THE VIRTUOSO PIANIST - COMPLETE EDITION (HANON CHARLES-LOUIS) (HANON CHARLES-LOUIS)

The Virtuoso Pianist by Frenchman Charles Louis Hanon (1819-1900) was first published in 1874. It became especially well-known as the world's most often used finger exercises for Piano after the 1900 G. Schirmer edition was published translated into English. This new edition has been re-researched with fresh and easy to read music engravings and with an historical and pedagogical preface by Matthew Edwards.

Unrivaled as a virtuoso pianist Liszt was a composer of daring originality. In a long and prolific career he produced over 400 works for piano best known and loved are the Hungarian Rhapsodies. Reproduced directly from an authoritative Russian edition.

Edition without Fingering-Ludwig Van Beethoven's 32 Piano Sonatas were described by the German conductor and virtuoso pianist Hans von Bülow as “Music’s New Testament”. Since its first release Henle’scomplete two-volume edition (HN32 and HN34) has been valued by specialists as the most dependable Urtext and belongs in every pianist’s library. It contains an inexhaustible treasure of pianistic and musical mastery settingtechnically challenging works with a high level of name-recognition such as the “Pathétique” “Moonlight” “Tempest” “Waldstein” “Appassionata” and“Hammerklavier” sonatas alongside other less difficult works. Henle's two original editions HN32 and HN34 include Conrad Hansen’s much-admired fingerings. For those who want an Urtext edition withoutthe fingerings they are now releasing HN1032 and HN1034.

'Altogether a sensitive and tasteful document.' ??? Library JournalA series of themed essays rather than a traditional biography this profile of the Polish composer and virtuoso pianist is the work of a legendaryconductor and performer. Alfred Cortot taught at the Paris Conservatory of Music co-founded the ??cole Normale de Musique de Paris and produced printed versions of the complete works of Chopin Schumann and Debussy. In theserevealing chronicles Cortot focuses on Chopin's compositions as well as his performances and personal relationships.Beginning with an account of the composer's physical characteristics the book examines Chopin's role asa teacher; his works as reflected by his correspondence; his identity as a Polish nationalist and his attitude toward France; and his concert performances. It further explores his friendships with Liszt and Delacroix and hisromance with George Sand as well as the composer's chronic illness and the expression of his tormented sensitive nature in his music.Reprint of the Peter Nevill Limited London 1951 edition.

2me Polonaise brillante pour violon avec acompagnement de piano op.21 Henryk Wieniawski wrote only two polonaises. The first one, op. 4 in D minor, is one of his youthful works; the other, op. 21 in A major, is one of the last works he composed. Moreover, H. Wieniawski is the co-author of another polonaise, op. 8, for violin and piano, which he wrote with his brother Józef Wieniawski, a pianist. The latter polonaise, like the Polonaise in D minor op. 4, is also a youthful composition (1852). The polonaise as a genre, therefore, does not occupy much space in Wieniawskis heritage. Nonetheless, both polonaises, in D minor and A major, constitute an essential part of his artistic inheritance. Likewise, both polonaises had been composed in two versions: for violin and orchestra, and for violin and piano. The Polonaise in A major was completed in 1870. It is not known precisely which of the versions, the one with the piano, or the one with the orchestra first came into being. It was the version with orchestra that the composer performed for the first time on 17 March 1870, in the Grand Theatre in St. Petersburg. But merely two months later he performed the Polonaise in Warsaw, accompanied by his brother Józef at the piano. It is quite possible that Wieniawski had already performed this version of the Polonaise. It is certain, nonetheless, that both versions either appeared simultaneously, or one was composed shortly after the other. From its first public performance until the end of his concert career, Wieniawski often included this Polonaise in his concert repertoire, playing one version or another, the choice depending on the needs and circumstances. Just to mention one occasion, he played the orchestral version during a concert tour of Sweden in 1870, when he dedicated and presented a manuscript of this piece to King Charles XV of Sweden. The dedication, however, was changed in print, and both versions were eventually dedicated to François van Hal. Both versions were published simultaneously, by Schott Publishers in Mainz, with the same plate number, though the orchestral version appeared only in parts, which was a common practice in those days. The piece was most probably not published earlier than 18751. The Polonaise was praised by the critics. The reviews reported that it was a magnificent piece2, and this opinion was shared by later critical reviews, both Russian and West European. The Polonaise remained popular after the composer had died, which is evident from the number of later editions of the piece (more than ten) issued by different publishers, mostly German, and prepared by different editors. In Poland, the Polonaise was published twice after the Second World War. All the editions introduced some more or less significant changes into the text, mostly concerning performance indications, but in a sense blurring the composers intentions. All those changes were pertinent to the violin and piano version, and it was mostly in this form that the piece appeared in concert and teaching repertoires. The performances with an orchestra were much more seldom which was, among other factors, due to limited availability of the orchestral version, as it had never been published again after the first edition, until now. The Polonaise in A major was composed approximately at the same time as the Violin Concerto No. 2 in D minor3. This convergence in time had influenced a certain similarity with regard to both composition and technical means, and also to the themes. In particular, the similarity becomes quite obvious in the second theme of the Allegro in the Concerto, and in the theme of the Polonaise. The Polonaise in A major is also in a certain way similar to the first Polonaise (in D minor), the motifs of the themes in both polonaises are alike. However, both pieces differ in style. The Polonaise in D minor shows the composers fascination with technical writing. Wieniawski makes the most of double-stops, chords, and all other sophisticated virtuoso techniques. The Polonaise in A major, written 18 years later, is much more mature. Although it is a virtuosic piece as well, the techniques used are somewhat more limited and subordinated to the expression. The virtuoso character of this piece is more fragile, much closer to the brillant style. At the same time, the Polonaise is typical of Wieniawskis violin playing technique. Here the composer uses the means regarded by his contemporaries to be typical of him, e.g., long staccato fragments played with one bow. The Polonaise is a concert piece in one movement extended form with a considerably abbreviated return of the first section at the end. The middle section is contrasting in character, due to the modulation to F major, change of tempo (meno mosso) and the reduction in the number of instruments (in the orchestral version). All the sections show thematic similarity. The first section, too, consists of three subsections, including a contrasting middle subsection (in E major). Zofia Chechlińska Footnotes 1. See The Critical Commentary, p. ? and onward. 2. See V. Grigoriev, Henryk Wieniawski. Życie i twórczość. [Life and Work] Warszawa - Poznań 1986, p. 184. 3. The first version of the Concerto No. 2 in D minor was completed in 1862, but in 1870, i.e., not until the Polonaise in A major was completed, Wieniawski had been working on the Concerto and implemented quite a few changes. Publisher: PWM/Towarzystwo Muzyczne im. Henryka Wieniawskiego w Poznaniu Series: Henryk Wieniawski - Complete Works Cover: softback Nr ISMN: 979-0-2740-0753-9 Number of pages: 34+8 Format: N4 stoj. 235x305 Language version of text: pol., Eng.

Here are two of the greatest sonatas for violin and piano by Ludwig van Beethoven. Cornerstone of chamber literature the ?Spring? sonata in F major and the ?Kreutzer? in A major share an enduring passionfrom violinists and listeners and are an essential element of every serious violinist's repertoire. This deluxe edition includes three CDs with a complete performance of each piece by virtuoso violinist Mario Hossen a stereobackground track played by the internationally renowned pianist Sung-Suk Kang and a -20% slow-tempo version of each accompaniment for ease of practice. Also features a newly engraved authoritative music book containing the soloviolin part edited by Mario Hossen printed on high-quality acid-free ivory paper.

2-CD Piano Play-Along Pack-Now in a digitally remastered deluxe 2CD set this staggeringly famous romantic concerto is world-loved and has been a staple since its introduction. This new edition includes a second CD containing a -20% slow-tempo version for your practicing ease. Should be in every pianist???s repertoire. The quintessential virtuoso concerto!Includes a high-quality 112-page music score on high-quality ivory paper and two digital stereo compact discs voluminously indexed for your convenience containing a complete version with soloist; then a second performance of the orchestral accompaniment minus you the soloist; and a -20% slow-tempo version for practice purposes.

Music Minus One Piano Deluxe 2-CD Set-Anton Rubinstein's famous 'thunder and lightning' concerto of the 19th century long neglected in late-20th century concert halls is now available in a stupendous MMO edition allowing a new generation of pianists to discover its thrilling octave passages long lyrical melodic lines and beautiful orchestration. It became synonymous with the idea of the heroic concerto in the late 19th and early 20th centuries. This one is a guaranteed crowd-pleaser and a favorite of every aspiring virtuoso who discovers its power. This deluxe 2CD set includes a slow-tempo practice version to help you get up to speed. Contains an authoritative newly engraved 112-page music score printed onhigh-quality ivory paper with informative historical liner notes a digital stereo compact disc featuring a complete performance of the concerto with orchestra and soloist and a second performance minus you the soloist and a second compact disc containing a full-speed version of the complete version as well as a special -20% slow-tempo version of the accompaniment for practice purposes. The concerto is voluminously indexed for your practice and performance convenience. Performed by Sung-Suk Kang piano Accompaniment: Plovdiv Philharmonic Orchestra Conductor: Nayden Todorov