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| At The Piano With Robert And Clara Schumann Piano solo [Sheet music] - Intermediate/advanced Alfred Publishing
Album Leaf No. Iii [op. 99, No. 6] Composed by Robert Schumann Arabeske [op. 1...(+)
Album Leaf No. Iii [op. 99, No. 6] Composed by Robert Schumann
Arabeske [op. 18] Composed by Robert Schumann
Chopin [op. 9, No. 13] Composed by Robert Schumann
Drei Stücklein Iii [op. 99, No. 3] Composed by Robert Schumann
Grillen [op. 12, No. 4] Additional credits Robert Schubert
Impromptu [op. 124, No. 1] Composed by Robert Schumann
Ländler [op. 124, No. 7] Composed by Robert Schumann
Larghetto [op. 15] Additional credits Clara Wieck-schumann
Mazurka [op. 6, No. 3] Additional credits Clara Wieck
Perfect Happiness [op. 15, No. 5] Composed by Robert Schumann
Präludium Und Fuga [op. 16, No. 2] Additional credits Clara Wieck-schumann
Romance [op. 5, No. 3] Additional credits Clara Wieck
Scherzino [op. 124, No. 3] Composed by Robert Schumann
Toccatina [op. 6, No. 1] Additional credits Clara Wieck
Träumerei [op. 15, No. 7] Composed by Robert Schumann
Variations On A Theme Of Robert Schumann [op. 20] Additional credits Clara Wieck-schumann
Warum? [op. 12, No. 3] Composed by Robert Schumann
At the Piano with Robert and Clara Schumann by Robert Schumann. Edited by Maurice Hinson. For Piano. Masterworks; Piano Collection. At the Piano. Masterwork; Romantic. Advanced; Early Advanced; Intermediate; Late Intermediate. Book. 64 pages. Published by Alfred Music Publishing
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| Robert Schumann : Traumerie Piano solo - Intermediate Santorella Publications
Traumerei * Masterpiece Edition composed by Robert Schumann. For piano solo. Sol...(+)
Traumerei * Masterpiece Edition composed by Robert Schumann. For piano solo. Solo. Masterpiece Edition series. Classical. Intermediate. Sheet Music. Text Language: English. 2 pages. Published by Santorella Publications
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| Robert Schumann : Kinderszenen Piano solo [Sheet music] Barenreiter
(Scenes from Childhood). By Robert Schumann. Edited by Holger M. Stuewe. For...(+)
(Scenes from Childhood). By
Robert Schumann. Edited by
Holger M. Stuewe. For solo
piano. This edition: Urtext.
Performance score. Text
language: German, English.
Opus 15. 20 pages. Published
by Baerenreiter Verlag
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| Robert Schumann : Schumann Arabesque, Op.18 Piano solo - Intermediate/advanced Kalmus
By Robert Schumann. Edited by Marty Winkler. Classical piano. Level: intermediat...(+)
By Robert Schumann. Edited by Marty Winkler. Classical piano. Level: intermediate/advanced. 12 pages. Published by Edwin F. Kalmus.
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| Robert Schumann : Waldszenen Piano solo [Sheet music] Barenreiter
(Forest Scenes). By Robert Schumann. Edited by Holger M. Stuewe. For solo pi...(+)
(Forest Scenes). By Robert
Schumann. Edited by Holger M.
Stuewe. For solo piano. This
edition: Urtext. Performance
score. Text language: German,
English. Opus 82. 30 pages.
Published by Baerenreiter
Verlag
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| Schumann -- Symphonic Etudes, Op. 13 Piano solo [Sheet music + CD] - Advanced Alfred Publishing
(By Robert Schumann / ed. Maurice Hinson). By Robert Schumann. Edited by Maurice...(+)
(By Robert Schumann / ed. Maurice Hinson). By Robert Schumann. Edited by Maurice Hinson. For Piano. Book; CD; Masterworks; Piano Collection. Alfred Masterwork Edition. Form: Etude. Masterwork; Romantic. Advanced. 60 pages. Published by Alfred Music Publishing
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| Schumann -- Carnaval, Op. 9 Piano solo [Sheet music + CD] - Advanced Alfred Publishing
(By Robert Schumann / ed. Maurice Hinson). By Robert Schumann. Edited by Maurice...(+)
(By Robert Schumann / ed. Maurice Hinson). By Robert Schumann. Edited by Maurice Hinson. For Piano. Book; CD; Masterworks; Piano Collection. Alfred Masterwork Edition. Masterwork; Romantic. Advanced. 60 pages. Published by Alfred Music Publishing
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| Robert Schumann : Selected Works for Solo Piano, Volume II (Urtext Edition) Piano solo - Intermediate/advanced Alfred Publishing
Composed by Robert Schumann. Edited by Ephraim Hammett Jones. For Piano. Thi...(+)
Composed by Robert Schumann.
Edited by Ephraim Hammett
Jones. For Piano. This
edition: Urtext. Book;
Masterworks; Piano
Collection. Dover Edition.
Masterwork; Romantic.
Advanced; Early Advanced;
Intermediate; Late
Intermediate. Published by
Alfred Music
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| Robert Schumann Piano Works with CD Performing Artist Series Piano solo [Sheet music + CD] - Intermediate Belwin
By Robert Schumann. Edited by Glew. Arranged by Joseph Banowetz. Classical piano...(+)
By Robert Schumann. Edited by Glew. Arranged by Joseph Banowetz. Classical piano (Intermediate piano). Level: intermediate, level 5. Published by Belwin.
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| Clara Schumann: Piano Music Piano solo [Sheet music] Dover Publications
Composed by Clara Schumann (1819-1896), compiled by Nancy B. Reich. For piano. F...(+)
Composed by Clara Schumann (1819-1896), compiled by Nancy B. Reich. For piano. Format: piano solo book. With introductory text. Romantic period. Series: Keyboard. 64 pages. 9x12 inches. Published by Dover Publications.
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| Robert Schumann : Complete Piano Works - Volume 1 Piano solo [Sheet music] G. Henle
(Softcover Edition). By Robert Schumann. Edited by Ernst Herttrich. Henle Music ...(+)
(Softcover Edition). By Robert Schumann. Edited by Ernst Herttrich. Henle Music Folios. Softcover. 292 pages
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| Selections From Robert Schumann Album For The Young Op. 68 Master Piano Series Piano solo [Sheet music] - Intermediate Belwin
By Robert Schumann. Edited by Glew. Classical piano (Intermediate piano). Level:...(+)
By Robert Schumann. Edited by Glew. Classical piano (Intermediate piano). Level: intermediate, level 5. 36 pages. Published by Belwin.
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| Robert Schumann: Exercises - Beethoven-Etudes (Freie Variationen on a theme by Beethoven) Piano solo - Advanced G. Henle
Studies in form of vree variations on a theme by Beethoven. By Robert Schumann. ...(+)
Studies in form of vree variations on a theme by Beethoven. By Robert Schumann. Edited by R. Munster. Piano (Harpsichord), 2-hands. Pages: VIII and 14. Urtext edition-paper bound. Published by G. Henle.
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| Schumann Album For The Young Piano solo [Book] - Intermediate Kjos Music Company
By Keith Snell. (Master Composer Library). Piano. Schumann. Level: Intermediate....(+)
By Keith Snell. (Master Composer Library). Piano. Schumann. Level: Intermediate. Music Book. Size 232. Published by Neil A. Kjos Music Company. Optional CD available here (1)$7.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Robert Schumann: Forest scenes Piano solo [Sheet music] G. Henle
Revised Edition. By Robert Schumann. Edited by E. Herrtrich. Piano (Harpsichord...(+)
Revised Edition. By Robert Schumann. Edited by E. Herrtrich. Piano (Harpsichord), 2-hands. Pages: 28. Urtext edition-paper bound. Published by G. Henle.
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| Schumann - Selections from Album for the Young, Opus 68 Piano solo [Sheet music + Audio access] Schirmer
Composed by Robert Schumann. Edited by Jennifer Linn. Schirmer Performance Editi...(+)
Composed by Robert Schumann. Edited by Jennifer Linn. Schirmer Performance Editions. Classical. Softcover Audio Online. 40 pages. Published by G. Schirmer
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| Seven Piano Pieces In Fughetta Form Op. 126 Piano solo G. Henle
(Sieben Klavierstucke in Fughettenform). By Robert Schumann. Edited by Ernst Her...(+)
(Sieben Klavierstucke in Fughettenform). By Robert Schumann. Edited by Ernst Herttrich. For solo piano. This edition: Urtext edition. Henle Music Folios. Book only, paperbound. 32 pages
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| CLARA SCHUMANN'S PIANO NOTEBOOK Piano solo - Intermediate Mel Bay
Saddle-stitched. Tunes. Book. Mel Bay Publications, Inc #30830. Published by...(+)
Saddle-stitched. Tunes.
Book. Mel Bay Publications,
Inc #30830. Published by Mel
Bay Publications, Inc
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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 | | |
| ABC for Piano, Del 2 Piano solo Musikk-Husets Forlag
ABC for piano, del 2' er en pianobok for litt viderekomne. Den er forst og frems...(+)
ABC for piano, del 2' er en pianobok for litt viderekomne. Den er forst og fremst mente for barn, men kan ogsa brukes av voksne som vil friske opp pianokunnskapene sine, laere noter pa egen hand, eller hjelpe sine barn som laerer a spille. Boken inneholder et utbrettsark med oversikt over alle tangentene og notene + litt teori.
Boken inneholder mange morsomme oppgaver. Det er brukt mangefolketoner, bade fra Norge og andre europeiske land, samt populaerebarnesanger.
Innhold: Lille bjork Kjerringa med staven En hostkveld Na skal vi telle Humoreske - L. Mozart mary had a little lamb Tamburin -J. Rameau Vuggesang Blinke, blinke stjerne lill I min hage Et stykke - J. Arman Jeg gikk meg over sjo og land Preludium Dovne Trulte Haren uti gresset Kjaere gasen min er stjalet Jeg gikk en tur pa stien Min nye ball Etyde - L. Shytte Marching Pigs - Boris Berlin Vesle Lise er sa liten - P.I. Tschaikovsky Etyde Potet-sang Etyde - C. Czerny Min hatt den har tre kanter Alle fugler Gratulerer med dagen Hurra for deg! Ola Diger Musette - L. Mozart I Dovregubbens hall E. Grieg Etyde - C. Czerny Menuet - W.A. Mozart En spok O sole mio! Per Sjuspring Oh, when the Saints go marching in Pa var bryllupsdag Etyde - N. Paganini Gjok - Couperin Jeg trenger deg for dansen Morgenstemning - E. Grieg Du er den eneste Skalaer, arpeggio og akkorder Schumanns regler for musikere Olga Alexandra Holter er fodt i Russland. Etter a graduere fra Gnesyn's Musikkakademi i Moskva, en av de mest kjente hoyskolene i Russland, begynte hun a jobbe som pianolaerer. Senere tok hun mastergrad i lingvistikk og pedagogikk. Hun kom til Norge i 1993. For a fa en grundig forstaelse av det norske musikk-pedagogiske systemet gikk hun pa Musikkhogskolen i Oslo, hvor hun studerte hos den kjente pianisten Liv Glaser. I 1999 etablerte Olga Barnemusikkakademiet, hvor hun i dag jobber som pianolaerer og daglig leder
$23.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Knecht Ruprecht für Klavier (1998) (nach Robert Schumanns gleichnamigem Stück aus dem "Album für die Jugend") Piano solo Verlag Dohr
Piano SKU: VD.ED99643 Nach Robert Schumanns gleichnamigem Stuck aus de...(+)
Piano SKU: VD.ED99643 Nach Robert Schumanns gleichnamigem Stuck aus dem Album fur die Jugend. Composed by Birke J. Bertelsmeier. Classical. Score. Composed 1998. 9 S. pages. Verlag Dohr #ED99643. Published by Verlag Dohr (VD.ED99643). ISBN 9790202006436. 11.69 x 8.26 inches. $10.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Variations on a Theme of Robert Schumann, Op. 20 Piano solo LudwigMasters Publications
Solo Piano SKU: AP.36-M306491 Composed by Clara Wieck-Schumann. Performan...(+)
Solo Piano SKU: AP.36-M306491 Composed by Clara Wieck-Schumann. Performance Music Ensemble; Solo; Solo Piano. Master Piano Series. Score. LudwigMasters Publications #36-M306491. Published by LudwigMasters Publications (AP.36-M306491). UPC: 660355123672. English. Clara Schumann (1819-1896) wrote this work in 1853, creating seven variations on her husband's theme from his Bunte Blätter, Op. 99, No. 4 (Albumblätter) for piano. She presented the piece to Robert Schumann on his 43rd birthday in 1853, the year before his crippling mental breakdown, making this the final birthday that he would spend with his family. It is also among the last works that Clara Schumann composed for the piano. Johannes Brahms was inspired by Clara to compose his own Variations on a Theme by Robert Schumann, Op. 9, which he then dedicated to her. 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. $4.50 - See more - Buy online | | |
| Complete Piano Works - Volume 2 Piano solo [Study Score / Miniature] G. Henle
Study Score. Composed by Robert Schumann. Henle Study Scores. Study score...(+)
Study Score. Composed by Robert Schumann. Henle Study Scores. Study score (paperbound). 270 pages. G. Henle #HN9922. Published by G. Henle (HL.51489922).
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| Complete Piano Works - Volume 3 Piano solo [Sheet music] G. Henle
(Softcover Edition). By Robert Schumann. Edited by Ernst Herttrich. Henle Music ...(+)
(Softcover Edition). By Robert Schumann. Edited by Ernst Herttrich. Henle Music Folios. Softcover. 280 pages. G. Henle Verlag #HN924. Published by G. Henle Verlag
$65.95 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Complete Piano Works - Volume 2 Piano solo [Sheet music] G. Henle
(Softcover Edition). By Robert Schumann. Edited by Ernst Herttrich. Henle Music ...(+)
(Softcover Edition). By Robert Schumann. Edited by Ernst Herttrich. Henle Music Folios. Softcover. 218 pages. G. Henle Verlag #HN922. Published by G. Henle Verlag
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| Complete Piano Works - Volume 5 Piano solo [Sheet music] G. Henle
(Softcover Edition). By Robert Schumann. Edited by Ernst Herttrich. Henle Music ...(+)
(Softcover Edition). By Robert Schumann. Edited by Ernst Herttrich. Henle Music Folios. Softcover. 280 pages. G. Henle Verlag #HN928. Published by G. Henle Verlag
$56.95 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Complete Piano Works - Boxed Set of Study Scores Piano solo [Study Score / Miniature] G. Henle
(6 Volumes in a Slipcase). By Robert Schumann. Study Score. Henle Study Scores. ...(+)
(6 Volumes in a Slipcase). By Robert Schumann. Study Score. Henle Study Scores. Softcover. 1852 pages. G. Henle Verlag #HN9932. Published by G. Henle Verlag
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| Kreisleriana, Op. 16 Piano solo Alfred Publishing
Composed by Robert Schumann. Edited by Charles Timbrell. Book; Masterworks; Pian...(+)
Composed by Robert Schumann. Edited by Charles Timbrell. Book; Masterworks; Piano Collection; Piano Supplemental. Alfred Masterwork Edition. Form: Suite. Masterwork; Romantic. 56 pages. Published by Alfred Music (AP.45955).
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| Clara Schumann: Quatre
Pièces Fugitives op. 15:
Piano: Instrumental Work Piano solo Breitkopf & Härtel
'Clara Schumanns writing contains a number of original traits. She is far remove...(+)
'Clara Schumanns writing contains a number of original traits. She is far removed from merely copying Chopin Mendelssohn or Robert Schumann. At the most these masters sometimes shine through the particular coloring characteristic of all of Clara Schumanns pieces. The Quatre pièces fugitives all differ jn character and style. Especially the Andante (No. 3) contains some charming effects. No. 4 Scherzo a simple and innocent piece recalls Beethovens shorter sonatas.' (from the review printed in the 'Allgemeine Musikalische Zeitung' of 1 October 1845)
11.90 GBP - Sold by Musicroom UK Pre-shipment lead time: In Stock | |
| Schumann - Brahms -
Kirchner Band 4 Piano solo Schott
With the new Urtext Primo series, the Wiener Urtext Edition wants to close the g...(+)
With the new Urtext Primo series, the Wiener Urtext Edition wants to close the gap arising at the point of transition to additional lessons after having studied a piano method. Beginning with a performance level which is outlined by pieces such as Bach's Minuet in G (BWV Anh. 116), Mozart's Minuet in F (KV 5) or Schumann's Wilder Reiter (Op. 68/8), works by three different composers are selected for each volume of the Urtext Primo series, with the aim of offering piano pupils (or even adults who want to resume piano playing) a wide range of repertoire pieces on the basis of which they can enhance their technical and musical skills. The pieces' range of levels of difficulty is relatively narrow so that the volume can be used continuously over a period of about two years. This is what distinguishes the Urtext Primo approach from almost all common anthologies. The selected repertoire takes into account not only pieces of the classic canon of lessons, but also lesser known works which are in no way of less importance for piano lessons. The Urtext Primo volumes are published in the internationally recognised standard of the Wiener Urtext editions. The explanations included in each volume shall help to deepen the knowledge of musical styles, music history and piano playing. A repertoire chart at the end of each volume gives a rough overview of the levels of difficulty of the selected pieces.Volume 4 combines works of the German Romanticism by Schumann, Brahms and Theodor Kirchner. Apart from well known pieces from Schumann's 'Album for the Youth' and the easiest waltzes from opus 39 (in the easier version) by Brahms, the selection contains the attractive set of variations from Schumann's first Youth Sonata Op. 118/1 and Brahms' Saraband in A minor WoO 5/1 as well as a number of pleasant pieces by Theodor Kirchner which continue the tonal air of Schumann and Brahms in easy playable pieces. / Piano
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| Schumann - Brahms -
Kirchner Band 4 Piano solo Wiener Urtext
With the new Urtext Primo series, the Wiener Urtext Edition wants to close the g...(+)
With the new Urtext Primo series, the Wiener Urtext Edition wants to close the gap arising at the point of transition to additional lessons after having studied a piano method. Beginning with a performance level which is outlined by pieces such as Bach's Minuet in G (BWV Anh. 116), Mozart's Minuet in F (KV 5) or Schumann's Wilder Reiter (Op. 68/8), works by three different composers are selected for each volume of the Urtext Primo series, with the aim of offering piano pupils (or even adults who want to resume piano playing) a wide range of repertoire pieces on the basis of which they can enhance their technical and musical skills. The pieces' range of levels of difficulty is relatively narrow so that the volume can be used continuously over a period of about two years. This is what distinguishes the Urtext Primo approach from almost all common anthologies. The selected repertoire takes into account not only pieces of the classic canon of lessons, but also lesser known works which are in no way of less importance for piano lessons. The Urtext Primo volumes are published in the internationally recognised standard of the Wiener Urtext editions. The explanations included in each volume shall help to deepen the knowledge of musical styles, music history and piano playing. A repertoire chart at the end of each volume gives a rough overview of the levels of difficulty of the selected pieces.Volume 4 combines works of the German Romanticism by Schumann, Brahms and Theodor Kirchner. Apart from well known pieces from Schumann's 'Album for the Youth' and the easiest waltzes from opus 39 (in the easier version) by Brahms, the selection contains the attractive set of variations from Schumann's first Youth Sonata Op. 118/1 and Brahms' Saraband in A minor WoO 5/1 as well as a number of pleasant pieces by Theodor Kirchner which continue the tonal air of Schumann and Brahms in easy playable pieces. / Piano
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| Robert Schumann: A First
Book of Schumann: Piano:
Instrumental Album Piano solo Dover Publications
For The Beginning Pianist-This beginner's piano book spotlights the music of one...(+)
For The Beginning Pianist-This beginner's piano book spotlights the music of one of the Romantic movement's most influential composers Robert Schumann. Its easy-to-play renditions of Schumann's beloved works progressively increase in difficulty and are accessible to novices of all ages.Contents include selections from Forest Scenes Scenes from Childhood Album for the Young and Carnaval a collection of short pieces representing revelers at a masked ball. Selections include 'Traumerei ' 'Happy Farmer ' 'Papillons ' and other melodies for solo piano.Dover Original.
6.10 GBP - Sold by Musicroom UK | |
| Robert Schumann: Seven
Piano Pieces In Fughetta
Form Op.126: Piano:
Instrumental Piano solo - Easy G. Henle
In response to failures Schumann once again turned more to composing during his...(+)
In response to failures Schumann once again turned more to composing during his time in Düsseldorf. He wrote many new works also ones for the Piano for which he had only written a few pieces after his first years ofcomposing.Bach's music played an important role in the Schumanns' house at the time; this is mirrored in the fact that Schumann turned to baroque forms again. However he wanted his fugues to be understood as 'characterpieces just in a stricter form'.The Piano Pieces in Fughetta Form op. 126 published in Henle's catalogue for the first time unite the strict formal demands with romantic expression in a masterly manner.
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| Robert Schumann:
Phantasiestücke Op. 12:
Piano: Instrumental Work Piano solo ABRSM Publishing
Schumann's Phantasiestucke has been published as part of ABRSM's 'Signature' Ser...(+)
Schumann's Phantasiestucke has been published as part of ABRSM's 'Signature' Series - a series of authoritative performing editions of standard keyboard works prepared from original sources by leading scholars. Includes informative introductions and performance notes.
11.50 GBP - Sold by Musicroom UK Pre-shipment lead time: In Stock | |
| Clara Schumann: Piano
Music: Piano:
Instrumental Album Piano solo Dover Publications
Selected and with an Introduction by Nancy B. Reichs-Among the leading pianists ...(+)
Selected and with an Introduction by Nancy B. Reichs-Among the leading pianists of the 19th century Clara Schumann was a respected published composer in her lifetime regarded by her contemporaries as a member of the avant-garde 'new romantic' school. Praised by such greats as Chopin Brahms Mendelssohn and Liszt her music is being heard again today in recitals and new recordings. This rare collection reproduced mainly from the classic Breitkopf and Hartel edition of 1879 is introduced by Dr.Nancy B. Reich.
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| Ahnung Piano solo Wiener Urtext
Nouvellement re-découvert dans la perspective de l'Année SchumannIl ya environ...(+)
Nouvellement re-découvert dans la perspective de l'Année SchumannIl ya environ trois ans, un manuscrit jusqu'alors inconnu d'une feuille d'album pour piano de Robert Schumann a été trouvé dans le Leopold Sophien Bibliothèque d'Überlingen. Le petit morceau de piano, intitulée 'Ahnung', avait été donné et consacré par Klara Schumann à une de ses amies, le lithographe et écrivain Julius Allgeyer. Dans la série Wiener Urtext Edition, ce petit ouvrage est publié pour la première fois dans la perspective de l'Année Schumann 2010. Une copie du Schumann autographe retrouvé est inclus dans l'édition. Le expressif, relativement facile à jouer morceau ajoute au répertoire de piano romantique. / Piano
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| Robert Schumann: Scherzo
Gigue Romance and
Fughetta op. 32: Piano: Piano solo [Sheet music] G. Henle
Le catalogue Henle pr?sente pratiquement l?ensemble de l??uvrepour piano de Schu...(+)
Le catalogue Henle pr?sente pratiquement l?ensemble de l??uvrepour piano de Schumann sous forme d??ditions de r?f?rence. La publication de l?op. 32 comble en l?occurrence une lacune importante. Pour garantir encore plus le succ?s de sa ?Neue Zeitschrift f?r Musik? Schumann a voulu lui adjoindre une utilit? pratique en ajoutant des suppl?ments musicaux consacr?s ? de courtes ?uvres. Ainsi il inclut encore dans cette collection la ?Gigue? et la ?Fuguette? inspir?es de Bach. Par contre le ?Scherzo? etla ?Romance? sont des formes ro-mantiques. C?est seulement plustard qu?il classe les pi?ces en question dans l?ordre repris dans la pr?sente ?dition. Leif Ove Andsnes pianisteschumannien de renom a not? le doigt? de notre ?dition. Une alternative attrayante aux albums fr?quemment jou?s dans les cours de piano mais aussi une d?couverte pour les pianistes d?sireux de jouer un Schumann ? l?inspiration grandiose.?
8.75 GBP - Sold by Musicroom UK | |
| Complete Piano Works -
Vol.V (SCHUMANN ROBERT) Piano solo G. Henle
Complete Piano Works - Volume V. Par SCHUMANN ROBERT. À l’occasion du 200é a...(+)
Complete Piano Works - Volume V. Par SCHUMANN ROBERT. À l’occasion du 200é anniversaire de la naissance de Robert Schumann en 2010, un projet dédition ambitieux a été conlcu: pour la première fois après l’édition par Clara Schumann des oeuvres complètes de Schumann en 1879–93, toutes les oeuvres pourpiano solo sont publiées dans le cadre dune même édition. Pendant près de dix ans de travail minutieux, tous les titres de Schumann déjà publiés aux Éditions G. Henle ont été soumis à une révision détaillée. Ernst Herttrich, spécialiste de Schumann, avait passé chaque édition au banc d’essai, se consacrant aussi aux oeuvres jusqu’ici absentes de notre catalogue. La présente collection comprenant six volumes est disponible en version brochéeou reliée et dans la série «Studien-Edition» en coffret. Classée de façon explicite selon les numéros d’opus, cette publication regroupe non seulement toutes les oeuvres pour piano de Schumann conformes à l’état actuel de la recherche, mais elle renferme aussi des textes d’accompagnement informatifs, desversions alternatives et bien d’autres choses. Contents: Faschingsschwank aus Wien op. 26- 3 Romanzen op. 28- Scherzo, Gigue, Romanze und Fughette op. 32- Album für die Jugend op. 68 - Vier Fugen op. 72- Vier Märsche op. 76- Waldszenen op. 82 / Partition brochée / Répertoire / Piano
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| Complete Piano Works -
Vol.VI (SCHUMANN ROBERT) Piano solo [Sheet music] G. Henle
Par SCHUMANN ROBERT. À l’occasion du 200é anniversaire de la naissance de Ro...(+)
Par SCHUMANN ROBERT. À l’occasion du 200é anniversaire de la naissance de Robert Schumann en 2010, un projet dédition ambitieux a été conlcu: pour la première fois après l’édition par Clara Schumann des oeuvres complètes de Schumann en 1879–93, toutes les oeuvres pourpiano solo sont publiées dans le cadre dune même édition. Pendant près de dix ans de travail minutieux, tous les titres de Schumann déjà publiés aux Éditions G. Henle ont été soumis à une révision détaillée. Ernst Herttrich, spécialiste de Schumann, avait passé chaque édition au banc d’essai, se consacrant aussi aux oeuvres jusqu’ici absentes de notre catalogue. La présente collection comprenant six volumes est disponible en version brochéeou reliée et dans la série «Studien-Edition» en coffret. Classée de façon explicite selon les numéros d’opus, cette publication regroupe non seulement toutes les oeuvres pour piano de Schumann conformes à l’état actuel de la recherche, mais elle renferme aussi des textes d’accompagnement informatifs, desversions alternatives et bien d’autres choses. Contenu: Exercises - Etüden in Form freier Variationen über ein Thema von Beethoven- Variationen über ein eigenes Thema in Es [Geistervariationen] Es-dur - Drei Fantasiestücke op. 111- DreiKlaviersonaten für die Jugend op. 118- Albumblätter op. 124- Sieben Klavierstücke in Fughettenform op. 126- Gesänge der Frühe op. 133 - 'Einsame Blume' aus Waldszenen op. 82- Bunte Blätter op. 99 / Partition reliée / Date parution : 2010-10-15/ Répertoire / Piano
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| Complete Piano Works -
Vol.V (SCHUMANN ROBERT) Piano solo [Sheet music] G. Henle
Par SCHUMANN ROBERT. À l’occasion du 200é anniversaire de la naissance de Ro...(+)
Par SCHUMANN ROBERT. À l’occasion du 200é anniversaire de la naissance de Robert Schumann en 2010, un projet dédition ambitieux a été conlcu: pour la première fois après l’édition par Clara Schumann des oeuvres complètes de Schumann en 1879–93, toutes les oeuvres pourpiano solo sont publiées dans le cadre dune même édition. Pendant près de dix ans de travail minutieux, tous les titres de Schumann déjà publiés aux Éditions G. Henle ont été soumis à une révision détaillée. Ernst Herttrich, spécialiste de Schumann, avait passé chaque édition au banc d’essai, se consacrant aussi aux oeuvres jusqu’ici absentes de notre catalogue. La présente collection comprenant six volumes est disponible en version brochéeou reliée et dans la série «Studien-Edition» en coffret. Classée de façon explicite selon les numéros d’opus, cette publication regroupe non seulement toutes les oeuvres pour piano de Schumann conformes à l’état actuel de la recherche, mais elle renferme aussi des textes d’accompagnement informatifs, desversions alternatives et bien d’autres choses. Contents: Faschingsschwank aus Wien op. 26- 3 Romanzen op. 28- Scherzo, Gigue, Romanze und Fughette op. 32- Album für die Jugend op. 68 - Vier Fugen op. 72- Vier Märsche op. 76- Waldszenen op. 82 / Partition reliée / Date parution : 2010-10-15/ Répertoire / Piano
66.50 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: 3-10 days - In Stock Supplier | |
| Kinderscenen -
Scènes
D'Enfants Op. 15
(SCHUMANN ROBERT) Français Piano solo [Sheet music] Lemoine, Henry
Par SCHUMANN ROBERT. Pour la présente édition, l'éditeur s'est servi des manu...(+)
Par SCHUMANN ROBERT. Pour la présente édition, l'éditeur s'est servi des manuscrits autographes pour les pièces 1, 6 et 7, de la première édition et, en cas de doute d'interprétation, de la deuxième édition. Les Scènes d'enfants, composées en 1838, font partie de cette période où Schumann écrit exclusivement pour le piano solo. Avant ces pièces pour 'enfants', certaines grandes couvres ont vu le jour : Le Carnaval (opus 9), Les Davidsbündlertänze, Fantaisie (opus 17), etc.
Les Scènes d'enfants 'sont des regards jetés en arrière par un adulte sur sa propre enfance, des souvenirs pour les personnes qui ont grandi', écrit Schumann à Clara. Oeuvre pleine de poésie, de tendresse, de candeur, d'intimité exquise, de grâce juvénile, de virile tendresse, pages apparemment simples mais chargées de tous ces rêves dont veut se délivrer un adulte à la recherche du temps perdu de son enfance.
Robert écrit à Clara : 'Les qualités qui donnent leur prix à cette musique ne dépendent que d'une grâce toute simple, naturelle et sans apprêt.'
Le 17 mars 1838, Schumann écrit encore à Clara : 'Est-ce une réponse à ce que tu m'écrivis un jour, tu me fais parfois l'impression d'un enfant, s'il en est ainsi, tu verras que des ailes ont poussé à cet enfant car j'ai écrit plus de trente petites pièces et j'en ai choisi une douzaine que je réunirai sous le nom de Scènes Enfantines. Tu prendras sans doute plaisir à les jouer, mais il te faudra oublier que tu es une virtuose.'
Treize pièces ont été retenues parmi les trente pour l'opus 15 - les autres pièces trouvèrent place dans l'Albumblätter ou dans Bunte Blätter.
Schumann donne, pour la plupart de ses oeuvres, les indications de tempo en allemand. Dans l'opus 15, les indications sont données en tempos métronomiques, sauf dans la pièce #11. Les tempos indiqués en tête de chaque pièce sont de Robert Schumann et ceux indiqués en fin sont de Clara Schumann. Ils figurent dans la deuxième édition. L'interprète choisira parmi ces différentes indications métronomiques le tempo qu'il jugera le mieux adapté au caractère de ces pièces. / Niveau : Elémentaire / classique / Répertoire / Piano
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| Schumann R. -
Kinderscenen - Scenes
D'enfants Op.15 - Piano Français Piano solo Lemoine, Henry
Pour la présente édition, l'éditeur s'est servi des manuscrits autographes po...(+)
Pour la présente édition, l'éditeur s'est servi des manuscrits autographes pour les pièces 1, 6 et 7, de la première édition et, en cas de doute d'interprétation, de la deuxième édition. Les Scènes d'enfants, composées en 1838, font partie de cette période où Schumann écrit exclusivement pour le piano solo. Avant ces pièces pour enfants, certaines grandes couvres ont vu le jour: Le Carnaval (opus 9), Les Davidsbündlertânze, Fantaisie (opus 17), etc. Les Scènes d'enfants sont des regards jetés en arrière par un adulte sur sa propre enfance, des souvenirs pour les personnes qui ont grandi, écrit Schumann à Clara. OEuvre pleine de poésie, de tendresse, de candeur, d'intimité exquise, de grâce juvénile, de virile tendresse, pages apparemment simples mais chargées de tous ces rêves dont veut se délivrer un adulte à la recherche du temps perdu de son enfance. Robert écrit à Clara: Les qualités qui donnent leur prix à cette musique ne dépendent que d'une grâce toute simple, naturelle et sans apprêt. Le 17 mars 1838, Schumann écrit encore à Clara: Est-ce une réponse à ce que tu m'écrivis un jour, tu me fais parfois l'impression d'un enfant, s'il en est ainsi, tu verras que des ailes ont poussé à cet enfant car j'ai écrit plus de trente petites pièces et j'en ai choisi une douzaine que je réunirai sous le nom de Scènes Enfantines. Tu prendras sans doute plaisir à les jouer, mais il te faudra oublier que tu es une virtuose. Treize pièces ont été retenues parmi les trente pour l'opus 15 - les autres pièces trouvèrent place dans l'albumblätter ou dans Bunte Blätter. Schumann donne, pour la plupart de ses oeuvres, les indications de tempo en allemand. Dans l'opus 15, les indications sont données en tempos métronomiques, sauf dans la pièce n° 11. Les tempos indiqués en tête de chaque pièce sont de Robert Schumann et ceux indiqués en fin sont de Clara Schumann. Ils figurent dans la deuxième édition. L'interprète choisira parmi ces différentes indications métronomiques le tempo qu'il jugera le mieux adapté au caractère de ces pièces.Contenu : Compositeur/Auteur : SCHUMANN RobertDiscipline/Instrument : pianoCollection : UrtextSupport : PartitionStyle/Genre : classiqueDate de parution : août-97Nombre de pages : 15
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| Robert Schumann:
Sämtliche Klavierwerke
Band 6: Piano:
Instrumental Album Piano solo [Sheet music] - Advanced G. Henle
On the 200th anniversary of Robert Schumann's birth an ambitious project is com...(+)
On the 200th anniversary of Robert Schumann's birth an ambitious project is coming to a close: For the first time since Clara Schumann's Complete Edition of 1879-93 all of the works for Piano solo are appearing as oneeditorial project.Spanning almost ten years of painstaking work all of the Schumann titles published by G. Henle Publishers have undergone a careful revision. The Schumann expert Ernst Herttrich has closely examined eachedition and also dedicated himself to those works that were previously missing from the catalogue.The result is being published in this new collection comprising six volumes as well as study editions in a slipcase. Theyreplace the former four volumes (HN108-HN115). Arranged clearly according to opus numbers it includes not only all of Schumann's Piano works revised to reflect the latest scholarly findings but also informative accompanyingtexts alternative versions and much more besides.Being a complete works collection a general difficulty level cannot be applied to these volumes. As a result we have assigned them a difficulty of 'advanced' as a guide tothe general proficiency required to play all the pieces.Contents:Exercises [Beethoven Studies] Variations on a Theme in E flat major ['Ghost' Variations] E flat major Drei Fantasiestücke op. 111 Three Piano Sonatas for the Young op. 118 Album Leaves op. 124 Seven Piano Pieces in Fughetta Form op. 126 Gesänge der Frühe op. 133 'Einsame Blume' from Forest Scenes op. 82 Coloured Leaves (BunteBlätter) op. 99
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| Robert Schumann:
Sämtliche Klavierwerke -
6 Bände im Schuber:
Piano: Study Score Piano solo G. Henle
On the 200th anniversary of Robert Schumann's birth an ambitious project is com...(+)
On the 200th anniversary of Robert Schumann's birth an ambitious project is coming to a close: For the first time since Clara Schumann's Complete Edition of 1879 93 all of the works for Piano solo are appearing as oneeditorial project.Spanning almost ten years of painstaking work all of the Schumann titles published by G. Henle Publishers have undergone a careful revision. The Schumann expert Ernst Herttrich has closely examined eachedition and also dedicated himself to those works that were previously missing from the catalogue.The result is being published in this new collection comprising six volumes as well as study editions in a slipcase. Theyreplace the former four volumes (HN108-HN115). Arranged clearly according to opus numbers it includes not only all of Schumann's Piano works revised to reflect the latest scholarly findings but also informative accompanyingtexts alternative versions and much more besides.Contents:Abegg Variations op. 1Papillons op. 2 Paganini-Studies op. 3 Intermezzi op. 4 Impromptus op. 5 (1833/1850) Davidsbündlertänzeop. 6 Toccata op. 7 (1830/1834)Fantasy Pieces op. 12 (with Appendix: posthumous piece) Paganini-Studies op. 10 Sonata f sharp minor op. 11 Allegro b minor op. 8 Carnaval op. 9Symphonic Etudes op. 13 Piano Sonata with Early Version: Concert sans Orchestre f minor op. 14 Scenes from Childhood op. 15 Kreisleriana op. 16 Fantasy C major op. 17 Arabesque op. 18 Flower Piece (Blumenstück) op. 19Humoresque B flat major op. 20 Novelettes op. 21 Sonata g minor op. 22 Night Pieces op. 23 Carnival of Vienna op. 26 3 Romances op. 28 Scherzo Gigue Romance and Fughetta op. 32 Album for the Youngop. 68 Four Fugues op. 72 Four Marches op. 76 Forest Scenes op. 82 Exercises [Beethoven Studies] Variations on a Theme in E flat major ['Ghost' Variations] E flat major Drei Fantasiestücke op. 111
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| Robert Schumann:
Sämtliche Klavierwerke
Band 3: Piano:
Instrumental Album Piano solo [Sheet music] - Advanced G. Henle
On the 200th anniversary of Robert Schumann's birth an ambitious project is com...(+)
On the 200th anniversary of Robert Schumann's birth an ambitious project is coming to a close: For the first time since Clara Schumann's Complete Edition of 1879-93 all of the works for Piano solo are appearing as oneeditorial project.Spanning almost ten years of painstaking work all of the Schumann titles published by G. Henle Publishers have undergone a careful revision. The Schumann expert Ernst Herttrich has closely examined eachedition and also dedicated himself to those works that were previously missing from the catalogue.The result is being published in this new collection comprising six volumes as well as study editions in a slipcase. Theyreplace the former four volumes (HN108-HN115). Arranged clearly according to opus numbers it includes not only all of Schumann's Piano works revised to reflect the latest scholarly findings but also informative accompanyingtexts alternative versions and much more besides.Being a complete works collection a general difficulty level cannot be applied to these volumes. As a result we have assigned a difficulty of 'advanced' as a guide to thegeneral proficiency required to play all the pieces.Contents:Symphonic Etudes op. 13 Piano Sonata with Early Version: Concert sans Orchestre f minor op. 14 Scenes from Childhood op. 15Kreisleriana op. 16
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| Robert Schumann:
Sämtliche Klavierwerke
Band 2: Piano:
Instrumental Album Piano solo [Sheet music] - Advanced G. Henle
On the 200th anniversary of Robert Schumann's birth an ambitious project is com...(+)
On the 200th anniversary of Robert Schumann's birth an ambitious project is coming to a close: For the first time since Clara Schumann's Complete Edition of 1879-93 all of the works for Piano solo are appearing as oneeditorial project.Spanning almost ten years of painstaking work all of the Schumann titles published by G. Henle Publishers have undergone a careful revision. The Schumann expert Ernst Herttrich has closely examined eachedition and also dedicated himself to those works that were previously missing from the catalogue.The result is being published in this new collection comprising six volumes as well as study editions in a slipcase. Theyreplace the former four volumes (HN108-HN115). Arranged clearly according to opus numbers it includes not only all of Schumann's Piano works revised to reflect the latest scholarly findings but also informative accompanyingtexts alternative versions and much more besides.Being a complete works collection a general difficulty level cannot be applied to these volumes. As a result we have assigned a difficulty of 'advanced' as a guide to thegeneral proficiency required to play all the pieces.Contents:Fantasy Pieces op. 12 (with Appendix: posthumous piece) Paganini-Studies op. 10 Sonata f sharp minor op. 11 Allegro b minor op. 8Carnaval op. 9
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| Robert Schumann:
Sämtliche Klavierwerke
Band 5: Piano:
Instrumental Album Piano solo [Sheet music] - Advanced G. Henle
On the 200th anniversary of Robert Schumann's birth an ambitious project is com...(+)
On the 200th anniversary of Robert Schumann's birth an ambitious project is coming to a close: For the first time since Clara Schumann's Complete Edition of 1879-93 all of the works for Piano solo are appearing as oneeditorial project.Spanning almost ten years of painstaking work all of the Schumann titles published by G. Henle Publishers have undergone a careful revision. The Schumann expert Ernst Herttrich has closely examined eachedition and also dedicated himself to those works that were previously missing from the catalogue.The result is being published in this new collection comprising six volumes as well as study editions in a slipcase. Theyreplace the former four volumes (HN108-HN115). Arranged clearly according to opus numbers it includes not only all of Schumann's Piano works revised to reflect the latest scholarly findings but also informative accompanyingtexts alternative versions and much more besides.Being a complete works collection a general difficulty level cannot be applied to these volumes. As a result we have assigned them a difficulty of 'advanced' as a guide tothe general proficiency required to play all the pieces.Contents:Carnival of Vienna op. 26 3 Romances op. 28 Scherzo Gigue Romance and Fughetta op. 32 Album for the Young op. 68 Four Fuguesop. 72 Four Marches op. 76 Forest Scenes op. 82
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| Robert Schumann:
Sämtliche Klavierwerke
Band 4: Piano:
Instrumental Album Piano solo [Sheet music] - Advanced G. Henle
On the 200th anniversary of Robert Schumann's birth an ambitious project is com...(+)
On the 200th anniversary of Robert Schumann's birth an ambitious project is coming to a close: For the first time since Clara Schumann's Complete Edition of 1879-93 all of the works for Piano solo are appearing as oneeditorial project.Spanning almost ten years of painstaking work all of the Schumann titles published by G. Henle Publishers have undergone a careful revision. The Schumann expert Ernst Herttrich has closely examined eachedition and also dedicated himself to those works that were previously missing from the catalogue.The result is being published in this new collection comprising six volumes as well as study editions in a slipcase. Theyreplace the former four volumes (HN108-HN115). Arranged clearly according to opus numbers it includes not only all of Schumann's Piano works revised to reflect the latest scholarly findings but also informative accompanyingtexts alternative versions and much more besides.Being a complete works collection a general difficulty level cannot be applied to these volumes. As a result we have assigned them a difficulty of 'advanced' as a guide tothe general proficiency required to play all the pieces.Contents:Fantasy C major op. 17 Arabesque op. 18 Flower Piece (Blumenstück) op. 19 Humoresque B flat major op. 20 Novelettes op. 21Sonata g minor op. 22 Night Pieces op. 23
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| Robert Schumann:
Sämtliche Klavierwerke
Band 1: Piano:
Instrumental Album Piano solo [Sheet music] - Advanced G. Henle
On the 200th anniversary of Robert Schumann's birth an ambitious project is com...(+)
On the 200th anniversary of Robert Schumann's birth an ambitious project is coming to a close: For the first time since Clara Schumann's Complete Edition of 1879-93 all of the works for Piano solo are appearing as oneeditorial project.Spanning almost ten years of painstaking work all of the Schumann titles published by G. Henle Publishers have undergone a careful revision. The Schumann expert Ernst Herttrich has closely examined eachedition and also dedicated himself to those works that were previously missing from the catalogue.The result is being published in this new collection comprising six volumes as well as study editions in a slipcase. Theyreplace the former four volumes (HN108-HN115). Arranged clearly according to opus numbers it includes not only all of Schumann's Piano works revised to reflect the latest scholarly findings but also informative accompanyingtexts alternative versions and much more besides.Being a complete works collection a general difficulty level cannot be applied to these volumes. As a result we have assigned a difficulty of 'advanced' as a guide to thegeneral proficiency required to play all the pieces.Contents:Abegg Variations op. 1Papillons op. 2 Paganini-Studies op. 3 Intermezzi op. 4 Impromptus op. 5 (1833/1850) Davidsbündlertänzeop. 6 Toccata op. 7 (1830/1834)
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| Pianorama - Volume 1B Français Piano solo [Sheet music + CD] - Easy Hit Diffusion
Piano 2 et 4 mains
/ Piano solo :
Dialogue taquin (Hummel)
Por tu amor (Ribas)
...(+)
Piano 2 et 4 mains
/ Piano solo :
Dialogue taquin (Hummel)
Por tu amor (Ribas)
Monsieur Arsène (Leclerc)
Menuet en Fa Majeur (Mozart)
La ballade de Bonnie and Clyde (Fame)
Les copains d'abord (Brassens)
Arabesque (Burgmuller)
Mon p'tit jazz à moi (Duflot-verez)
Marche militaire (Schumann)
Singing in the rain (Brown)
Besame mucho (Velasquez)
Air de Papageno (Mozart)
Jazzy song (Bordier)
Air d'Orféo (Gluck)
Can you feel the love tonight 'Le roi lion' (E. John)
Eleanor Rigby (Lennon/Mc Cartney)
Largo (Dvorak)
Wolfgang's rag (Duflot-varez)
Ariette (Mozart)
Les moulins de mon coeur (Legrand)
Menuet (Boccherini)
La mer (Trenet/Lasry)
Le gai laboureur (Schumann)
The entertainer (Joplin)
Menuet en Ut majeur (Beethoven)
Bilitis (Lai)
Andante de la 5ème symphonie (Schubert)
The sound of silence (Simon)
Un blues parmi vous (Duflot-verez)
Valse lente (Kabalevsky)
Microcosmos (Coulais)
Cheek to cheek (Berlin)
Que serais-je sans toi (Ferrat)
Le tambourin (Rameau)
Piano à 4 mains :
A l'aube du 5ème jour (Morriconne)
Ne vous moquez pas de ma carriole (Duflot-verez)
Ma préférence (Clerc)
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| Robert Schumann: Piano
Music Series II: Piano:
Instrumental Album Piano solo Dover Publications
Edited by Clara Schumann-Dover Publications continues its series of playing edit...(+)
Edited by Clara Schumann-Dover Publications continues its series of playing editions of musical masterpieces with this selection of Robert Schumann's later compositions for solo piano edited by Clara Schumann. This book has been especially designed as a playing edition - the noteheads are large and easily readable at the piano and the margins and spaces between staves are adequate for written notes fingerings and turnovers. It is also most useful for analysis or simply for listening along with records.
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| Robert Schumann: Piano
Music Series I: Piano:
Instrumental Album Piano solo Dover Publications
Edited by Clara Schumann-This selection of Schumann's solo piano compositions e...(+)
Edited by Clara Schumann-This selection of Schumann's solo piano compositions edited by Clara Schumann contains all of his major works from the period 1830-39; Papillons Toccata Grosse Sonate No. 1 Phantasiestucke Arabeske Blumenstuck and nine other works. Reprinted from Breitkopf and Härtel edition.
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| Robert Schumann:
Faschingsschwank Aus Wien
Op. 26: Piano:
Instrumental Work Piano solo ABRSM Publishing
Schumann's Faschingsschwank Aus Wien or Carnival Jest from Vienna Op.26 complete...(+)
Schumann's Faschingsschwank Aus Wien or Carnival Jest from Vienna Op.26 completed in 1939 for Piano Solo. Published within the Signature Series a series of authoritative performing editions of standard keyboard works prepared from original sources by leading scholars including informative introductions and performance notes this score provides an authentic text based on the Schumann???s first complete edition. Faithfully annotated and edited by Howard Ferguson with a brief introduction; giving an overview of Schumann???s use of pedal tempo and metronome indications as well as rhythmic conventions for several passages in this work andrealization of ornaments. This is a wonderful and superbly edited edition to add to your collection and repertoire.
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| Arabesque Op. 18
(SCHUMANN ROBERT) Piano solo [Sheet music] - Advanced FLEX Editions
Par SCHUMANN ROBERT. Formation : Musique de Chambre, Solo - Instrumentation : 1 ...(+)
Par SCHUMANN ROBERT. Formation : Musique de Chambre, Solo - Instrumentation : 1 Piano Solo - Niveau de Difficulté : 6/6 - Avancé - Durée : 3 mn 55 s - Style Musical : Classique, Pédagogique - Catégorie : Composition Originale, Incontournable Réédité - Compositeur : Robert SCHUMANN - / Niveau : Avancé / Classique, Pédagogique / Répertoire / Piano
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| Fantaisie Danse Op. 124
No. 5 (SCHUMANN ROBERT) Piano solo [Sheet music] - Intermediate/advanced FLEX Editions
Par SCHUMANN ROBERT. Formation : Musique de Chambre, Solo - Instrumentation : 1 ...(+)
Par SCHUMANN ROBERT. Formation : Musique de Chambre, Solo - Instrumentation : 1 Piano Solo - Niveau de Difficulté : 5/6 - Intermédiaire/Avancé - Durée : 0 mn 55 - Style Musical : Classique, Pédagogique - Catégorie : Composition Originale, Incontournable Réédité - Compositeur : Robert SCHUMANN - / Niveau : Intermédiaire à Avancé / Classique, Pédagogique / Répertoire / Piano
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