Franz Schubert: Complete Song Cycles: Voice: Mixed Songbook

The Complete Schwanengesang. Par LISZT FRANZ. The foremost pianist-composer of his day, Franz Liszt unselfishly promoted the works of his fellow composers through his brilliant piano transcriptions of their music. Among his most inspired contributions to the literature were his legendary transcriptions of Franz Schubert's songs. This volume, the third in the series, contains Schubert's complete Schwanengesang, and nine other great lieder. Reproduced from extremely rare early editions edited by Liszt himself, they retain all the lyric beauty and emotional depth of Schubert's original music, yet reflect Liszt's incomparable mastery of the difficult art of transcription from the original medium of voice and piano to that of solo piano. The foremost pianist-composer of his day, Franz Liszt unselfishly promoted the works of his fellow composers through his brilliant piano transcriptions of their music. Among his most inspired contributions to the literature were his legendary transcriptions of Franz Schubert's songs. This volume, the third in the series, contains Schubert's complete Schwanengesang, and nine other great lieder. Reproduced from extremely rare early editions edited by Liszt himself, they retain all the lyric beauty and emotional depth of Schubert's original music, yet reflect Liszt's incomparable mastery of the difficult art of transcription from the original medium of voice and pianoto that of solo piano./ Répertoire / Piano

Complete Edition. Par LISZT FRANZ. Supplementary Volume 16 of the New Liszt Edition contains free arrangements and technical exercises. In the first section can be found early versions of three arrangements. The first consists of the first and intermediary versions of a transcription of Die Rose, a song Schubert composed to a poem by Schlegel. The arrangement of the second movement of Berlioz's Harold Symphony also draws on literary inspiration: Lord Byron's (1788-1824) narrative poem Childe Harold's Pilgrimage (1812-18) was a literary experience Liszt shared with Berlioz. The fantasy on themes from Bellini's opera La sonnambula [The Sleepwalker] (here the first version of 1842, and the second version dating from the following decade are given) is important in music history because it was while he worked on this (and other operatic fantasies) that Liszt developed a new concept of the form, which took shape in more complex and more concentrated fantasies than before. Particularly interesting material can be found in the appendix. In addition to sketches and drafts for arrangements of Spanish themes, there are three sources published here for the first time, which shed light on technical aspects of Liszt's piano teaching. These are three sets of exercises: the first written by Liszt himself for Valérie Boissier in 1832, the second a copy in an unidentified hand from the same period or slightly later, and finally the third which was noted down in 1871 by Henri Maréchal in Rome based on the composer's dictation. This latest volume of the New Liszt Edition includes a detailed preface in German, English, and Hungarian containing new research findings, together with five manuscript facsimiles and critical notes. Simultaneously with the cloth-bound Complete Edition, a practical paperback version has been published, the contents of which are identical to those of the hardcover edition, minus the inclusion of critical notes./ Etude / Piano

Par SCHUBERT FRANZ. Volume 9 of the new Urtext edition of Schubert's lieder contains lieder composed during the spring and summer of 1816, some of which follow upon series started in 1815. They are available in separate books for high, medium and low voice. The volume was completed by the eminent Schubert scholar Walter Dürr who passed away at the beginning of 2018. It was in 1816 that Schubert completed his settings of Ossian's songs and added lieder on texts by Johann Georg Jacobi, Johann Peter Uz and Matthias Claudius. Also included are the lieder from the Grob family songbook. In summer 1816 Schubert produced his first settings of poems by Christian Friedrich Daniel Schubart ('Grablied auf einen Soldaten” and 'An mein Klavier”), the author of the words to one of his most famous songs 'Die Forelle”/ 'The Trout” (see Volume 2)./ Répertoire / Basse et Piano

Par SMETANA BEDRICH. This compilation features all of the traditional and best loved wedding music. Containing 53 of the most requested wedding melodies including examples of both classical and popular modern songs, there will be somthing here to suit any wedding event. All the tracks are arranged for organ, or other keyboard instrument, and voice with complete lyrics for the hymns. Organists and pianists will find this volume a convenient collection and an essential addition to their music libraries. Ideal for public and private ceremonies, this anthology of joyful music provides keayboardists and singers with ample performance options./ Recueil / Orgue ou Clavecin ou Harmonium

New Liszt Edition III Vol. 1. Par LISZT FRANZ. Composed in 1834, Liszt's Grand duo is based on material from three pieces from the first book (op. 19b) of Mendelssohn's Songs without Words (no. 1 in E major, no. 6 in G minor, and no. 3 in A major). While Liszt made an almost literal transcription of the first piece, he gave the second and third pieces a much freer arrangement, in the style of concert paraphrases. The large-scale concert piece was premiered by Liszt and Chopin on Christmas Day 1834 in a salon in Paris. The Grand duo was not published in Liszt's lifetime, and has survived as a draft. Schubert's Fantasy in C major (also known as the 'Wanderer' Fantasy) was a defining musical experience for the young Liszt. He arranged this masterpiece of Romantic piano literature for piano and orchestra in 1851, at the beginning of his Weimar period, and it was premiered by Julius Egghard in Vienna in December of that year. By 1855, Liszt had transcribed this arrangement for two pianos, because it was played on 22 October 1855 at a concert held in Weimar in honour of his birthday. With the version for piano and orchestra, Liszt attuned the fantasy to the requirements of the concert hall, reinforcing the orchestral effects inherent in Schubert's composition. His aim with the two-piano version was to achieve a similarly grand effect in spaces too small for an orchestra. The arrangement for piano and orchestra appeared in print in 1857, followed by the two-piano version in 1862. This volume comes complete with a detailed preface in English, German, and Hungarian containing new research findings, several manuscript facsimiles, and a critical report in English. / Date parution : 2023-03-11/ Répertoire / 2 Pianos

Third edition of the world's biggest songbook. This is a vast bumper collection, perfect for buskers, of 1001 all-time hit songs.Whatever your taste, there's guaranteed to be tonnes of songs you'll want to play, this book will last you years!Inside the spiral bound cover you will find a generous selection of hit songs, golden standards, jazz and blues numbers, classical pieces, hymns, gospel songs, stage, film and musical music! Arranged here in Melody line arrangements for Piano, Organ, Electronic Keyboards, Guitar and all C instruments, complete with lyrics and chord symbols. / Ligne Mélodique, Paroles Et Accords (Avec Grilles D'Accords)

Journey Through the Classics Complete est une compilation commode de tous les 98 pièces de Livres 1-4 de cette série populaire.Les morceaux gradués sont présentées dans un ordre progressif et disposent d'une variété de plats classiques essentiel de fondation éducative tout étudiant de piano.Le répertoire authentique est idéale pour les auditions et récitals, et chaque niveau comprend un tableau de référence pratique avec la clé, compositeur, période stylistique, et les éléments énumérés défi pour chaque pièce.Qualité et la valeur de ce volume font un compagnon idéal pour toute méthode classique! / Piano

Par SCHUBERT FRANZ. Franz Schubert Songs Vol. I comes complete with 92 Songs for low voice. Includes Schöne Mullerin, Winterreise, Schwanengesang and more. / Classique / Répertoire / Chant et Piano

As a continuation of the new Urtext edition of the Schubert lieder, Walther Dürr has now edited volume five for high, medium and low voices. Volumes 1 to 4 of this edition contain mainly lieder which Schubert himself saw into print (in his own choice and order) and in the fourth volume works from the last two years of his life are included. The lieder in volume 5 onwards are strictly presented in the order of Deutsch's Thematic Catalogue which means that in principle they are arranged chronologically. The lieder in volume five were composed in the years 1811 to 1814. The first - 'Hagars Klage' (D 5), dated 30 March 1811 - is also his first complete surviving song. The first eleven lieder are evidence of his early studies (1811-1813/14). During this period Schubert immersed himself in Johann Rudolf Zumsteeg's ballads and lieder and wrote Italian arias during his composition lessons with Antonio Salieri. He also composed a single strophic song ('Klaglied', D 23), which - the only one of these songs - was published shortly after his death in November 1830 as op. 131, 3. His apprentice work, as it were, was the major ballade 'Der Taucher' (D 77) which was composed between 1813 and roughly the beginning of 1815. Probably not by chance, his first complete opera ('Des Teufels Lustschloss', D 84) was written at the same time. He also set fourteen poems by Friedrich von Matthisson exploring the principle of the strophic lied. - Excellent new engraving based on the 'New Schubert Edition'- Foreword by Walther Dürr discussing the history the works' composition and transmission, together with a list of sources for each song (Ger/Eng)- English translation of the song texts by Richard WigmoreContents:Hagars Klage, D 5 / Leichenfantasie, D 7 /Der Vatermörder, D 10 / Klaglied, op. post. 131, 3 - D 23 / Misero pargoletto, D 42 (high voice only) / Totengräberlied, D 44 / Die Schatten, D 50 / Verklärung, D 59 / Pensa che questo istante, D 76 (medium and low voice only) /Der Taucher, D 77 / Son fra l'onde, D 78 (high voice only) /Adelaide, D 95 / Trost. An Elisa, D 97 /Erinnerungen, D 98 / Andenken, D 99 /Geisternähe, D 100 / Erinnerung, D 101 /Die Betende, D 102 / Die Befreier Europas in Paris, D 104 /Lied aus der Ferne, D 107 (1st version) / Lied aus der Ferne, D 107 (2nd version) / Der Abend, D 108 / Lied der Liebe, D 109 /Romanze, D 114 (1st version) / Romanze, D 114 (2nd version) /An Laura (als sie Klopstocks Auferstehungslied sang), D 115 / Der Geistertanz, D 116 /Appendix (lower transpositions of the songs only in high ranges):Die Schatten, D 50 / Adelaide, D 95 / Voix Moyenne(s)