Sergei Prokofiev's nine piano sonatas span the years 1907 to 1953. This collection, edited by Thomas Schumacher, addresses the first four of these masterworks: Op. 1 (in F minor), Op. 14 (in D minor), Op. 28 (in A minor), and Op. 29 (in C minor). In prefatory matter, Schumacher discusses Prokofiev's compositional style and the form of each sonata, in addition to analyzing the various themes and compositional nuances of each work. Helpful fingering and pedaling suggestions are also offered in this comprehensive, clearly engraved edition. Thomas Schumacher, professor emeritus of piano at the Eastman School of Music, has toured and lectured throughout the United States, Canada, Italy, Sweden, Belgium, China, Taiwan, and Japan. He studied at the Manhattan School of Music and the Juilliard School. / Piano

Une formidable compilation des grands thèmes du cinéma arrangé pour piano solo intermédiaire (à partir de 3 ans de piano). Retrouvez parmi les habituels Pirates des Caraïbes, le Roi Lion, Superman ou encore Rocky, des thèmes moins communs comme l'Exorciste, les 7 Mercenaires, Cinéma Paradiso ou encore Blade Runner. En tout 28 thèmes indémodables enfin disponible pour les petits niveaux de piano. / Variétés / Partition /

[Partiten 4-6 BWV 828-830] / Classique / Editeur : Rudolf Steglich / Doigtés : Hans-Martin / Partition / Broché / Edition Urtext

Par BONIS MEL. Chant nuptial, opus 128 Cette pièce, très chantante avec son accompagnement d'accords arpégés puis d'arpèges ascendants, est composée pour violon et harpe ou piano, avec violoncelle et orgue ad libitum. Dédiée à Monsieur l'Abbé Durand. Elle est éditée pour la première fois chez Hamelle en 1928 et en 1929 (source data BNF musique). Nous disposions pour la présente édition d'un manuscrit conducteur violon, harpe et orgue daté de 1926, de deux manuscrits violon et harpe, dont un également daté de 1926, et de parties séparées de violon, de violoncelle et d'orgue. Nous disposions également de l'édition ancienne Hamelle. Les parties d'orgue n'étant pas toujours identiques suivant les sources, nous avons dû faire des choix pour certains détails qui n'étaient pas toujours évidents, en nous référant à la logique harmonique de l'oeuvre et à la pratique des instruments. Il apparaît clairement que cette oeuvre sera exécutée le plus souvent en duo violon et harpe (ou violon et piano). Mais le Chant Nuptial se prête particulièrement bien aux cérémonies de l'église dans sa version ajoutant l'orgue, et éventuellement violoncelle, à l'ensemble violon et harpe obligés. Je remercie l'Ensemble Mel Bonis de Leverkusen pour son très sérieux travail de correction. Christine Géliot/ Répertoire / Violon et Harpe ou Piano, Orgue et Violoncelle Ad

The Czech composer Antonin Rejcha (also Anton Reicha, 1770?1836) was famous as both an experimental composer and as a teacher and theorist. His ?36 Fugues for Piano? testify to this experimentalism; they can be seen as a type of
?Well-Tempered Piano of the new ages?, basing the traditional Baroque fugue on radical new fundaments.

The first edition of this unusual collection was produced in 1803 in Vienna by Reicha?s own publishing company ?Au Magasin de l?Imprimerie chimique?. It included both a dedication poem to Joseph Haydn and a comprehensive foreword in which Reicha identifies the characteristics of his compositional style. The second edition (Vienna 1805) included a short theoretical text ?Ãœber das neue Fugensystem? (?On the new fugal system?) in the form of a polemic, reacting to his critics, one of whom was Beethoven. Six fugues are based on the themes of other composers (Haydn, Bach, Mozart, Scarlatti, Frescobaldi, Handel).

The musical text is a corrected reprint of the edition by Václav Jan Sýkora from 1973, which itself was based on the referred to edition from 1805 as well as on the later edition by Tobias Haslinger (Vienna, c. 1828).

- Works historically important to the development of the fugue
- New foreword by Roman Dykast (Cz/Eng/Ger) / [36 Fugues Pour Piano] / Classique / Partition / Broché /

9 Metamorphoses based on the Preludes Op. 28 by Fréderic Chopin. Par POOS HEINRICH. Bei einem Aufenthalt auf Mallorca 1838/39 fasste Frédéric Chopin 24 Klavier-Miniaturen zur Sammlung seiner „Préludes“, op. 28, zusammen. Den stumm-beredten Ausdruck dieser „Lieder ohne Worte“ sucht Heinrich Poos in seiner Komposition „Aprèslude“ durch Kombination von Texten von Heine, Claudius, Brecht u. a. zu verdeutlichen. Was Poos in Chopins Musik heraushört, wird in neun kunstvollen Meditationen für 4-stimmigen gemischten Chor und Klavier gespiegelt – eine spannende Aufgabe für Vokalensembles, eine Repertoire-Bereicherung durch den Chorspezialisten Heinrich Poos. / Date parution : 2010-11-20/ Répertoire / Chœur Mixte [SATB] et Piano

Piano Sonata in F major K. 280-The Six Sonatas K. 279 284 were probably written around the beginning of 1775. Mozart refers to them in letters that he sent to his father from his trip to Paris (1777 79). In these letters he often refers to them as the?difficult sonatas? probably alluding to the special interpretative demands. He thus provided these works with rich dynamic and articulative markings advising a reserved tempo for their performance. The Sonata K. 280 which hasa special place amongst the early sonatas due to ist melancholy middle movement in f minor is now also available as a practical and reasonable single edition which has been taken from Henle's edition of the complete Mozartsonatas.

28 Pieces by 22 Composers in Progressive Order. Baroque to Modern presents music from the 1700s through the 1900s, with composer biographies and practice and performance tips. Organized by difficulty level, the music is presented in newly researched editions. Each volume is in progressive order. ANTHEIL: Little Shimmy C.P.E. BACH: Solfeggietto in C minor, H. 220 J. S. BACH: Prelude in D minor, BWV 926 · Prelude in C minor, BWV 999 BARBER: Petite Berceuse · To My Steinway from Three Sketches for Piano BEACH: Gavotte in D minor from Children's Album, Op. 36, No. 2 BEETHOVEN: German Dance in C Major, WoO 8, No. 7 BONIS: Frère Jacques from Scènes enfantines, Op. 92, No. 6 BURGMÜLLER: Restlessness (Inquiétude) from 25 Easy and Progressive Studies, Op. 100, No. 18 CHOPIN: Prelude in A Major, Op. 28, No. 7 CRESTON: Rustic Dance from Five Little Dances, Op. 24, No. 1 HANDEL: Prelude in G Major from Suites de pièces, Volume 2, HWV 442, No. 9 HELLER: Study in A minor (The Avalanche) from 25 Melodious Etudes, Op. 45, No. 2 KABALEVSKY: Lyric Piece from 30 Pieces for Children, Op. 27, No. 16 · The Chase from 30 Pieces for Children, Op. 27, No. 21 · Rondo-Toccata from Four Rondos, Op. 60, No. 4 KHACHATURIAN: Ivan Sings from Adventures of Ivan MACDOWELL: To a Wild Rose from Woodland Sketches, Op. 51, No. 1 MOZART: Funeral March for Signor Maestro Contrapunto, K. 453a · Adagio for Glass Harmonica, K. 356 (617a) MUCZYNSKI: Fable No. 9 from Fables, Op. 21, No. 9 PROKOFIEV: Morning from Music for Children, Op. 65, No. 1 · Promenade from Music for Children, Op. 65, No. 2 RAVEL: Prélude D. SCARLATTI: Sonata in D minor, L. 423 (K. 32, P. 14) SCHUMANN: Of Strange Lands and People (Von fremden Ländern und Menschen) from Scenes from Childhood (Kinderszenen), Op. 15, No. 1 SHOSTAKOVICH: Birthday from Children's Notebook for Piano, Op. 69, No. 7

Early piano quintet for Piano 2 Violins Viola VioloncelloIn 1887 Anton n Dvorák revised several of the works he had composed in the 1860s and 1870s most of which he then published for the first time.In this context he asked the music critic Ludev t Procházka to return a manuscript copy of the Piano Quintet in A major Op.5 (B 28) composed 15 years earlier. But after thoroughly revising the work he declined to publish it; instead he wrote a new piano quintet in the same key the famous Op.81. And so the manuscript copy he requested from Procházka remains the sole source for this early piece of chamber music.Dvorák?s first Piano Quintet in A majorwas never published during his lifetime. This edition presents the musical text from the ?Complete Edition of the Works of Anton n Dvorák? Volume IV/11.Now with a new detailed Foreword (Eng/Cz/Ger) by David R. Beveridge

Theodora , on a libretto by Thomas Morell, was composed between 28 June and 31 July 1749 when Handel was in his 65th year. This oratorio was written for SMATB soli (with a small supporting part for the tenor), SATB chorus and orchestra. This vocal score, edited by Watkins Shaw, contains all voice parts and a piano accompaniment, and includes a lengthy preface by the editor on the history and the staging of the work. / Chant Et Piano