This volume presents easy pieces for piano by great virtuosos. It unites the two greatest, and perhaps best-known, pianists of the 19th century, Frédéric Chopin and Franz Liszt. The technical requirements of these works are very moderate without muting the stylistic characteristics of these two composers. The ability to play an original composition by Liszt in the first years of lessons can be very motivating for the piano student. Also featured in this collection are works by the virtuoso Ferdinand Hiller, to whom Robert Schumann dedicated his Piano Concerto. As in many of the works by Liszt and Chopin, Hiller's works are frequently reminiscent of folk music. His Irländisches Lied and Fandango, included in the collection, are fine examples of 19th-century 'world music'. / Piano

All 24 songs of Schubert's great song cycle Winterreise, along with the 4 songs of Geistliche Lieder and the beloved single songs La Rose, Die Forelle, and Lob der Thranen. Reproduced from extremely rare early editions overseen by Liszt himself. With editorial notes, and English translations of the German texts. Content : WINTERREISE [Winter's Journey] Twelve Piano Transcriptions (complete) From: Lieder von Franz Schubert für das Piano-Forte übertragen von F. Liszt [Franz Schubert's Songs Transcribed for Piano by Franz Liszt] R246 Nos. 1-12. 1. Gute Nacht [Farewell] 2. Die Nebensonnen [The Rival Suns] 3. Muth [Courage] 4. Die Post [The Mail Coach] 5. Erstarrung [Torpid] 6. Wasserfluth [Flood of Tears] 7. Der Lindenbaum [The Linden Tree] 8. Der Leyermann [The Hurdy-Gurdy Man] with 9. Täuschung [Deception] 10. Das Wirthshaus [The Inn] 11. Der stürmische Morgen [The Stormy Morning] with 12. Im Dorfe [In the Village] FRANZ SCHUBERT'S GEISTLICHE LIEDER Four Piano Transcriptions (complete) Für das Pianoforte übertragen von Franz Liszt [Franz Schubert's Spiritual Songs Transcribed for Piano by Franz Liszt] R247, Nos. 1-4. 1. Litaney [auf das Fest Aller Seelen] [Litany for All Soul's Day] 2. Himmelsfunken [Divine Sparks] 3. Die Gestirne [The Heavenly Bodies] 4. Hymme [Hymn (Chorus of Spirits)] THREE SCHUBERT SONGS Transcribed for Piano by Franz Liszt La Rose [Die Rose] [The Rose] R241. Lob der Thränen [Praise of Tears] R242. Die Forelle [The Trout] R248.

The Complete Schwanengesang Brilliant transcriptions by the foremost pianist-composer of his day of all 14 songs in the series, including such masterpieces as Das Fischermädchen, Am Meer, Abschied, Ständchen, Frühlings-Sehnsucht, Der Doppelgänger, and other famed lieder. All meticulously reproduced from rare early editions overseen by Liszt himself. A modestly priced collection of hard-to-find gems for pianists and music lovers. Content : Lied[er] aus Fr. Schubert's Schwanengesang für das Piano-Forte übertragen von F. Liszt [Song(s) from Franz Schubert's Swan Song Transcribed for Piano by Franz Liszt] R245 1-14 1. Die Stadt [The City] 2. Das Fischermädchen [The Fisherman's Daughter] 3. Aufenthalt [Sojourn] 4. Am Meer [By the Sea] 5. Abschied [Farewell] 6. In der Ferne (Lamentazion') [Far from Home] 7. Ständchen [Serenade] 8. Ihr Bild [Her Picture] with 9. Frühlings-sehnsucht [Longing in Springtime] 10. Liebesbotschaft [Love Message] 11. Der Atlas [Atlas] 12. Der Doppelgänger [The Double] 13. Die Taubenpost [Pigeon Post] 14. Kriegers Ahnung [Warrior's Premonition]

Piano Sonata in b minor-Following their revision of the facsimile of the Piano Sonata In B Minor (HN 3227) in 2015 Henle is now proud to present the corresponding new Henle Urtext edition. With the help of the splendidfacsimile reproduction Henle has been able to analyse several passages in the autograph more reliably; in addition the editor Ernst Herttrich not only consulted the first edition but also a copy of a student ofLiszt’s in which the composer had made entries in his own hand.  Clara Schumann reacted with a lack of understanding when Liszt sent the sonata: “It is only blind noise – not asingle healthy thought everything confused.” Today we view this differently. This edition of this key Piano work is further enhanced by the sophisticated fingerings supplied by the Piano titan Marc-AndréHamelin.

Internationally renowned concert pianist Joseph Banowetz presents this definitive collection of original masterworks by Franz Liszt featuring a comprehensive preface, composer biography, vintage photographs, and detailed performance notes on the solos. The companion CD features Joseph Banowetz performing Liszt's most cherished piano repertoire: Ehemals, from Weihnachtsbaum, S. 186/10 * Étude, Op. 6, No. 7; S. 136/7 * Ich liebe dich, S. 542a (posth) * Liebeslied: Widmung (easier version), S. 566 (posth.) (Robert Schumann, trans. by Liszt) * Liebesträume: 3 notturnos, S. 541 * No. 2: Gestorben war ich (first version) * No. 3: O lieb, o lieb, so lang du lieben kannst * Piano Piece in A-flat Major, S. 189a (posth.) * Marche de Rákóczy?Édition populaire, S. 244/15 * Resignazione, S.187a (posth.) * Romance, S. 169 (posth.) * Romance oubliée, S. 527 * Ruhig, S. 167a (posth.) * Scherzo, S. 153 (posth.) * Six Consolations, S. 172 * No. 1 in E Major * No. 2 in E Major * No. 3 in D-flat Major * No. 4 in D-flat Major * No. 5 in E Major * No. 6 in E Major * Ständchen, S. 560/7 (Franz Schubert, trans. by Liszt) * Valse oubliée, No. 1, S. 215/1 Joseph Banowetz graduated with a First Prize from the Vienna Akademie für Musik und darstellende Kunst. Banowetz has been a piano recitalist and orchestral soloist on five continents. He was awarded the Liszt Medal by the Hungarian Liszt Society in recognition of his outstanding performances of Liszt and the Romantic literature.

La partie principale du Supplément Volume 12 dispose le prédécesseur de Grandes Etudes de Paganini , une série de six études écrites après Paganini entre 1838 et 1840, et en passant par Liszt performances transcendant ( Etudes d'exécution transcendante d'apres Paganini ) . La série a été inspiré non seulement par le violoniste virtuose et Caprices et le Concerto pour violon du compositeur en si mineur , mais aussi par les études de Paganini de Schumann , Liszt probablement rencontrés grâce à Clara Wieck au début de 1838. Le volume comprend également les première et deuxième versions solo de piano de Die Zelle dans Nonnenwerth (1840 et 1841 ) , que Liszt compose d'un certain nombre de fois dans plusieurs versions , ainsi que deux transcriptions de Wagner et les premières versions de l'adaptation de deux oeuvres de Russie compositeurs .Une préface détaillée en hongrois , anglais et allemand , y compris les nouveaux résultats de la recherche , de nombreux fac-similés de manuscrits et notes critiques font de ce volume de la nouvelle édition Liszt une publication particulièrement important de valeur scientifique . Simultanément, le livre de poche pour des raisons pratiques , son volume Complete Edition tissu lié est publié avec les notes critiques . / Piano

Complete Edition. 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.

The three volumes of Années de pèlerinage (?Pilgrim Years?) are among Liszt?s most important compositions for piano solo. From dramatic-virtuoso to pensive-romantic music, the 29 ?travel pieces? represent the complete range of Liszt?s compositional expression. For the first time, this first volume of the trilogy, Suisse (Switzerland) is published together with the Trois Morceaux suisses, in line with the composer?s original intention to combine all his Swiss-inspired character pieces into a single volume. The musical journey is supported by the inclusion of historical illustrations of the scenes and landscapes that inspired the composer. Edited by world-renowned Liszt expert and concert pianist Leslie Howard, the edition also contains Liszt?s original fingerings.

Années de Pelerinage-The New Liszt Edition (NLE) comprises ten series the works being grouped according to genre and scoring. Series I (Works for piano solo) was completed as a joint publication of EMB and Bärenreiter-Verlag Kassel by 1985. From 1986 on EMB continued to publish NLE alone completing Series II (Free arrangements and transcriptions for piano solo) by 2005. In publishing Series I and II priority was given to the final version of the works: of earlier versions only those were published in the appendix that differed significantly from the final form. In 2005 a series of 15 supplementary volumes was launched with the aim of publishing earlier versions of the solo piano works thatdiffer less substantially from the final form: mainly those published by Liszt himself but also some that remained in manuscript. In special cases more extensive fragments are also published in the supplementary volumes.

Par LISZT FRANZ. Formation : Musique de Chambre, Solo - Instrumentation : 1 Piano Solo - Niveau de Difficulté : 5/6 - Intermédiaire/Avancé - Durée : 4 mn 40 s - Style Musical : Classique, Pédagogique - Catégorie : Composition Originale, Incontournable Réédité - Compositeur : Franz LISZT - / Niveau : Intermédiaire à Avancé / Classique, Pédagogique / Répertoire / Piano

Par LISZT FRANZ. Formation : Musique de Chambre, Solo - Instrumentation : 1 Piano Solo - Niveau de Difficulté : 5/6 - Intermédiaire/Avancé - Durée : 2 mn 20 s - Style Musical : Classique, Pédagogique - Catégorie : Composition Originale, Incontournable Réédité - Compositeur : Franz LISZT - / Niveau : Intermédiaire à Avancé / Classique, Pédagogique / Répertoire / Piano

Despite having already assumed the costs for a monument to Beethoven in Bonn Liszt's spiritual affinity for Beethoven also moved this greatest piano virtuoso of the nineteenth century to pay an even finer tribute: a superlative set of piano transcriptions of the master's nine symphonies. Liszt's brilliant and sensitive transcriptions enabled 19th century audiences and amateur pianists to become acquainted with Beethoven's works even when no orchestras were available. Indeed the great pianist's capacity for translating orchestral effects into pianistic terms was nothing short of astonishing. This volume contains the first five of the nine works reproduced from the originalplates authorised by Liszt himself. A memorable tribute from one musical genius to another these compositions will delight pianists and music lovers alike.

Concert Paraphrase for Piano-Looking back in 1876 Liszt admitted candidly to the publisher Breitkopf & Härtel that his ?Wagner transcriptions? had ?only served as modest propaganda for Wagner?s noble genius using the meagre possibilities of the piano?. Infact in around 1850 Wagner?s operas Der fliegende Holländer Tannhäuser and Lohengrin which would later be so successful were only being performed at the Weimar Court Theatre under Liszt?s baton. Liszt was inspired tocompose his Tannhäuser Paraphrase by performances in Weimar of the overture in 1848 and of the whole opera in February 1849. Liszt?s piano arrangement of the overture is a technically brilliant piece of the highest order. It is afurther milestone in Henle Publishers? series of Liszt?s Wagner arrangements.

The fact that Piano works by Franz Liszt do not always require the highest technical standards or are reputed to be reserved for just a few professionals is proven by the present anthology of the Wiener Urtext Edition. It comprises works by Liszt which starting from an easy to intermediate technical level encourage to play rather by harmonic than by virtuoso demands and still allow to make progress in the playing technique which eventually is of benefit not only to playing Liszt. The selection ranging from easy pieces such as La cloche sonne or the Consolations Nos. 1 and 2 to more advanced works such as 'Au lac de Wallenstadt' from'Années de Pèlerinage' also takes the aspect of popularity within the framework of Liszt's Piano literature into account.