Duet (For Piano And Orchestra) (BENJAMIN GEORGE)

Piano Duets edited by Michael Aston-Piano Duets: Classical Composers presents varied and accessible repertoire for every duet player. The collection includes attractive new arrangements of orchestral and chamber gems alongside new editions of original works written specifically for Piano duet.You'll find sonata movements by less well-known composers of the period Clementi and J.C.F. Bach as well as Beethoven's complete Sonata in D major one of the few original duet sonatas written by the composer. The volume is concluded with a light and attractive Minuet and Trio by Haydn a colourful Theme and Variations by Mozart and a graceful and flowing arrangement of Schubert'sEntr'acte Music from Rosamunde. Ranging from the intimate to the virtuosic these pieces are ideal for duettists looking for new recital material as well as those beginning to explore the medium.Contents:J. C. F. Bach: Allegro con spirito from Sonata in A majorL. van Beethoven: Sonata in D major Op. 6Muzio Clementi: Allegro maestoso from Sonata in E flat major Op. 3 No. 2Joseph Haydn: Minuet and Trio from Symphony No. 100 'Military'W. A. Mozart: Allegro from Serenade K388Franz Schubert: Entr'acte No. 3 from Rosamunde

This volume contains two of Beethoven's most loved and widely performed piano concertos printed in the traditional format for two pianos: Piano I is the solo part; Piano II a piano reduction of the orchestral score. Edited by Franz Kullak.

Variations Nocturne & Finale On An English Sea-Song for Piano and Orchestra Op.60. Orchestral part arranged for a second Piano by David Lyon. After a brief introduction to the Orchestra the melody of an eighteenth century whalermen's ballad with verse and refrain 'Blow Ye Winds' is given out the verse by the Piano the refrain divided between Orchestra and Piano. Then follow thirteen variations the last three being pianistic etudes accompanied Orchestrally. The nocturne evokes the nostalgia of a long voyage and the finale the excitement dangers and glory of a triumphant chase. In these movements as well as in the variations the entiremusical material is derived from the basic theme. The work is designed as a virtuoso concert-piece for the pianist with supporting Orchestral flashes of colour and points of contrast.

None other than András Schiff is collaborating with Henle Publishers for the edition of Mozart?s Piano concertos. His Piano reductions are aimed at amateurs rather than professionals; his fingerings forMozart?s solo part have been exquisitely fine-tuned and are inspiring; and where Mozart?s original cadenzas are missing Schiff?s stylistically perfected ones have been included. In so doing we aspire to set anew precedent. First and foremost Mozart?s handwritten scores have been consulted being the most important sources. Moreover we know today that in addition to Mozart?s own manuscripts early copies in parts andprints also contain important information regarding the musical text. A co-production with Breitkopf & Härtel Mozart?s Piano concertos are not only available as attractive and affordable Piano reductions there are alsoan accompanying Urtext conductor?s score orchestral parts and a study score.

Pour récitant et piano à quatre mains-During the visit to Brive-la-Gaillarde in 1940 Poulenc sketched a little piece for the children of his cousins: Sophie Sylvie Benoit Florence and Delphine Périer Yvan Alain Marie-Christine and Marguerite-MarieVillotte and their two friends Marthe Bosredon and André Lecoeur. This took the form of a musical background to Jean de Brunhoff's popular illustrated children's story about Babar a baby elephant whose mother is killed by ahuntsman. Fortunately Babar meets a kind elderly lady who dresses him in a fine suit and gives him an impressive motor-car.However Babar feels homesick for his forests and is pleased when his cousins Arthur and Celeste find him and needs no persuasion to go home with them. Back in the forest where the King of the Elephants has eaten a poisonous mushroom Babar is elected to succeed as King. He marries Celeste and the last we hear of him isthinking of a rosy future as he dreamily looks up at a marvellously star-filled sky.Poulenc's score to which he returned and completed in 1945 is for a narrator and a Piano so written that the individualsections offer the pianist a number of self-contained descriptive pieces such as a Lullaby a Reverie a Galop a Nocturne and so on. Indeed some of Poulenc's finest Piano music isfound in these charming pages.In 1962 Jean Françaix made an orchestral version and Barbar has been enjoyed by children of all ages all over the world. An English translation of the text was made by Nelly Rieu.Thisparticular edition is arranged for Narrator and Piano duet (1 Piano 4 hands) and a separate insert with English translation is included.

Urtext edition with Primo and Secondo parts printed on facing pages.Clear and uncluttered engraving.Informative foreword (Eng/Cz/Ger) including a contribution by Smetana scholar Olga Moj? ?ová. Vltava (The Moldau) is Smetana?s most famous and frequently performed tone poem. It was written between 20 November and 8 December 1874 but only in 1879-1880 with the completion of the entire cycle Má vlast did the full score and his version for Piano duet appear in print.In addition to the orchestral version Hugh Macdonald?s new Urtext edition also includes the composer?s own version for Piano duet.

Dance Of The Cockerel (Hanedans) from the opera Masquerade by Carl Nielsen arranged for for Piano Duet (4 hands) by Esther Bobrova Lange. Arranger's preface: Dance of the Cockerel is a ballet insertion from Act Three of Carl Nielsen's opera Masquerade it is written for a large symphony orchestra. In this version for piano duet (four hands) I used the full orchestral score making sure that the essential orchestra parts were included. The melodic parts and the accompaniment are equally distributed between the primo and secondo parts. The nuances and articulations are written according to the originalscore yet with consideration to the possibilities of the piano. In one of his letters Carl Nielsen wrote that Dance of the Cockerel is like a polonaise. Presumably he meant that it should be played with pride and dignity in order to characterize a young cockerel surrounded by adoring hens that fight for his favour. (Esther Bobrova Lange)

Soprano Arias Duet WoO 93 Trio op. 116-The vocal works collected in this volume were composed for very different occasions. Several of them were tailor-made for female singers of Beethoven?s acquaintance; with others he was trying his hand at Italian opera (under theguidance of none other than Antonio Salieri). In addition to core repertoire pieces such as ?Ah! perfido? op. 65 the volume also contains unknown treasures such as ?No non turbarti? ?Ma tu tremi o mio tesoro?? ascene and aria which Beethoven revised several times. In our edition based on the Beethoven Complete Edition the last version of the aria is made available for musicians for the firsttime.Contents:'Erste Liebe Himmelslust' / 'Primo amore piacer del ciel' Aria for Soprano and Orchestra WoO92'Soll ein Schuh nicht dr?cken' Aria for Soprano and Orchestra WoO 91/2'Ah!perfido' - 'Per piet? non dirmi addio' Scena and Aria for Soprano and Orchestra op. 65'No non turbarti' - 'Ma tu tremi o mio tesoro?' Scena and Aria for Soprano and Orchestra WoO 92a'Ne' giorni tuoi felici' Duet forSopran Tenor and Orchestra WoO 93'Tremate empi tremate' Trio for Soprano Tenor Bass and Orchestra op. 116

In 1878 Dvorák was commissioned to write something along the lines of Brahms?s ?Hungarian Dances? but using the sounds of his native country. The resulting eight ?Slavonic Dances? led to hisinternational breakthrough. ?Furiant? ?polka? ?soudeská?: all are written with consummate mastery and dazzling formal sophistication. Although the ?Slavonic Dances? also became popularin orchestral arrangement they were originally written for Piano four-hands. Yet the musical text Dvorák released for publication was anything but ideal. Now to honour the centennial of his death we are presenting hisoriginal version with a detailed commentary on the work?s sources and editorial problems. The fingering always a delicate matter in duet playing has been entrusted to Andreas Groethuysen with results that will prove a boon toperformers everywhere.