incorporated a visual scheme for distinguishing voice and accompaniment, influenced perhaps by Chopin, by notating the accompaniment in cue size. His transcription of Robert Schumann's Fruhlings Ankunft features the vocal line in normal size, the piano accompaniment in reduced size, an unmistakable guide in a busy texture as to which part should be emphasized: Example 1. Schumann-Liszt Fruhlings Ankunft, mm. 1-2. The same practice may be found in the transcription of Schumann's An die Turen will ich schleichen. In this piece, the performer must read three staves, in which the baritone line in the central staff is to be shared between the two hands based on the stem direction of the notes: Example 2. Schumann-Liszt An die Turen will ich schleichen, mm. 1-5. This notational practice is extremely beneficial in this instance, given the challenge of reading three staves and the manner in which the vocal line is performed by the two hands. Curiously, Liszt did not use this practice in other transcriptions. Approaches in Lieder Transcription Liszt adopted a variety of approaches in his Lieder transcriptions, based on the nature of the source material, the ways in which the vocal and piano parts could be combined and the ways in which the vocal part could sing. One approach, common with strophic Lieder, in which the vocal line would be identical in each verse, was to vary the register of the vocal part. The transcription of Lob der Tranen, for example, incorporates three of the four verses of the original Lied, with the register of the vocal line ascending one octave with each verse (from low to high), as if three different voices were participating. By the conclusion, the music encompasses the entire range of Liszt's keyboard to produce a stunning climactic effect, and the variety of register of the vocal line provides a welcome textural variety in the absence of the words. The three verses of the transcription of Auf dem Wasser zu singen follow the same approach, in which the vocal line ascends from the tenor, to the alto and to the soprano registers with each verse. Fruhlingsglaube adopts the opposite approach, in which the vocal line descends from soprano in verse 1 to tenor in verse 2, with the second part of verse 2 again resuming the soprano register; this is also the case in Das Wandern from Mullerlieder. Gretchen am Spinnrade posed a unique problem. Since the poem's narrator is female, and the poem represents an expression of her longing for her lover Faust, variation of the vocal line's register, strictly speaking, would have been impractical. For this reason, the vocal line remains in its original register throughout, relentlessly colliding with the sixteenth-note pattern of the accompaniment. One exception may be found in the fifth and final verse in mm. 93-112, at which point the vocal line is notated in a higher register and doubled in octaves. This sudden textural change, one that is readily audible, was a strategic means to underscore Gretchen's mounting anxiety (My bosom urges itself toward him. Ah, might I grasp and hold him! And kiss him as I would wish, at his kisses I should die!). The transcription, thus, becomes a vehicle for maximizing the emotional content of the poem, an exceptional undertaking with the general intent of a transcription. Registral variation of the vocal part also plays a crucial role in the transcription of Erlkonig. Goethe's poem depicts the death of a child who is apprehended by a supernatural Erlking, and Schubert, recognizing the dramatic nature of the poem, carefully depicted the characters (father, son and Erlking) through unique vocal writing and accompaniment patterns: the Lied is a dramatic entity. Liszt, in turn, followed Schubert's characterization in this literal transcription, yet took it an additional step by placing the register of the father's vocal line in the baritone range, that of the son in the soprano range and that of the Erlking in the highest register, options that would not have been available in the version for voice and piano. Additionally, Liszt labeled each appearance of each character in the score, a means for guiding the performer in interpreting the dramatic qualities of the Lied. As a result, the drama and energy of the poem are enhanced in this transcription; as with Gretchen am Spinnrade, the transcriber has maximized the content of the original. Elaboration may be found in certain Lieder transcriptions that expand the performance to a level of virtuosity not found in the original; in such cases, the transcription approximates the paraphrase. Schubert's Du bist die Ruh, a paradigm of musical simplicity, features an uncomplicated piano accompaniment that is virtually identical in each verse. In Liszt's transcription, the material is subjected to a highly virtuosic treatment that far exceeds the original, including a demanding passage for the left hand alone in the opening measures and unique textural writing in each verse. The piece is a transcription in virtuosity; its art, as Rosen noted, lies in the technique of transformation. Elaboration may entail an expansion of the musical form, as in the extensive introduction to Die Forelle and a virtuosic middle section (mm. 63-85), both of which are not in the original. Also unique to this transcription are two cadenzas that Liszt composed in response to the poetic content. The first, in m. 93 on the words und eh ich es gedacht (and before I could guess it), features a twisted chromatic passage that prolongs and thereby heightens the listener's suspense as to the fate of the trout (which is ultimately caught). The second, in m. 108 on the words Betrogne an (and my blood boiled as I saw the betrayed one), features a rush of diminished-seventh arpeggios in both hands, epitomizing the poet's rage at the fisherman for catching the trout. Less frequent are instances in which the length of the original Lied was shortened in the transcription, a tendency that may be found with certain strophic Lieder (e.g., Der Leiermann, Wasserflut and Das Wandern). Another transcription that demonstrates Liszt's readiness to modify the original in the interests of the poetic content is Standchen, the seventh transcription from Schubert's Schwanengesang. Adapted from Act II of Shakespeare's Cymbeline, the poem represents the repeated beckoning of a man to his lover. Liszt transformed the Lied into a miniature drama by transcribing the vocal line of the first verse in the soprano register, that of the second verse in the baritone register, in effect, creating a dialogue between the two lovers. In mm. 71-102, the dialogue becomes a canon, with one voice trailing the other like an echo (as labeled in the score) at the distance of a beat. As in other instances, the transcription resembles the paraphrase, and it is perhaps for this reason that Liszt provided an ossia version that is more in the nature of a literal transcription. The ossia version, six measures shorter than Schubert's original, is less demanding technically than the original transcription, thus representing an ossia of transcription and an ossia of piano technique. The Schumann Lieder transcriptions, in general, display a less imaginative treatment of the source material. Elaborations are less frequently encountered, and virtuosity is more restricted, as if the passage of time had somewhat tamed the composer's approach to transcriptions; alternatively, Liszt was eager to distance himself from the fierce virtuosity of his early years. In most instances, these transcriptions are literal arrangements of the source material, with the vocal line in its original form combined with the accompaniment, which often doubles the vocal line in the original Lied. Widmung, the first of the Schumann transcriptions, is one exception in the way it recalls the virtuosity of the Schubert transcriptions of the 1830s. Particularly striking is the closing section (mm. 58-73), in which material of the opening verse (right hand) is combined with the triplet quarter notes (left hand) from the second section of the Lied (mm. 32-43), as if the transcriber were attempting to reconcile the different material of these two sections. Fruhlingsnacht resembles a paraphrase by presenting each of the two verses in differing registers (alto for verse 1, mm. 3-19, and soprano for verse 2, mm. 20-31) and by concluding with a virtuosic section that considerably extends the length of the original Lied. The original tonalities of the Lieder were generally retained in the transcriptions, showing that the tonality was an important part of the transcription process. The infrequent instances of transposition were done for specific reasons. In 1861, Liszt transcribed two of Schumann's Lieder, one from Op. 36 (An den Sonnenschein), another from Op. 27 (Dem roten Roslein), and merged these two pieces in the collection 2 Lieder; they share only the common tonality of A major. His choice for combining these two Lieder remains unknown, but he clearly recognized that some tonal variety would be needed, for which reason Dem roten Roslein was transposed to C>= major. The collection features An den Sonnenschein in A major (with a transition to the new tonality), followed by Dem roten Roslein in C>= major (without a change of key signature), and concluding with a reprise of An den Sonnenschein in A major. A three-part form was thus established with tonal variety provided by keys in third relations (A-C>=-A); in effect, two of Schumann's Lieder were transcribed into an archetypal song without words. In other instances, Liszt treated tonality and tonal organization as important structural ingredients, particularly in the transcriptions of Schubert's Lieder cycles, i.e. Schwanengesang, Winterreise a... $32.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| The Piano Bench Of Easy Classical Music Piano solo [Sheet music] - Easy Music Sales
The Piano Bench of Easy Classical Music arranged by Amy Appleby. For Piano Solo....(+)
The Piano Bench of Easy Classical Music arranged by Amy Appleby. For Piano Solo. Music Sales America. Classical. Softcover. 400 pages. Music Sales #AM967549. Published by Music Sales
(1)$34.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Easy Classics for the Piano * Piano Masters Piano solo [Book] Santorella Publications
By Various. Arranged by Erika Feuchtner Macris. For easy piano. This edition: Pa...(+)
By Various. Arranged by Erika Feuchtner Macris. For easy piano. This edition: Paperback. Collection. Easy Classic Composer Series. Classical. Easy. Book. Text Language: English. 64 pages. Published by Santorella Publications Textbook Classical
$10.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Sonatina Album Piano solo Breitkopf & Härtel
Piano SKU: BR.EB-8301 Composed by Xaver Scharwenka. Edited by Xaver Schar...(+)
Piano SKU: BR.EB-8301 Composed by Xaver Scharwenka. Edited by Xaver Scharwenka. Solo instruments; Softbound. Edition Breitkopf. Sonatinas by Carl Philipp Emanuel Bach, Johann Sebastian Bach, Ludwig van Beethoven, Muzio Clementi, Anton Diabelli, Johann Ladislaus Dussek, Joseph Haydn, Friedrich Kuhlau, Wolfgang Amadeus Mozart, Franz Schubert Music pedagogy. Score. 124 pages. Breitkopf and Haertel #EB 8301. Published by Breitkopf and Haertel (BR.EB-8301). ISBN 9790004176160. 9 x 12 inches. Sonatinas by Carl Philipp Emanuel Bach, Johann Sebastian Bach, Ludwig van Beethoven, Muzio Clementi, Anton Diabelli, Johann Ladislaus Dussek, Joseph Haydn, Friedrich Kuhlau, Wolfgang Amadeus Mozart, Franz Schubert. $25.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Sonatina Album Piano solo Breitkopf & Härtel
Piano SKU: BR.EB-8300 Composed by Xaver Scharwenka. Edited by Xaver Schar...(+)
Piano SKU: BR.EB-8300 Composed by Xaver Scharwenka. Edited by Xaver Scharwenka. Solo instruments; Softbound. Edition Breitkopf. Sonatinas by Carl Philipp Emanuel Bach, Johann Sebastian Bach, Ludwig van Beethoven, Muzio Clementi, Anton Diabelli, Johann Ladislaus Dussek, Joseph Haydn, Friedrich Kuhlau, Wolfgang Amadeus Mozart, Franz Schubert Music pedagogy. Score. 124 pages. Breitkopf and Haertel #EB 8300. Published by Breitkopf and Haertel (BR.EB-8300). ISBN 9790004176153. 9 x 12 inches. Sonatinas by Carl Philipp Emanuel Bach, Johann Sebastian Bach, Ludwig van Beethoven, Muzio Clementi, Anton Diabelli, Johann Ladislaus Dussek, Joseph Haydn, Friedrich Kuhlau, Wolfgang Amadeus Mozart, Franz Schubert. $25.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Classics for the Developing Pianist Study Guide Book 5 Piano solo Sheet Music Plus
Composed by Alessandro Scarlatti (1660-1725), Johann Sebastian Bach (1685-17...(+)
Composed by Alessandro
Scarlatti (1660-1725), Johann
Sebastian Bach (1685-1750),
Franz Joseph Haydn (1732-
1809), Wolfgang Amadeus
Mozart (1756-1791), Ludwig
van Beethoven (1770-1827),
Franz Schubert (1797-1828),
Frederic Chopin (1810-1849),
Robert Schumann, Franz Liszt
(1811-1886), Johannes Brahms
(1833-1897), Claude Debussy
(1862-1918), Scott Joplin
(1868-1917), Sergei
Rachmaninoff (1873-1943),
Bela Bartok (1881-1945),
George Frideric Handel (1685-
1759), and Manuel de Falla
(1876-1946). Edited by
Phyllis Alpert Lehrer and
Ingrid Jacobson Clarfield.
Piano students, teachers,
performers. Classics for the
Developing Pianist Study
Guide Book 5 contains
analysis, practice tips, and
suggestions for performance
addressing 20 piano pieces
selected from the four main
style periods, found in the
companion repertoire book 5.
Baroque Period, Classical
Period, Romantic Period, 21st
Century. Book. Sheet Music
Plus #CDPSG5. Published by
Sheet Music Plus
$12.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Exceptional Classics for Piano Piano solo Santorella Publications
Exceptional Classics for Piano composed by Various. Arranged by Jonathon Robbins...(+)
Exceptional Classics for Piano composed by Various. Arranged by Jonathon Robbins. For piano. This edition: Paperback. Collection. Classical. Book. Text Language: English. 64 pages. Published by Santorella Publications
(1)$12.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| The Classic Piano Course, Book 3: Making Music Piano solo [Sheet music] - Easy Music Sales
By Carol Barratt. For Piano. Classical, Folk, Country. 40 pages. Published by Mu...(+)
By Carol Barratt. For Piano. Classical, Folk, Country. 40 pages. Published by Music Sales
$7.95 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Classical Piano Masters - Early Intermediate Level Piano solo - Intermediate Hal Leonard
A Four-Book Series Organized by Difficulty Level. Composed by Various. Piano. ...(+)
A Four-Book Series Organized
by Difficulty Level. Composed
by Various. Piano. Classical.
Softcover. 32 pages.
Published by Hal Leonard
$8.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Ave Maria Piano solo [Solo Part] Carl Fischer
(For Piano Solo). By Franz Schubert (1797-1828). Edited by Joseph Gahm. For Pian...(+)
(For Piano Solo). By Franz Schubert (1797-1828). Edited by Joseph Gahm. For Piano. Classical. Solo part. Standard notation. 3 pages
$3.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Le Piano classique - Volume 2 Piano solo Combre
Piano - Level 3 SKU: LM.PN06213 Composed by Lucette Descaves. Classical. ...(+)
Piano - Level 3 SKU: LM.PN06213 Composed by Lucette Descaves. Classical. Score. Editions Combre #PN06213. Published by Editions Combre (LM.PN06213). ISBN 9790230300568. TELEMANN Georg Philipp : Menuet et gigue - FRANCK Cesar : Les plaintes d'une poupee - CLEMENTI Muzio : Final Op.86 No. 2 - HELLER Stephen : Etude Op.47 No. 7 - SCHUMANN Robert : Le moine bourru - DIABELLI Anton : Rondo Op.168 No. 3 - SCARLATTI Domenico : Menuet - HELLER Stephen : Le Cor d'Oberon - WEBER Carl Maria von : Valse-Laendler - COUPERIN Francois : Fanfare - HAENDEL Georg Friedrich : Petite sonate - SCHUMANN Robert : Chant du berceau - HELLER Stephen : Mazurka - MOZART Wolfgang Amadeus : Sonate en Ut maj. KV545 - SCHUBERT Franz : Moment musical Op.94 No. 6 - TELEMANN Georg Philipp : Gigue - DIABELLI Anton : Rondo Op.168 No. 1 - CHOPIN Frederic : Mazurka Op.7 No. 1 en Sib maj. - TCHAIKOVSKY Petr Ilitch : Marche des soldats de bois - BACH Carl Philip Emanuel : Fantaisie - KUHLAU Frederik : Sonatine Op.55 No. 5 - BEETHOVEN Ludwig van : Lettre a Elise - HELLER Stephen : Etude Op.47 No. 18 - BEETHOVEN Ludwig van : Rondo en Ut maj. Op.51 No. 1 - FIELD John : Concerto No. 1 - HAYDN Joseph : Sonate No. 5 en Ut maj. $35.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Leichte Meisterwerke für Klavier Haydn Piano solo EMB (Editio Musica Budapest)
Piano SKU: BT.EMBZ13211 Haydn. Composed by Franz Joseph Haydn. EMB...(+)
Piano SKU: BT.EMBZ13211 Haydn. Composed by Franz Joseph Haydn. EMB Easy Masterpieces for Piano. Educational Tool. Book Only. Composed 1987. 20 pages. Editio Musica Budapest #EMBZ13211. Published by Editio Musica Budapest (BT.EMBZ13211). Hungarian. Each book in series presents a composer trough a selection of brief pieces. The first volumes help the young pianist to become acquainted with the music of Händel, Haydn, Mozart, Beethoven, Schubert, J. S. Bach and Weber. Most of the works are dance movements, although some sonatinas or sonatas have also been included. All the books contain a variety of compositions easy to play but of undoubted musical value. The selection is the work of four well-known music pedagogues, Magda Csurka, Gábor Kováts, András Héra and József Sármai. $10.95 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
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| Liszt Franz - 21
Selected Piano Works + Cd
- Piano Solo Piano solo [Sheet music + CD] - Intermediate Alfred Publishing
Internationally renowned concert pianist Joseph Banowetz presents this definitiv...(+)
Internationally renowned concert pianist Joseph Banowetz presents this definitive collection of original masterworks by Franz Liszt featuring a comprehensive preface, composer biography, vintage photographs, and detailed performance notes on the solos. The companion CD features Joseph Banowetz performing Liszt's most cherished piano repertoire: Ehemals, from Weihnachtsbaum, S. 186/10 * Étude, Op. 6, No. 7; S. 136/7 * Ich liebe dich, S. 542a (posth) * Liebeslied: Widmung (easier version), S. 566 (posth.) (Robert Schumann, trans. by Liszt) * Liebesträume: 3 notturnos, S. 541 * No. 2: Gestorben war ich (first version) * No. 3: O lieb, o lieb, so lang du lieben kannst * Piano Piece in A-flat Major, S. 189a (posth.) * Marche de Rákóczy?Édition populaire, S. 244/15 * Resignazione, S.187a (posth.) * Romance, S. 169 (posth.) * Romance oubliée, S. 527 * Ruhig, S. 167a (posth.) * Scherzo, S. 153 (posth.) * Six Consolations, S. 172 * No. 1 in E Major * No. 2 in E Major * No. 3 in D-flat Major * No. 4 in D-flat Major * No. 5 in E Major * No. 6 in E Major * Ständchen, S. 560/7 (Franz Schubert, trans. by Liszt) * Valse oubliée, No. 1, S. 215/1 Joseph Banowetz graduated with a First Prize from the Vienna Akademie für Musik und darstellende Kunst. Banowetz has been a piano recitalist and orchestral soloist on five continents. He was awarded the Liszt Medal by the Hungarian Liszt Society in recognition of his outstanding performances of Liszt and the Romantic literature.
20.60 EUR - Sold by Woodbrass Pre-shipment lead time: On order | |
| Franz Schubert: Piano
Works: Piano:
Instrumental Tutor Piano solo Alfred Publishing
Internationally renowned concert pianist Joseph Banowetz presents this definitiv...(+)
Internationally renowned concert pianist Joseph Banowetz presents this definitive collection of original masterworks by Franz Schubert. Featuring a comprehensive preface composer biography vintage photographs and detailed performance notes on the solos. A full performance CD of each piece is included: Valses Nobles (Op. 77) Six Moments Musicaux (Op. 44) two Scherzi Trauerwalzer (Op. 9) Variation in C Minor on a Waltz by Anton Diabelli (D. 719) and many other favourite solo works.
14.95 GBP - Sold by Musicroom UK | |
| Short Classical Piano
Pieces Easy Repertoire Piano solo [Sheet music] - Intermediate Chester
An exciting collection of forty short classical masterpieces for Piano. Includin...(+)
An exciting collection of forty short classical masterpieces for Piano. Including work by J.S. Bach, Haydn, Schubert, Vivaldi, Handel, Beethoven and Mozart, this fabulous assortment of pieces offer ideal repertoire for concert performances or to learn and play from memory. Each of these classical pieces has been written or specially arranged for pianists working at Grade 2 to Grade 3 level. / Classique / Partition /
19.00 EUR - Sold by Note4Piano Pre-shipment lead time: 3-10 days - In Stock Supplier | |
| 21 Selected Piano Works Piano solo Alfred Publishing
De renommée internationale pianiste Joseph Banowetz présente cette perception ...(+)
De renommée internationale pianiste Joseph Banowetz présente cette perception définitive des chefs-d'oeuvre d'origine par Franz Liszt, avec une préface complète biographie de compositeur, photographies d'époque, et les notes de performance détaillées sur les solos. Le CD d'accompagnement comprend plus cher répertoire pour piano de Joseph Banowetz performant Liszt / Piano
21.04 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: 3-10 days - In Stock Supplier | |
| Franz Schubert: Landler:
Piano Duet Piano solo Schott
Schubert?s dance pieces are truly functional music for everyday use. As far as t...(+)
Schubert?s dance pieces are truly functional music for everyday use. As far as the development of the genre isconcerned they are immediateprecursors of the Viennese waltzes of Joseph Lanner and Johann Strauß the Elder. Schubert never danced despite his otherwise genial and sociable nature but he was a quite indefatigable improviser of dance music only too happy to play for his friends. The best of these ad hoc melodies now form a rich collection of waltzes ?Deutscher? (German dances) and Ländler (country dances).
11.99 GBP - Sold by Musicroom UK | |
| Piano Scores Unlimited Français Piano solo [DVD-ROM] IPE Music
Ecoles de Musique, Conservatoires, Médiathèques, Etablissements Scolaires, Pro...(+)
Ecoles de Musique, Conservatoires, Médiathèques, Etablissements Scolaires, Professeurs de Piano, Pianistes débutants ou confirmés, Concertistes... désormais, vous pouvez imprimer, utiliser et faire circuler librement un grand répertoire de partitions sans que ce soit considéré comme une photocopie pour les cours, les examens, les auditions, les concerts, le travail chez soi?
Voici les plus grand répertoire de partitions pour Piano libre de droit et sans restrictions sur un seul DVD-Rom comprenant : - 630 Oeuvres Majeures doigtées avec soin et classées par niveau de difficulté - 2 500 Pages de Musique à imprimer dans une qualité irréprochable - 26 heures d'écoute au format MP3 à exporter et à utiliser sans limitation
Quelques exemples d?utilisation
Installé dans une salle de cours, chaque professeur aura le loisir de faire écouter à son élève chaque morceau enregistré par des pianistes virtuoses. Puis le professeur imprimera naturellement la partition que l?élève emportera avec lui pour travailler à la maison. Pour les cours de musique collectifs, cours d?initiation dans les Ecoles primaires, Collèges, Lycées, Conservatoires?, une solution ludique et inépuisable pour faire découvrir la musique des grands compositeurs. Le professeur imprime pour chaque élève la partition qu?il aura choisi de faire travailler, déchiffrer, expliquer, avec l?aide de l?Audio. Quoi qu?il en soit, même pour les bibliothèques, vous disposez d?un répertoire complet à imprimer à l?infini sans que ce soit considéré comme du « photocopillage » puisque les oeuvres contenues dans Piano Score Unlimited appartiennent au domaine public. Imprimez des partitions d?une qualité graphique exceptionnelle ! Doigtée avec soin, chaque partition est tirée de la première édition ou de l?oeuvre originale du compositeur. Pour vous aider dans vos choix, les pièces ont été classées par compositeur et par niveau de difficulté. Exportez le fichier MP3 qui a été interprété par des pianistes virtuoses pour l?utiliser sans restriction et libre de droit, agrémenter vos DVD, élaborer des programmes d?écoute pour vos élèves ou vous-même...
Débutez en travaillant les exercices du recueil « Le Premier Maître du Piano Opus 599 », « Les Cinq Doigts Opus 777 », « Les Etudes » de Czerny ou de Burgmuller, le célèbre « petit livre » d?Anna Magdalena BACH? Déchiffrez les partitions de l?incontournable répertoire de Piano : « Le Clavecin bien tempéré » de JS BACH ou les « Sonatines » de Clémenti ? Interprétez les « Nocturnes », « Préludes », « Mazurkas »,Grandes « Valses » de Chopin, les airs les plus connus (« Fantaisie », « Marche turque », « Petite Sonate`) et `Sonates` de Mozart, les « Petits Préludes » ou les fameuses « Fugues », les « Inventions à 2 et 3 voies » de J.S.Bach, les « Romances sans Paroles » de Mendelssohn, l? « Album pour la jeunesse », « Scènes d?enfants » de Schumann, les « Moments Musicaux », les « Impromptus » de Schubert, « Les Arabesques », le « Children?s Corner » ,« Le Petit Nègre» de Debussy, les « Ragtimes » de Scott Joplin, pour ne citer qu?eux... De Haendel, Schubert, Beethoven, en passant entre autres par Tchaïkovski ou Purcell, Couperin, Gounod, Scarlatti?. / DVD /
59.00 EUR - Sold by Note4Piano Pre-shipment lead time: 3-10 days - In Stock Supplier | |
| Classics To Moderns:
Sonatas And Sonatinas Piano solo [Score] Amsco Wise Publications
The 17 large works in this volume present a varied cross section of the sonata l...(+)
The 17 large works in this volume present a varied cross section of the sonata literature from the baroque to the present. Haydn, Mozart, Schubert, Handel, and Beethoven are well represented, as are many others. Each piece is in its original form, based on authentic texts. Difficulty varies from easy to advanced. / Piano
19.15 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: 3-10 days - In Stock Supplier | |
| Howard Ferguson: A
Keyboard Anthology First
Series Book IV: Piano: Piano solo ABRSM Publishing
Ten pieces from the Renaissance to the late Romantic period. Edited for the ABRS...(+)
Ten pieces from the Renaissance to the late Romantic period. Edited for the ABRSM by Howard Ferguson. Includes works by Domenico Scarlatti Schubert and Dvorak.
5.95 GBP - Sold by Musicroom UK Pre-shipment lead time: In Stock | |
| Sonatina Album For The -
Piano Solo Piano solo [Score] - Intermediate Schirmer
Description Sonatina Album For The Piano A collection of favourite sonatinas,...(+)
Description Sonatina Album For The Piano A collection of favourite sonatinas, rondos and pieces. Songlist Adagio In E Minor [Haydn, Franz Joseph] Allegro In F [Haydn, Franz Joseph] Andante Grazioso In B Flat [Haydn, Franz Joseph] Andante In C Major [Haydn, Franz Joseph] Fantasia In A Minor Op.16 No.1 [Mendelssohn, Felix] From Impromptu Op.142 No.3 [Schubert, Franz] From Sonata In A Major Op.120 [Schubert, Franz] Prelude In C Major (Twelve Short Preludes) [Bach, Johann Sebastian] Rondo In C Op.51 No.1 [Beethoven, Ludwig Van] Rondo In D [Mozart, Wolfgang Amadeus] Scherzo In B Flat Major Op.Posth [Schubert, Franz] Sonata In G Op.49 No.2 [Beethoven, Ludwig Van] Sonatina In C [Haydn, Franz Joseph] Sonatina In C [Mozart, Wolfgang Amadeus] Sonatina In C Op.20 No.1 [Kuhlau, Friedrich] Sonatina In C Op.36 No.1 [Clementi, Muzio] Sonatina In C Op.36 No.3 [Clementi, Muzio] Sonatina In C Op.55 No.1 [Kuhlau, Friedrich] Sonatina In C Op.55 No.3 [Kuhlau, Friedrich] Sonatina In D Op.36 No.6 [Clementi, Muzio] Sonatina In F Op.20 No.3 [Kuhlau, Friedrich] Sonatina In F Op.36 No.4 [Clementi, Muzio] Sonatina In G Minor Op.49 No.1 [Beethoven, Ludwig Van] Sonatina In G Op.20 No.1 [Dussek, Jan Ladislaw] Sonatina In G Op.20 No.2 [Kuhlau, Friedrich] Sonatina In G Op.36 No.2 [Clementi, Muzio] Sonatina In G Op.36 No.5 [Clementi, Muzio] Sonatina In G Op.55 No.2 [Kuhlau, Friedrich] Variation On 'Vien Qua Dorina Bella' Op.7 [Weber, Carl Maria Von]
17.99 EUR - Sold by Woodbrass Pre-shipment lead time: On order | |
| Classical Piano Masters -
Early Intermediate Level:
Piano: Instrumental Piano solo - Intermediate Hal Leonard
Some of the most often taught original piano literature by dozens of master comp...(+)
Some of the most often taught original piano literature by dozens of master composers of the past has been carefully selected and compiled by difficulty level. The Early Intermediate edition features 17 pieces by 15 composers, including: Anonymous (18th century): Minuet in G from The Notebook for Anna Magdalena Bach · Johann Sebastian Bach: Gavotte II: La Musette from English Suite No. 6, BWV 811 · Johann Sebastian Bach: Prelude in C Major from The Well-Tempered Clavier, Book 1 · Béla Bartók: Three Pieces from For Children, Sz. 42 · Ludwig van Beethoven: Minuet in G Major, WoO 10, No. 2 · Ludwig van Beethoven: Sonatina No. 1 in G Major, Anh. 5, No. 1 · Anton Diabelli: Rondino · César Franck: The Doll's Complaint · George Frideric Handel: Sarabande from Suite in D minor, HWV 437 · Franz Joseph Haydn: German Dance in D Major, Hob. IX: 22, No. 2 · Friedrich Kuhlau: Scottish Dances Nos. 2, 3, 5 and 6 from Six Scottish Dances · Edward MacDowell: To a Wild Rose from Woodland Sketches · Wolfgang Amadeus Mozart: Minuet in G Major, K. 1 · Jean-Philippe Rameau: La tambourin · Franz Schubert: Waltz in A Major · Robert Schumann: Soldiers' March from Album for the Young · Pyotr Il'yich Tchaikovsky: Italian Song from Album for the Young.
8.25 GBP - Sold by Musicroom UK Pre-shipment lead time: In Stock | |
| 2 Cds Seuls - Die
Russische Klavierschule
Spielband Piano solo [CD] Sikorski
Schumann, Robert: Sizilianisch Grieg, Edvard: Walzer Pachulski, Henrik: Präludi...(+)
Schumann, Robert: Sizilianisch Grieg, Edvard: Walzer Pachulski, Henrik: Präludium Tschaikowsky, Peter: Süßer Traum Bach, Johann Sebastian: Präludium Tschaikowsky, Peter: Lerchengesang Schumann, Robert: Von fremden Ländern und Menschen Grieg, Edvard: Elfentanz Bach, Johann Sebastian: Präludium Glière, Reinhold: Präludium Mussorgski, Modest: Eine Träne Bach, Johann Sebastian: Air Bach, Johann Sebastian: Menuett Suslin, Viktor: Kränkung Grieg, Edvard: Arietta Debussy, Claude: Der kleine Neger Bartók, Béla: Ein Abend auf dem Lande Bach, Johann Sebastian: Fughetta Gretschaninow, Alexander: Klage Chatschaturjan, Aram: Im Volkston Suslin, Viktor: Abzählreim Beethoven, Ludwig van: 6 Ecossaisen Grieg, Edvard: Poetisches Tonbild Tschaikowsky, Peter: Chanson triste Schubert, Franz: Scherzo Mendelssohn Bartholdy, Felix: Lied ohne Worte Bach, Carl Philipp Emanuel: Solfeggio Schostakowitsch, Dmitri: Lyrischer Walzer Prokofjew, Sergej: Vision fugitive Prokofjew, Sergej: Vision fugitive Tschaikowsky, Peter: Die Hexe Gubaidulina, Sofia: Der Specht Gubaidulina, Sofia: Der Bär am Kontrabaß und die Negerin Suslin, Viktor: Menuett der Glasfiguren Grieg, Edvard: Kobold Grieg, Edvard: Notturno Grieg, Edvard: Tanz aus Jölster Skrjabin, Alexander: Prélude Skrjabin, Alexander: Prélude Haydn, Joseph: Sonate Clementi, Muzio: Sonatine Kuhlau, Friedrich: Sonatine Beethoven, Ludwig van: Sonate Scarlatti, Domenico: Sonata Berkowitsch, Isaak: Variationen über ein russisches Volkslied Händel, Georg Friedrich: Fantasia Glinka, Michael: Variationen über ein russisches Volkslied Berkowitsch, Isaak: Variationen über ein Thema von Paganini Bertini, Henri: Etüde Pauer, Max: Etüde Schytte, Ludvig: Etüde Loeschhorn, Carl Albert: Etüde Czerny, Carl: Etüde Czerny, Carl: Etüde Gurlitt, Cornelius: Etüde Berens, Hermann: Etüde Lack, Théodore: Etüde Lemoine, Antoine-Henry: Etüde Schytte, Ludvig: Etüde Berens, Hermann: Etüde Czerny, Carl: Etüde Cramer, Johann Baptist: Etüde Loeschhorn, Carl Albert: Etüde Berens, Hermann: Etüde Schytte, Ludvig: Etüde Chatschaturjan, Aram: Etüde
22.20 EUR - Sold by Woodbrass Pre-shipment lead time: On order | |
| Masterpieces Of Piano
Music Piano solo [Sheet music] Music Sales
The most popular collection of classical Piano music ever published. This author...(+)
The most popular collection of classical Piano music ever published. This authoritative volume contains over 140 selections, covering all fields of Classic, Romantic, Modern, Light, Sacred and Operatic music. / Rép International / Recueil / Piano
37.00 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: 3-10 days - In Stock Supplier | |
| Divers : The Essential
Collection: Classical
Gold Piano solo [Sheet music] - Intermediate Chester
Les plus grandes ?uvres pour Piano de la période Classique, arrangé...(+)
Les plus grandes ?uvres pour Piano de la période Classique, arrangées pour Piano Solo / Classique / Partition /
18.00 EUR - Sold by Note4Piano Pre-shipment lead time: 24 hours - In Stock Only 1 left in stock, order soon ! | |
| Piano Classics 90
Timeless Pieces From The
Masters Piano solo [Sheet music] Amsco Wise Publications
90 chefs d'oeuvres intemporels de la musique classique. Partitions piano. / Pian...(+)
90 chefs d'oeuvres intemporels de la musique classique. Partitions piano. / Piano
25.70 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: 3-10 days - In Stock Supplier | |
| Repertoire Classics,
Piano (Vol.2) Piano solo Carl Fischer
Composé de trois volumes, Classics répertoire pour piano est une collection co...(+)
Composé de trois volumes, Classics répertoire pour piano est une collection complète et progressive classés de solos classiques pour piano. Le volume 2 contient 55 pièces récital.Chaque livre comprend un CD de données contient les informations suivantes pour chaque solo: pistes de performance ainsi que les leçons de la classe de maître offrant des performances techniques et la pratique du piano pédagogues Sheftel Paul et Phyllis Lehrer pour chaque pièce. Ecoutez les performances d'un piano à queue de concert réel et obtenir le bénéfice et la perspicacité de formateurs maîtres comme ils enseignent les subtilités de la performance, de la technique et même d'offrir un contexte historique.Ces livres contiennent un mélange raffiné de facile à jouer, en version intégrale, des solos de piano originales écrites par 'les maîtres' pour les pianistes débutants. Il ya une grande variété de musique de toutes les époques de style et par certains des plus grands compositeurs de tous les temps. Biographies de chaque compositeur sont également inclus. Ces collections sont un must pour les étudiants et les professeurs de piano. / Piano
29.99 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: 3-10 days - In Stock Supplier | |
| The Library of Sonatas
and Sonatinas: Piano:
Instrumental Album Piano solo Music Sales
Piano Solo. This authoritative collection of the world's beloved sonatas and son...(+)
Piano Solo. This authoritative collection of the world's beloved sonatas and sonatinas for solo piano will provide the pianist with a lifetime of playing pleasure. The sonata repertoire offered here is rich and varied and presents each selection in its complete and original form.
23.99 GBP - Sold by Musicroom UK | |
| Easiest Book Of Piano
Favourites Piano solo [Sheet music] - Easy Amsco Wise Publications
Piano solo / Reliure : Spirales
Nb de Pages : 240
Langue : Anglais
30.50 EUR - Sold by Note4Piano Pre-shipment lead time: 24 hours - In Stock Only 2 left in stock, order soon ! | |
| Easiest Book of Piano
Classics Piano solo [Sheet music] - Easy Amsco Wise Publications 32.50 EUR - Sold by Note4Piano Pre-shipment lead time: 24 hours - In Stock Only 1 left in stock, order soon ! | |
| David Dutkanicz:
dov231925: Piano:
Instrumental Album Piano solo - Easy Dover Publications
Beginning pianists of all ages will cherish this excellent compilation of classi...(+)
Beginning pianists of all ages will cherish this excellent compilation of classics. Each piece was carefully selected and simplified to help students develop their skills. Many of the greatest composersâ??J. S. Bach Beethoven Brahms Mendelssohn Mozart Rimsky-Korsakov Rachmaninoff Tchaikovsky and othersâ??are represented by several pieces each some newly adapted for the piano. Composers and works not usually featured in beginner's books include pieces by Borodin Gluck Rameau and Tallis.Well-known classics include Bach's Brandenburg Concerto No. 3 Debussy's Claire de Lune Moussorgsky's Pictures at an Exhibition Satie'sGymnopedie No. 1 Schumann's Child Falling Asleep and 'Spring' from Vivaldi's Four Seasons. Several orchestral pieces have been newly adapted for the piano including 'Dance of the Swan' from Swan Lake 'Aquarium' from Carnival of the Animals 'Largo' from Xerxes and 'Waltz of the Flowers' from The Nutcracker.Dover Original.
17.30 GBP - Sold by Musicroom UK Pre-shipment lead time: In Stock | |
| The Joy of Classical
Music Piano solo [Sheet music] - Intermediate Amsco Wise Publications 20.50 EUR - Sold by Note4Piano Pre-shipment lead time: 3-10 days - In Stock Supplier | |
| Favorite Classic Melodies
L.2 Piano solo Rugginenti
Chaque collection contient chaque collection contient la littérature célèbre ...(+)
Chaque collection contient chaque collection contient la littérature célèbre de l'opéra, orchestre et piano mondes, habilement arrangés pour les étudiants à partir de la littérature célèbre. Plusieurs sélections de niveau début ont parties duo pour les enseignants. En corrélation avec la bibliothèque de Piano de theen, ils peuvent servir à toute méthode de piano de début. / Piano
12.30 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: 3-10 days - In Stock Supplier | |
| Mes Premiers Morceaux
Pour Piano, Vol.2 Piano solo Ricordi 19.71 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: In Stock | |
| Magic Major! Piano solo Schott
Accordée, il y a beaucoup de pièces incroyable dans la clé de mineur. Mais qu...(+)
Accordée, il y a beaucoup de pièces incroyable dans la clé de mineur. Mais qui veut toujours jouer des morceaux triste, lente, mélodique, sentimental ? Pour tous ceux qui voudraient jouer rapide, joviale, vivante, drôle, rythmique, excitant des morceaux, il est maintenant disponible - enfin - une collection intéressante de pièces dans la clé majeure seulement. Pièces instrumentales animés pour des leçons de piano dynamiques ! / Piano
27.64 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: 3-10 days - In Stock Supplier | |
| The Library of Piano
Favorites - Volume 2 Piano solo [Sheet music] - Intermediate Amsco Wise Publications 45.50 EUR - Sold by Note4Piano Pre-shipment lead time: 3-10 days - In Stock Supplier | |
| The Library of Children's
Piano Pieces Piano solo [Sheet music] - Easy Amsco Wise Publications 32.50 EUR - Sold by Note4Piano Pre-shipment lead time: 3-10 days - In Stock Supplier | |
| Classics To Moderns:
Early Advanced Piano solo [Score] - Intermediate/advanced Amsco Wise Publications
A large selection of Piano literature, from the baroque to the modern, is presen...(+)
A large selection of Piano literature, from the baroque to the modern, is presented in a variety of forms, colours, and expressions. Included are pieces affording the student a greater opportunity to attain technical and pianistic effectiveness. The titles follow an approximately chronological sequence from the baroque to our modern period. All selections are in their original form, neither arranged, nor simplified, and are based on urtext or other highly reliable editions. / Piano
17.78 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: 3-10 days - In Stock Supplier | |
| The Library of Piano
Classics
Piano solo [Sheet music] - Advanced Amsco Wise Publications 30.00 EUR - Sold by Note4Piano Pre-shipment lead time: 3-10 days - In Stock Supplier | |
| Library Of Piano Classics
Large Print Edition Pf Piano solo - Intermediate Music Sales
A compendium of the world's most beloved classical music presented in easy-to-re...(+)
A compendium of the world's most beloved classical music presented in easy-to-read large print. A splendid collection of pieces that over the years have captured the heart of music lovers everywhere. / Piano
21.40 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: 3-10 days - In Stock Supplier | |
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