A superb four-volume collection of over 180 solos for the intermediate level Pianist. Includes popular film and show tunes - themes and songs from top TV shows - and classical favourites from choral works, concertos, ballets, operas and symphonies. / Piano

Piano Sonata C major K. 309 (284b) Editor: Ernst Herttrich Fingering: Hans-Martin Theopold I wish to do it to reflect the character of Mad:selle Rose, Mozart replied when asked how he intended to set out the Andante of his Sonata in C major. In autumn 1777 he had got to know Rosina Cannabich in Mannheim and during her lessons immediately introduced her to the Sonata K. 309 that he had composed for her. Indeed, in December 1777 according to her teacher she was already able to perform it excellently. So that a great many other pupils might follow in her footsteps, we are now publishing this small gem that shows Mozart‘s great skill in composing for the piano as a single edition with a new preface by the editor; it was previously only available in the complete volumes (HN 1 and 3). FIRST MOVEMENT The first movement of the C major Sonata K 309 is a model teaching sonata form structure. With sonata forms, as with Bach fugues, no formal dogmas underlie the process of composition, but each sonata varies anew a basic principle. For Mozart, this entailed strict adherence to certain fundamental patterns without his creative freedom. In his sonata movements in major keys, for example he favoured a distinct second subject in the dominant as most contemporary composers did. Haydn, on the other hand, reveled in experiment at this point. A brief analysis may help to demonstrate Mozart's standard sonata allegro form and the first movement of it is an ideal example for such an investigation. The first subject is a distinctive, marcato opening followed by a five-bar response. The falling fourth and rising sixth of the opening is one of Mozart's favourite motifs, his common melodic device. He often uses it in the minor as well as the major, and many of his themes start with this motif (e.g. the second movement of the A major Sonata K 331, the Adagio in B minor K 540, and subjects in the Symphonies K 114, 124, 319/II and 551/II). The seven measures of the main theme are repeated, slightly varied. Measures 15 to 21 conclude the first subject group with an answering phrase (3+3 bars). The transition consists of new material and then, in measure 35 (after two measures of preparation comes a second cantabile theme, in the dominant (G major) comprising 2x4 bars, which is also repeated and proceeds to a spirited closing theme (concluding group) using passage-work (m. 43) and incorporating a delightful diminuation of measures 35 36 in measure 45. The exposition ends with a codetta of five bars. The development presents the opening motif first in g minor, and then the various ideas of the first subject are worked out. With this procedure Mozart is keeping much more closely to textbook principles than he usually does. Two further statements of the opening motif lead back to the recapitulation in measure 94. The second subject, now in the tonic, has surprisingly changed place with its accompaniment. The opening is recalled again in an effectively assertive coda. SECOND MOVEMENT The second movement of this sonata is an introspective Andante un poco adagio. In a letter Mozart stated his desire to make this Andante match the character of the young pianist Rosa Cannabich for whom he wrote it: ...she is a sweet, pretty girl, just like the andante. For her age she is sensible and level-headed; she is serious, and doesn't talk too much, though what she says is pleasing and sympathetic. THIRD MOVEMENT An elegant and smoothly flowing Rondo of unusually large proportions concludes this Sonata. Paul and Eva Badura-Skoda

Half-leather binding-Facsimile of the autograph manuscript in the Staatsbibliothek zu Berlin Preussischer Kulturbesitz.With a Commentary by Christoph Wolff and Martina Rebmann.Series: Documenta musicologica II/5090 pages of facsimile and 28 pages of Commentary (Eng/Ger).Half-leather binding.???The ???Well-Tempered Clavier??? is the Old Testament Beethoven's sonatas the New. We must believe in both.??? (Hans von B?low).The preludes and fugues of ???The Well-Tempered Clavier??? embrace an entire cosmos of compositional devices and musical characters the ???ne plus ultra??? of ???unity through diversity???. Here Bachnot only presented the sum total of keyboard artistry in his day but foresaw its future evolution. His treatment of the keys marked a turning point in music history.The autograph score originally a fair copy contains later revisions and alterations reflecting the composer at work.This new facsimile edition presents the manuscript in high-quality four-colour reproduction. Bach authority Christoph Wolff provides a Commentary to the work???s genesis and the characteristics of Bach???s handwriting.Martina Rebmann(Staatsbibliothek zu Berlin) describes the subsequent history of the autograph.Barenreiter Facsimilie:The seal is used exclusively for facsimile editions published by B?renreiter which meet the highest demands in both scholarly and technical terms.The distinguishing features include:??? A facsimile in high-quality colour printing??? Scholarly commentary??? Attractive cover design

A spectacular collection of blockbusting themes from all your favourite silver-screen classics! From the show-stopping pieces of the compelling Shine, through the seedy Jazz of LA Confidential to the suave Ocean's Eleven and the dramatic Apocalypse Now, who can forget these marvellous music moments that have provided depth and character to such celluloid masterpieces - and this is but a handful of the melodies and themes on offer in this unique anthology. All twenty-five fabulous pieces have been carefully arranged as breathtaking Piano solos for you to enjoy again and again. / Classique / Partition /

This outstanding collection brings together forty-nine of the finest keyboard works by major Italian composers of the 17th and 18th centuries. With works by Frescobaldi Scarlatti Martini and others arranged for piano solo or other keyboard instruments. The beautiful melodies flowing elegance and charm of these pieces will leave you uplifted and energised. 49 works arranged for Solo piano.

Danse macabre, Op. 40 ? Dance of death Symphonic poem, transcribed for piano by Franz Liszt Six études pour le piano, Op. 52 ? Six piano studies 1. Prélude 2. Pour l'indépendance des doigts ? For finger independence 3. Prelude and Fugue in F minor 4. Étude de rythme ? Rhythm study 5. Prelude and Fugue in A major 6. En forme de valse ? In waltz form Allegro appassionato, Op. 70 Album pour piano, Op. 72 ? Piano album 1. Prélude 2. Carillon 3. Toccata 4. Valse ? Waltz 5. Chanson napolitaine ? Neapolitan song 6. Finale Rhapsodie d'Auvergne, Op. 73 ? Auvergne rhapsody Wedding Cake, Caprice-Valse, Op. 76 Originally for piano and orchestra / Transcribed for solo piano by A. Benfeld Thême varié, Op. 97 ? Varied theme Three waltzes Valse mignonne, Op. 104 ? Dainty waltz Valse langoureuse, Op. 97 ? Languid Waltz Valse gaie, Op. 139 ? Gay waltz From Six études pour le piano, Op. 111 ? Six piano studies 3. Prelude and Fugue in E-flat Minor 4. Les cloches de Las Palmas ? The bells of Las Palmas 6. Toccata Six études pour la main gauche seule, Op. 135 ? Six studies for left hand alone 1. Prélude 2. Alla fuga ? In fugal style 3. Moto perpetuo ? Perpetual motion 4. Bourrée 5. Élégie ? Elegy 6. Gigue

Wide selection of fine pieces many difficult to find elsewhere. Included are harpsichord toccatas Capriccio on the Departure of His Most Beloved Brother Aria Variata 'alla Maniera Italiana' and the 6 Little Preludes as well as many lesser-known compositions ? over 40 in all. Authoritative Breitkopf

Les recueils de la collection Legendary Piano Series sont un véritable trésor, en édition limitée à 3000 exemplaires et numérotée !

Présentés dans une boîte d'un grand raffinement, leur couverture luxueuse est brodée en suèdine, aspect et toucher velours, tandis que le papier et la gravure sont eux-aussi d'une qualité remarquable.

Legendary Classical Solos est un ouvrage qui trouvera sa place dans les meilleures bibliothèques, invitant son possesseur à être joué, lu et relu pendant des années. / Variétés / Coffret Partition /

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.

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 treasury of 38 works for solo piano spanning forty years of Brahms' long and prolific life includes the famous 'Edward' ballade; two capriccios; seven Hungarian Dances in the composer's own transcriptions for solo piano; six intermezzos; three rhapsodies; the complete sixteen waltzes op. 39; Sonata no. 3 the best known and most mature of Brahms' three piano sonatas; and the complete books of two legendary works the Variations and Fugue on a Theme by Handel and the celebrated and dramatic Variations on a Theme by Paganini. Sometimes termed the 'Romantic Classicist' Brahms successfully merged the seemingly contradictory qualities of romanticism and classicism blending poetry with elegance balance and restraint. A fine inexpensive compilation of piano classics reproduced from authoritative scores this volume will delight intermediate and advanced pianists.

Par BACH JOHANN SEBASTIAN. 50 original piano works and arrangements of great music from iconic Baroque composer J.S. Bach / Date parution : 2023-06-02/ Recueil / Piano

Just back from a trip to Leipzig in the early autumn of 1950 where he heard Bach's Well-Tempered Klavier at the Bicentennial Bach Competition played by the Russian pianist Tatiana Nikolaeva Shostakovich began his own series of 24 Preludes and Fugues Op. 87 based on Bach's model. He composed them quickly starting on October 10 1950 and finishing on February 23 1951. While his work would pay homage to Bach Shostakovich's work would have several fundamental differences. First the order of the individual pieces would be organized around the circle of fifths with a prelude and fugue in the relative minor following each major key piece rather than in ascending semi-tonalorder of Bach's work. Second Shostakovich's pieces would be composed in order — that is C major - A minor followed by G major - E minor followed by D major - B minor — and more significantly this order would have a sort of subliminal narrative sub-text taking the music from the 'innocent' tonal world of the C major Prelude and Fugue to the profound and sublime severity of the concluding D minor Prelude and Fugue. Finally Shostakovich's work although conservative in its counterpoint and harmony — that is there are no examples of invertible or reversible themes or counterpoint and the pieces are for the most part recognizably tonal in language — is still clearly the work of a modernist composer; his counterpoint and harmony may be conservative but the emotional and spiritual worlds of the preludes and fugues is at once sincere and ironic. The result is a work which can not only stand comparison with Bach's Well-Tempered Klavier it is both Shostakovich's masterpiece for the piano and one of the contrapuntal masterpieces of the twentieth century.