Brahms with Variations

Christian Köhn is a pianist with a deep understanding of Brahms' piano music. Now he has edited a new Urtext edition of Brahms' variations (1861) on an eight-bar theme from Handel's 'Keyboard Suite #1? ('Suite de pièces de Clavecin?, Vol. 2).Köhn has drawn on every available source and incorporated the most recent musicological discoveries. With his fingering, a well-presented layout and optimum page turns, the volume meets all the demands of a practical performing edition.A detailed foreword illuminates the work's genesis and sources while presenting valuable information on contemporary performance practice. This scholarly-critical edition of the 'Handel Variations? adds a central work to Bärenreiter's comprehensive series of Brahms' piano music in Urtext editions.- Urtext edition based on all known sources and the latest musicological findings- With optimum page turns- Informative foreword (Ger/Eng) and Critical Commentary (Eng)- Includes fingering and suggestions on performance practice (Ger/Eng) / Piano

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

The New Essential Companion. Henrik Wiese, the internationally renowned orchestral and solo flautist, has spent four years compiling what promises to be the definitive guide to audition repertoire for students preparing for a seat in a professional orchestra. He has worked with his own students in Salzburg as they engaged in auditions, as well as with other professional players and his teaching colleagues at the conservatorium. He sourced repertoire lists from job advertisements past and present and referred to other audition lists such as those of Baxtresser and Wye. Considerable research has gone into the differences between existing editions of the chosen pieces even, surprisingly, from twentieth century composers such as Prokofiev and Stravinsky. 'The Flute Audition” then looks at practical matters such as page turns and metronome markings. Wiese comments, for example, that Hindemith's own recording takes a passage from 'Symphonic Metamorphoses” markedly slower than in the score. The result of all this painstaking research is the most comprehensive collection of international audition pieces yet published in a single volume. 'This is an excellent collection of orchestral excerpts for the next generation of young musicians. You can use it to prepare for auditions anywhere in the world. Whether it's for an opera house, symphony or chamber orchestra, everything you need is here.'/ Recueil / Flûte Traversière

The most important concert and orchestral works from the Baroque era to the Romantic period in the 'Eulenburg Audio Score' series: All scores are presented in a reader-friendly format, including CD with excellent recordings of the masterpieces.NEW: 25 masterpieces in a handy slipcase at the special price of 199.- ? as a complement to the existing set of '50 Masterpieces' (EAS 100-50, 399.- ?).The basis of every music library!The 'Eulenburg Audio Score' series contains the orchestral world's greatest musical treasures from the baroque, classical and romantic repertoire. - Over 80 volumes of clearly-presented and authoritative scores, with informative prefaces detailing the biographical and creative background- - CDs of great performances of each work in full length, from orchestras including the London Philharmonic Orchestra, the Royal Philharmonic Orchestra, and the Philharmonia Orchestra. Amazing value: almost 50% cheaper than buying each volume separately! This is the perfect gift for any music-lover. 'Eulenburg Audio Score' is the new way to hear, read and understand music. Eulenburg is the 130 year-old world-famous publishing brand, renowned for its top-quality, reliable study scores at reasonable prices. Focussing on the fields of opera, orchestral music, chamber music and vocal music, it is the favourite choice of conductors, orchestra musicians, soloists, students, teachers and music lovers generally. The more you read, the more you hear! / Concert Band

Easy Piano Pieces with Practising Tips-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. Thepieces' 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.

Paganini Variations - Piano Concerto No.3 by Poul Ruders. The original guitar-part (for Guitar Concerto No. 2) arranged for Piano and pianist Anne-Marie McDermott by the composer 2014.Piano solo part: WH32201CParts are available for hire: hire@ewh.dk Programme note: In 1999 my friend American guitar virtuoso David Starobin wanted me to write a concerto for guitar and orchestra. It quickly dawned on me that this commission presented a golden opportunity to contribute to the time-honoured tradition of composing a series of variations on NicoloPaganini´s famous 24th Caprice for violin solo a work which itself is a set of variations. The 16 bar (with the first 4 bars repeated) theme is not particularly sophisticated or intricate but its inherent simplicity and logic just grow on you almost to the point of distraction - and the secret behind it being hauled through 'the wringer' by composers as disparate as Liszt Brahms Rachmaninoff and Lutoslawski is perhaps found in its - what I´ll call with a quick nervous look over my shoulder: brilliant banality. You can do anything with that tune it´ll always be recognizable and just there however much you maul it. The piece (subtitled Guitar Concerto no 2) was written pretty quickly premiered and subsequently recorded for Bridge Records with David and the Odense Symphony Orchestra conducted by Jan Wagner and everybody was happy. But the story didn´t end there and it must be the ultimate proof of the durability of the theme not to mention the flexibility and far-sightedness of David Starobin when he 14 years latersuggested 'why not transcribe the solo part for piano?'. The idea appealed to me immediately. One thing was clear from the beginning: the new version could in no way sound like a transcription. My aim was to end up with a solo-part sounding like were it 'the

A superb 160 page volume packed with solo Piano arrangements of great German music from the 17th to the 20th Centuries. <br> <br>A specially written foreword places the music in historical and national context and includes biographical details of many of the featured composers. The arrangements are intended for the intermediate to advanced player but the book will give any pianist a unique practical and historical insight into Germany's immense contribution to the international world of music. / Classique / Partition /

Ruders writes: There's a solid tradition in the history of Western music of turning the theme of Nicolo Paganini's '24th Caprice' for soloviolin into a set of variations endemic to the time and style of each individual composer; Liszt Brahms Rachmaninov and Lutoslawsky being the most prominent names. When asked by David Starobin to write a concerto for him I though 'well why not have a go at it?' - bearing in mind that not only is Paganini the most celebrated violin-wizard of all times but he was also a more than accomplished guitarist. There are 22 variations in all numbers 1 to 16 all adhering strictly to the 16-bar pattern laid down by Paganini himself. From variation17 though the writing becomes more symphonic and the rigid 16-bar regime is being lossendes up a bit. However the last variation 'Finale Prestisimo' is a 6 x 16 bars 'white-knuckle ride' in which the hitherto soloistic role of the guitar gives way to that of 'primus interpares' i.e. 'first among equals'. As with another set of variations of mine 'Concerto on Pieces' (based on a tune by Purcell) the nature and shape of the 'Pagannini-Variations' may be compared to a stroll through a hall of mirrors: the 'portrait' - the theme is gradually being distorted out of all recognition - but it's still the same 'original' walking by.

Henrik Wiese once again draws on his wealth of experience as a flutist and pedagogue: with his book “The Piccolo & Alto Flute Audition“, he has compiled a total of 207 audition excerpts in a carefully edited and clearly arranged compendium. In alphabetical order, it contains standard passages from orchestral works of various genres throughout music history, both common and less frequently requested. This up-to-date collection is a reliable companion and indispensable for optimal preparation for international auditions of all kinds at the opera, with symphony or chamber orchestras.
Easy-to-read, uniform and modern layout make the edition convenient to use. The critical report and chronological list of audition excerpts for quicker stylistic classification make the editor a comprehensive coach for flutists. Numerous other tips and remarks gained by Wiese from his practical experience and exchange with colleagues and students complete the book. International demand is fulfilled by the texts being in three languages (German, French, English), thus making “The Piccolo & Alto Flute Audition“ the equivalent of the already established edition “The Flute Audition“.
Bartók Béla: III. Pe loc aus Rumünische Volkstänze
Bartók Béla: III. Elegia aus Concerto for Orchestra
Bartók Béla: V. Finale aus Concerto for Orchestra
Beethoven Ludwig van: 4. Satz aus Symphonie Nr. 5
Beethoven Ludwig van: 4. Satz aus Symphonie Nr. 9
Berg Alban: 1. Akt, 4. Szene aus Wozzeck
Berg Alban: 2. Akt, 2. Szene aus Wozzeck
Berlioz Hector: 3. Teil, Szene XII. Meuet des Follets aus La damnation de Faust
Berlioz Hector: V. Songe d'une nuit du Sabbat aus Symphonie fantastique
Bizet Georges: 1. Akt, Nr. 2 Marche et choeur des gamins aus Carmen
Bizet Georges: 3. Akt, Nr. 18 Introduction aus Carmen
Borodin Alexander: Allegro vivo und Presto aus Polowetzer Tänze
Brahms Johannes: Variation V aus Variationen über ein Thema von Haydn
Brahms Johannes: Variation VIII aus Variationen über ein Thema von Haydn
Brahms Johannes: 4. Satz aus Klavierkonzert Nr. 2
Brahms Johannes: 3. Satz aus Symphonie Nr. 4
Britten Benjamin: II. Sunday Morning aus Four Sea Interludes
Britten Benjamin: IV. Storm aus Four Sea Interludes
Britten Benjamin: Variation A aus The Young Person's Guide to the Orchestra
Britten Benjamin: Fugue aus The Young Person's Guide to the Orchestra
Delibes Léo: 2. Akt, Nr. 11 Musique des automates aus Coppélia
Donizetti Gaetano: Sinfonia aus Don Pasquale
Donizetti Gaetano: Nr. 7 Scena e Quartetto aus Don Pasquale
Dukas Paul: Scherzo, Poco animando und Vif aus L'Apprenti sorcier
Dvorák Antonín: 3. Satz aus Symphonie Nr. 6
Dvorák Antonín: 1. Satz aus Symphonie Nr. 9
Händel Georg Friedrich: 1. Akt, Nr. 11 Aria Augelletti, che cantate (Almirena) aus Rinaldo
Hindemith Paul: II. Marsch und Pastorale aus Nobilissima Visione
Holst Gustav: III. Merkur aus Die Planeten
Holst Gustav: Dance of the spirits of water aus der Ballettmusik The Perfect Fool
Ippolitov-Ivanov Michail: Nr. 4 Procession of the Sardar aus Suite Nr. 1 Caucasian Sketches
Janácek Leoš: 3. Satz The Queen's Monastery, Brno aus Sinfonietta
Kodály Zoltán: Marosszéker Tänze
Kodály Zoltán: Tänze aus Galánta
Ljadow Anatoli: VII. Dancing Song aus Acht russische Volkslieder
Mahler Gustav: III. Von der Jugend aus Das Lied von der Erde
Mahler Gustav: IV. Urlicht aus Symphonie Nr. 2 Auferstehung
Mahler Gustav: V. Der große Appell aus Symphonie Nr. 2 Auferstehung
Mozart Wolfgang Amadeus: 2. Akt, Nr. 13 Aria Alles fühlt der Liebe Freuden (Monostatos) aus Die Zauberflöte
Ponchielli Amilcare: 3. Akt Danza delle Ore, Finale aus La Gioconda
Prokofieff Sergei: I. The Birth of Kijé aus der Suite Leutnant Kishe
Prokofieff Sergei: IV. Troika aus der Suite Leutnant Kishe
Puccini Giacomo: Suor Angelica
Puccini Giacomo: 3. Akt, 1. Szene aus Turandot
Ravel Maurice: II. Malagueña aus Rapsodie espagnole
Ravel Maurice: IV.Feria aus Rapsodie espagnole
Ravel Maurice: II. Petit Poucet aus My mère l'Oye
Ravel Maurice: III. Laideromette, Imperatrice des Pagodes aus My mère l'Oye
Ravel Maurice: Lever du jour aus der Suite Daphnis et Chloé
Ravel Maurice: Pantomime aus der Suite Daphnis et Chloé
Ravel Maurice: Danse générale aus der Suite Daphnis et Chloé
Ravel Maurice: Boléro
Ravel Maurice: 1. Satz aus Klavierkonzert G-Dur
Ravel Maurice: 3. Satz aus Klavierkonzert G-Dur
Rimski-Korsakow Nikolaj: 3. Satz The Young Prince and The Young Princess aus Sheherazade
Rimski-Korsakow Nikolaj: 4. Satz Festiva at Baghdad aus Sheherazade
Rossini Gioachino: Sinfonia aus der Ouverture zu La scala di seta
Rossini Gioachino: Sinfonia aus der Ouverture zu L'Italiana in Algeri
Rossini Gioachino: 1. Akt, Nr. 2 Cavatina Largo al Factotum (Figaro) aus Il barbiere di Siviglia
Rossini Gioachino: 1. Akt, Nr. 8 Finale 1, Stretta aus Il barbiere di Siviglia
Rossini Gioachino: Sinfonia aus der Ouverture zu La gazza ladra
Rossini Gioachino: Sinfonia aus der Ouverture zu Semiramide
Rossini Gioachino: Sinfonia aus der Ouverture zu Wilhelm Tell
Schönberg Arnold: Nr. 18 Der Mondfleck aus Pierrot lunaire
Schostakowitsch Dmitri: 1. Satz aus Symphonie Nr. 5
Schostakowitsch Dmitri: 2. Satz aus Symphonie Nr. 5
Schostakowitsch Dmitri: 1. Satz aus Symphonie Nr. 6
Schostakowitsch Dmitri: 2. Satz aus Symphonie Nr. 6
Schostakowitsch Dmitri: 1. Satz aus Symphonie Nr. 7
Schostakowitsch Dmitri: 2. Satz aus Symphonie Nr. 8
Schostakowitsch Dmitri: 4. Satz aus Symphonie Nr. 8
Schostakowitsch Dmitri: 1. Satz aus Symphonie Nr. 9
Schostakowitsch Dmitri: 2. Satz aus Symphonie Nr. 9
Schostakowitsch Dmitri: 3. Satz aus Symphonie Nr. 9
Schostakowitsch Dmitri: 5. Satz aus Symphonie Nr. 9
Schostakowitsch Dmitri: 1. Satz aus Symphonie Nr. 10
Schostakowitsch Dmitri: 2. Satz aus Symphonie Nr. 10
Schostakowitsch Dmitri: 3. Satz aus Symphonie Nr. 10
Schostakowitsch Dmitri: 1. Satz aus Symphonie Nr. 15
Sibelius Jean: III. Alla marcia aus der Suite Karelia
Smetana Bedrich: Vivacissimo aus Die verkaufte Braut
Sousa Filipe de: March aus The Stars and Stripes Forever
Strauß Johann (Sohn): Ouverutre aus Die Fledermaus
Strawinsky Igor: Variation de l'oiseau de feu aus der Suite L'Oiseau de Feu
Strawinsky Igor: Ronde des princesses (Khorovode) aus der Suite L'Oiseau de Feu
Tschaikowsky Peter Iljitsch: 3. Satz aus Symphonie Nr. 4
Tschaikowsky Peter Iljitsch: 4. Satz aus Symphonie Nr. 4
Tschaikowsky Peter Iljitsch: 2. Akt, Nr. 12 Divertissement, c) Le thé (Danse chinoise) aus Der Nussknacker
Tschaikowsky Peter Iljitsch: 3. Satz aus Symphonie Nr. 6
Verdi Giuseppe: 2. Akt Ballabile aus der Oper Aida
Verdi Giuseppe: 1. Akt Coro Fuoco di goia aus der Oper Otello
Verdi Giuseppe: 3. Akt Ballettmusik aus der Oper Otello
Verdi Giuseppe: 1. Akt, 2. Teil aus der Oper Falstaff
Verdi Giuseppe: 1. Akt, Nr. 2 Introduzione aus der Oper La traviata
Verdi Giuseppe: 1. Teil, 1. Szene, Nr. 4 Coro di Zingari e Canzone aus der Oper Il trovatore
Verdi Giuseppe: 3. Akt, Nr. 13 Scena, Terzetto e Tempesta aus der Oper Rigoletto
Wagner Richard: 3. Szene aus der Oper Das Rheingold
Wagner Richard: 3. Akt, 2. Szene Feuerzauber aus der Oper Die Walküre
Holst Gustav: V. Saturn, the Bringer of Old Age aus Die Planeten
Holst Gustav: VII. Neptun, the Mystic aus Die Planeten
Ravel Maurice: 1. Teil Danse religieuse aus Daphnis et Chloé
Ravel Maurice: 1. Teil Danse générale aus Daphnis et Chloé
Ravel Maurice: 2. Teil Danse guerrière aus Daphnis et Chloé
Ravel Maurice: 3. Teil Lever du jour aus Daphnis et Chloé
Ravel Maurice: 3. Teil Pantomime aus Daphnis et Chloé
Ravel Maurice: 3. Teil Danse générale aus Daphnis et Chloé
Strawinsky Igor: 1. Teil L'Adoration de la terre aus Le sacre du printemps
Strawinsky Igor: 1. Teil Danses des adolescentes aus Le sacre du printemps
Strawinsky Igor: 1. Teil Rondes printanières aus Le sacre du printemps
Strawinsky Igor: 2. Teil Le sacrifice, Introduction aus Le sacre du printemps
Strawinsky Igor: 2. Teil Le sacrifice, Cercle mystérieux des adolescentes aus Le sacre du printemps
Strawinsky Igor: 2. Teil Le sacrifice, Action rituelle des ancêtres aus Le sacre du printemps / Partitions classique / Bois / Flûte traversière / UNIVERSAL EDITION

58 Essential Masterworks. Par . Featuring 58 carefully curated classical duets from elementary to intermediate, this 1 piano, 4 hands collection is a must-have for every piano studio. Features comb-binding for easy page turns. Includes works by Brahms, Czerny, Gurlitt, Lully, Schubert, Tchaikovsky, and many more. The graded pieces are presented in a progressive order from elementary through to intermediate level. The authentic repertoire is ideal for lessons and recitals, and every level includes a reference chart with the key, composer, and challenge elements listed for each piece. The Beckman/True Duo has been performing together since 2000 in national and international venues. Presenting both standard and contemporary works from 1900 to present day, their programs include music for duo pianos and piano duet. They have released multiple recordings and are also committed teachers who have taught workshops for experienced teachers and young musicians. They have adjudicated and performed in venues across the globe. / Date parution : 2021-12-09/ Recueil / 2 Pianos

Schubertâ??s composition of a new string quartet begun in December 1820 was alas never to get beyond the first movement the heavily reworked autograph breaks off at the outset of the second movement. But the fragmentary work that later came into the hands of Johannes Brahms from Schubertâ??s estate delighted its new owner so much after its premiere in 1867 that Brahms had the first movement published three years later as Schubertâ??s â??Posthumous Workâ? â?? thus paving the way into audiencesâ?? hearts for this little gem. Schubertâ??s autograph manuscript features such numerous divergences in dynamics and articulation that editor Egon Voss suspects it to be one of Schubertâ??s experiments withvariations. This is why in his Urtext edition he proceeds with extreme restraint in issuing additions and changes with respect to parallel passages ¬â?? thus making Schubertâ??s diversity of ideas comprehensible for performing musicians. For all who want a peek inside Schubertâ??s workshop the few measures of the second movement are included as a bonus! Schubertâ??s composition of a new string quartet begun in December 1820 was alas never to get beyond the first movement the heavily reworked autograph breaks off at the outset of the second movement. But the fragmentary work that later came into the hands of Johannes Brahms from Schubertâ??s estate delighted its new owner so much after its premiere in 1867 that Brahms had the first movement published three years later as Schubertâ??s â??Posthumous Workâ? â?? thus paving the way into audiencesâ?? hearts for this little gem. Schubertâ??s autograph manuscript features such numerous divergences in dynamics and articulation that editor Egon Voss suspects it to be one of Schubertâ??s experiments withvariations. This is why in his Urtext edition he proceeds with extreme restraint in issuing additions and changes with respect to parallel passages ¬â?? thus making Schubertâ??s diversity of ideas comprehensible for performing musicians. For all who want a peek inside Schubertâ??s workshop the few measures of the second movement are included as a bonus!

Selected and with an Introduction by Nancy B. Reichs-Among the leading pianists of the 19th century Clara Schumann was a respected published composer in her lifetime regarded by her contemporaries as a member of the avant-garde 'new romantic' school. Praised by such greats as Chopin Brahms Mendelssohn and Liszt her music is being heard again today in recitals and new recordings. This rare collection reproduced mainly from the classic Breitkopf and Hartel edition of 1879 is introduced by Dr.Nancy B. Reich.