Sonata In Miniature

Trésor de 15 ouvrages de vulgarisation pour piano solo par le célèbre élève de Mozart, Johann Nepomuk Hummel: Sonatas, Opp. 13, 20, 81 and 106, well-known Rondo, Op. 11, 24 miniature Preludes, Op. 67, Variations on a Theme by Gluck, Op. 57, Rondo-Fantasie, Op. 19, Rondo all'Ungherese, Op. 107, #6 et 6 plus élégamment conçu morceaux. Réimpression de sélections de Sonaten et Klavier-Stücke, Universal-Edition, Vienne et Leipzig, sd / Piano

Composed just three years before Mozart's premature death theSonata in C K.545 has become perhaps his most widely known composition for piano. The piece was probably written for one of Mozart's pupils though it was not published during his lifetime. It has since come to symbolise in miniature the dominant elements of the Mozart style: clarity melodic charm and exquisite balance. These characteristics epitomise the music of the Viennese classical period of the late 18th century.The three-movement work opens with an elegant Allegro followed by a tuneful Andante and concludes with a light-hearted Rondo finale.This version ofMozart's popular work has been edited by Randall Faber.

The Oxford Book of Organ Music by Women Composers presents a comprehensive survey of historical organ pieces by women composers alongside six newly commissioned works. The music is stylistically varied and encompasses secular and sacred repertoire from a range of periods. In addition to original organ repertoire, the collection also contains several organ transcriptions in new arrangements for the instrument. ? 42 pieces for manuals and pedals, in a variety of musical forms, suitable for use at church services or as recital repertoire ? Original music for the instrument, spanning the sixteenth century to the present day, including compositions by Amy Beach, Clementine de Bourges, Nadia Boulanger, Jeanne Demessieux, Cecilia McDowall, Clara Schumann, and Ethyl Smyth, plus commissions from Kristina Arakelyan, Miriam Carpinetti, Ghislaine Reece-Trapp, Isabelle Ryder, Amy Summers, and Rebecca Groom te Velde ? Standalone miniatures, movements from organ sonatas and symphonies, transcriptions of piano, harpsichord, and flute pieces, and an orchestral opera overture ? A variety of difficulty levels, from ABRSM Grades 2-3 through to Diploma standard, with a graded index provided

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

For the six concertos that make up the second part of the Op. 4 Locatelli prescribed eight parts: Violino Primo Secondo Alto è Violoncello Soli. Violino Primo Secondo Alto è Basso Ripieni. The use of such forces immediately reminds one of the Corellian concerto grosso to which Locatelli contributed also in his Op. 1 7 and 9. But though the instrumentation used in this set seems to feature a clear opposition between the concertino (with solo parts) and the ripieno (with parts that can be doubled) we here encounter a group of works that are very varied in form instrumentation and structure. Taken as a whole the concertos of the Op. 4 ideally exemplify thedevelopments of Italian Baroque instrumental music: they reveal the close kinship between the concerto grosso and the sonata (as in Concerto X); they also show the derivation of the solo concerto from the concerto grosso; and there are even hints of thematic development and tripartite structures. Also featured are dynamic markings and other performing indications that were rare for the period and show increasing attention to the precise definition of sonorities.

Between the composition of the second and third piano sonatas (1912-1917), Prokofieff wrote a variety of works for a great diversity of instruments. Besides 'Visions Fugitives' these include the ballets 'Chout' and 'The Gambler', the Classical Symphony, the first Violin Concerto, the second Piano Concerto and various songs. This was an immensely productive period during which his obsession with percussive sounds coloured by polytonality was at its height (although the Classical Symphony is an obvious exception). 'Visions Fugitives' is generally less diatonically based than any of the piano sonatas although the style is perhaps closet to the harmonic quirkiness of the Fifth Sonata (1923).
Prokofieff's compositional process habitually involved the jotting down of musical ideas as they occured to him, to be combined later. The composer's form of spontaneous inspiration seems to have enabled him to produce, in 'Visions Fugitives', a set of self-contained miniatures, perfectly shaped and coherent, yet comprising a logical sequence when played as a whole.
The simplicity and transparency of the writing gives us an insight into the interpretation of Prokofieff's music generally. The study of his shorter works enables us to understand the importance of clarity and rhythmic discipline in the performance of the later ones. The necessity for these qualities is immediately apparent in 'Visions Fugitives'. / Arrangement : F.H. Schneider / Partition /

The Exploring Piano Classics series pairs motivating performance repertoire with thoughtful technical studies. Each level contains a Repertoire book with recordings and a Technique book both with convenient page-by-page correlation. When used together the books give students a deep understanding of the art of music performance practices and the necessary skills to play the piano with technical ease. The Repertoire books include pieces from the major style periods selected and graded based on festival competition and examination lists from the United States Canada and the United Kingdom. Background information on each style period its instruments composers andthemusic itself is included.Level 6 includes online recordings of the repertoire performed by internationally known clinician and teacher Nancy Bachus. These provide an indispensable tool for appropriate musical interpretation. A graduate of the Eastman School of Music with an M.M. in Piano Performance and Literature Nancy Bachus has performed solo recitals across the United States Canada and Italy and appeared in the original 'Monster Concerts' in venues such as Lincoln Center and the White House. Titles: Allegro in C Major (Pescetti) - Aria (Reichardt) - Arietta Op. 12 No. 1 (Grieg) - Bagatelle No. 1 Op. 5 No. 1 (Tcherepnin) - Bourr?e in A Minor TWV 32:12 (Telemann) - German Dance in B-flat Major K. 600 No. 3 (W. A. Mozart) - Lustig--Traurig WoO 54 (Beethoven) - Menuet in G Minor (St?lzel) - Menuet Trio di J. S. Bach (Prelude in G Minor) BWV 929 (J. S. Bach) - Opening of the Children???s Ball Op. 81 No. 4 (Kullak) - Prelude in C Minor Op. 8 No. 1 (Pachulski) - Sarabande HWV 437 (Handel) - Sommerabend Op. 71 No. 2 (Grieg) - Sonata in G Major (Cimarosa) - Sonatina in A Minor (Benda) - Souvenir Op. 10 No. 1 (Karganov) - Vals poetico No. 3 (Granados) - Valse miniature Op. 10 No. 10 (Rebikov) - Vision fugitive No. 10 Op. 22 No. 10 (Prokofiev) - Waltz in A Minor Op. posthumous (Chopin).