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| Panoramas of Praise - Book with PowerPoint CD Piano solo [Book with PowerPoint CD] Lorenz Publishing Company
Arranged by Lloyd Larson. For piano. Book with PowerPoint CD. Published by Loren...(+)
Arranged by Lloyd Larson. For piano. Book with PowerPoint CD. Published by Lorenz Publishing Company
$39.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Jingle Bells – Through the Grades (Bach Scholar Edition Vol. 26) Piano solo Subito Music
Piano SKU: SU.12800026 For Piano. Composed by James Pierpont. Keyb...(+)
Piano SKU: SU.12800026 For Piano. Composed by James Pierpont. Keyboard, Piano/Harpsichord. Music Theory. Score. Subito Music Corporation #12800026. Published by Subito Music Corporation (SU.12800026). BachScholar Edition Vol. 26 – Jingle Bells Through the Grades (16 pages) presents a delightful set of eight pieces composed especially for piano students and teachers. Progressing through Grades 1 through 8, James Pierpont’s famous song is made a little more difficult from grade to grade mainly by the accompaniment styles and progression to mostly octaves in the later grades. The final piece, Grade 8, is an infectious and joyful Jingle Bells Rag in classic ragtime style. Includes metronome suggestions and fingering.Piano Published by: BachScholar. $17.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Swing Into Christmas Piano solo [Sheet music + CD] Carl Fischer
15 Christmas Classics Arranged for A Soloist and Jazz Rhythm Section - Includes ...(+)
15 Christmas Classics Arranged for A Soloist and Jazz Rhythm Section - Includes CD Play-Along with A "Live" Rhythm Section (Piano). By Felix Mendelssohn Bartholdy; Franz Gruber; James Pierpont; John Francis Wade; John Henry Hopkins; Lewis Redner; Richard Storrs Willis. Arranged by Carl Strommen. For Piano. Score and Audio CD. 48 pages. Published by Carl Fischer.
$18.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| CD Christmas Favorites Piano solo [Sheet music + CD] Carl Fischer
For Piano. By Benjamin R. Hanby; Felix Mendelssohn Bartholdy; Franz Gruber; Geor...(+)
For Piano. By Benjamin R. Hanby; Felix Mendelssohn Bartholdy; Franz Gruber; George Frideric Handel; James Pierpont; John Francis Wade; John Henry Hopkins; Peter Ilyich Tchaikovsky. Arranged by Larry Clark. Solo piano. For Piano Solo. Score and Audio CD. 37 pages. Published by Carl Fischer.
$18.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Jingle Bells Piano solo - Beginner Hal Leonard
Hal Leonard Student Piano Library Showcase Solo Level 1/Pre-Reading. By James Pi...(+)
Hal Leonard Student Piano Library Showcase Solo Level 1/Pre-Reading. By James Pierpont. Arranged by Carol Klose. Educational Piano Library. Size 9x12 inches. 4 pages. Published by Hal Leonard.
$2.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| The Classical Piano Course - Christmas Favourites Piano solo Chester
Piano (Piano) SKU: HL.14003415 Arranged by Carol Barratt. Music Sales Ame...(+)
Piano (Piano) SKU: HL.14003415 Arranged by Carol Barratt. Music Sales America. Tuition. Book [Softcover]. 64 pages. Chester Music #CH71775. Published by Chester Music (HL.14003415). ISBN 9781846097355. UPC: 884088433659. 9.0x12.0x0.204 inches. English. More than forty favourite Christmas songs and carols for the beginning pianist, arranged by Carol Barratt. Many of the songs include both the English and American versions of the traditional carols. Carols include lyrics and chord symbols and are ideal for use alongside The Classic Piano Course books 1 and 2. $16.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| The Classical Piano Method - Christmas Collection Piano solo Schott
For Piano/Keyboard. Piano Collection. Softcover. 64 pages. Schott Music #ED13651...(+)
For Piano/Keyboard. Piano Collection. Softcover. 64 pages. Schott Music #ED13651. Published by Schott Music
$14.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| String Town Tunes Piano solo [CD] Carl Fischer
Concert Pieces for Teaching Beginning Strings (Piano Book - Audio CD Included). ...(+)
Concert Pieces for Teaching Beginning Strings (Piano Book - Audio CD Included). By Doris Gazda; Henry Purcell; James Pierpont. Arranged by Doris Gazda. For Piano. Student Book. 31 pages. Published by Carl Fischer.
$12.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Jingle Bells Piano solo [Octavo] Oxford University Press
By James Pierpont. Arranged by David Willcocks. For Mixed Choir & Piano. X315. P...(+)
By James Pierpont. Arranged by David Willcocks. For Mixed Choir & Piano. X315. Published by Oxford University Press.
$3.25 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Pianorama - Christmas Piano solo - Intermediate Word Music
Arranged by Carol Tornquist. Sacred Music Folio. Size 9x12 inches. 35 pages. Pub...(+)
Arranged by Carol Tornquist. Sacred Music Folio. Size 9x12 inches. 35 pages. Published by Word Music.
$14.95 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Seven Days Piano solo Schott
Piano (Piano Solo) SKU: HL.49046935 Solo Piano. Composed by Gregor...(+)
Piano (Piano Solo) SKU: HL.49046935 Solo Piano. Composed by Gregory Spears. Piano Solo. Classical. Softcover. 98 pages. Duration 6180 seconds. Schott Music #ED30418. Published by Schott Music (HL.49046935). ISBN 9781705169353. UPC: 842819116837. 9.25x12.0x0.5 inches. SEVEN DAYS is a cycle for solo piano in 21 movements, most lasting between three and seven minutes, distributed in the form of a custom app produced by the 92Y and released during their Fall 2021 season. Using the app on their phones, listeners are asked to listen to three movements a day according to an approximate schedule - one movement in the morning, one in the afternoon, and another sometime in the evening - for seven days. The music is performed by Pedja Muzijevic and presented alongside paintings by Gloria Maximo. (Please visit 92Y.org for information on how to download the Seven Days app.) The work is designed as a listening experience that tunes us into the passing of time, connecting us both to the present moment as well as the cycle of the week. The experience invites music to inhabit and structure our everyday - to find us where we are in the world. The morning-afternoonevening schedule is meant to focus participants on the dawn-to-dusk cycle as well as to create a communal listening ritual. It is also an experiment in large-scale form, designed to draw attention to musical material developing across a week-long expanse, interspersed with vast silences. SEVEN DAYS was shaped by a year spent in relative isolation due to the pandemic. While it is a work composed during a time of quarantine, it will be experienced first by an audience in the process of returning to a more normal world. In that sense, it is an artwork born out of a year of relatively cloistered existence that seeks to preserve aspects of that experience as we move forward. The piece was also inspired by the work of Morton Feldman and Chantal Akerman, whose large-scale works consider time, process, and stillness. Their art struck me with a fresh relevance during the silent stretches of the pandemic year 2020. It was also a year in which writings about time, penned by contemplatives like Henry David Thoreau and Thomas Merton, held new weight. All of this in turnresonated with Gloria Maximo's profound paintings, which I've long admired. SEVEN DAYS is an artwork we are invited to do - using music to point our attention to the present moment, the everyday, and the seemingly mundane. It is a piece listeners are also asked to live within as it unfolds over a week rather than to witness it live. The key players here are time and the listener's own surroundings, starring together alongside music and art in a wordless drama. -Gregory Spears. $105.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Transcriptions of Lieder Piano solo Carl Fischer
Chamber Music Piano SKU: CF.PL1056 Composed by Clara Wieck-Schumann, Fran...(+)
Chamber Music Piano SKU: CF.PL1056 Composed by Clara Wieck-Schumann, Franz Schubert, and Robert Schumann. Edited by Nicholas Hopkins. Collection. With Standard notation. 128 pages. Carl Fischer Music #PL1056. Published by Carl Fischer Music (CF.PL1056). ISBN 9781491153390. UPC: 680160910892. Transcribed by Franz Liszt. Introduction It is true that Schubert himself is somewhat to blame for the very unsatisfactory manner in which his admirable piano pieces are treated. He was too immoderately productive, wrote incessantly, mixing insignificant with important things, grand things with mediocre work, paid no heed to criticism, and always soared on his wings. Like a bird in the air, he lived in music and sang in angelic fashion. --Franz Liszt, letter to Dr. S. Lebert (1868) Of those compositions that greatly interest me, there are only Chopin's and yours. --Franz Liszt, letter to Robert Schumann (1838) She [Clara Schumann] was astounded at hearing me. Her compositions are really very remarkable, especially for a woman. There is a hundred times more creativity and real feeling in them than in all the past and present fantasias by Thalberg. --Franz Liszt, letter to Marie d'Agoult (1838) Chretien Urhan (1790-1845) was a Belgian-born violinist, organist and composer who flourished in the musical life of Paris in the early nineteenth century. According to various accounts, he was deeply religious, harshly ascetic and wildly eccentric, though revered by many important and influential members of the Parisian musical community. Regrettably, history has forgotten Urhan's many musical achievements, the most important of which was arguably his pioneering work in promoting the music of Franz Schubert. He devoted much of his energies to championing Schubert's music, which at the time was unknown outside of Vienna. Undoubtedly, Urhan was responsible for stimulating this enthusiasm in Franz Liszt; Liszt regularly heard Urhan's organ playing in the St.-Vincent-de-Paul church in Paris, and the two became personal acquaintances. At eighteen years of age, Liszt was on the verge of establishing himself as the foremost pianist in Europe, and this awakening to Schubert's music would prove to be a profound experience. Liszt's first travels outside of his native provincial Hungary were to Vienna in 1821-1823, where his father enrolled him in studies with Carl Czerny (piano) and Antonio Salieri (music theory). Both men had important involvements with Schubert; Czerny (like Urhan) as performer and advocate of Schubert's music and Salieri as his theory and composition teacher from 1813-1817. Curiously, Liszt and Schubert never met personally, despite their geographical proximity in Vienna during these years. Inevitably, legends later arose that the two had been personal acquaintances, although Liszt would dismiss these as fallacious: I never knew Schubert personally, he was once quoted as saying. Liszt's initial exposure to Schubert's music was the Lieder, what Urhan prized most of all. He accompanied the tenor Benedict Randhartinger in numerous performances of Schubert's Lieder and then, perhaps realizing that he could benefit the composer more on his own terms, transcribed a number of the Lieder for piano solo. Many of these transcriptions he would perform himself on concert tour during the so-called Glanzzeit, or time of splendor from 1839-1847. This publicity did much to promote reception of Schubert's music throughout Europe. Once Liszt retired from the concert stage and settled in Weimar as a conductor in the 1840s, he continued to perform Schubert's orchestral music, his Symphony No. 9 being a particular favorite, and is credited with giving the world premiere performance of Schubert's opera Alfonso und Estrella in 1854. At this time, he contemplated writing a biography of the composer, which regrettably remained uncompleted. Liszt's devotion to Schubert would never waver. Liszt's relationship with Robert and Clara Schumann was far different and far more complicated; by contrast, they were all personal acquaintances. What began as a relationship of mutual respect and admiration soon deteriorated into one of jealousy and hostility, particularly on the Schumann's part. Liszt's initial contact with Robert's music happened long before they had met personally, when Liszt published an analysis of Schumann's piano music for the Gazette musicale in 1837, a gesture that earned Robert's deep appreciation. In the following year Clara met Liszt during a concert tour in Vienna and presented him with more of Schumann's piano music. Clara and her father Friedrich Wieck, who accompanied Clara on her concert tours, were quite taken by Liszt: We have heard Liszt. He can be compared to no other player...he arouses fright and astonishment. His appearance at the piano is indescribable. He is an original...he is absorbed by the piano. Liszt, too, was impressed with Clara--at first the energy, intelligence and accuracy of her piano playing and later her compositions--to the extent that he dedicated to her the 1838 version of his Etudes d'execution transcendante d'apres Paganini. Liszt had a closer personal relationship with Clara than with Robert until the two men finally met in 1840. Schumann was astounded by Liszt's piano playing. He wrote to Clara that Liszt had played like a god and had inspired indescribable furor of applause. His review of Liszt even included a heroic personification with Napoleon. In Leipzig, Schumann was deeply impressed with Liszt's interpretations of his Noveletten, Op. 21 and Fantasy in C Major, Op. 17 (dedicated to Liszt), enthusiastically observing that, I feel as if I had known you twenty years. Yet a variety of events followed that diminished Liszt's glory in the eyes of the Schumanns. They became critical of the cult-like atmosphere that arose around his recitals, or Lisztomania as it came to be called; conceivably, this could be attributed to professional jealousy. Clara, in particular, came to loathe Liszt, noting in a letter to Joseph Joachim, I despise Liszt from the depths of my soul. She recorded a stunning diary entry a day after Liszt's death, in which she noted, He was an eminent keyboard virtuoso, but a dangerous example for the young...As a composer he was terrible. By contrast, Liszt did not share in these negative sentiments; no evidence suggests that he had any ill-regard for the Schumanns. In Weimar, he did much to promote Schumann's music, conducting performances of his Scenes from Faust and Manfred, during a time in which few orchestras expressed interest, and premiered his opera Genoveva. He later arranged a benefit concert for Clara following Robert's death, featuring Clara as soloist in Robert's Piano Concerto, an event that must have been exhilarating to witness. Regardless, her opinion of him would never change, despite his repeated gestures of courtesy and respect. Liszt's relationship with Schubert was a spiritual one, with music being the one and only link between the two men. That with the Schumanns was personal, with music influenced by a hero worship that would aggravate the relationship over time. Nonetheless, Liszt would remain devoted to and enthusiastic for the music and achievements of these composers. He would be a vital force in disseminating their music to a wider audience, as he would be with many other composers throughout his career. His primary means for accomplishing this was the piano transcription. Liszt and the Transcription Transcription versus Paraphrase Transcription and paraphrase were popular terms in nineteenth-century music, although certainly not unique to this period. Musicians understood that there were clear distinctions between these two terms, but as is often the case these distinctions could be blurred. Transcription, literally writing over, entails reworking or adapting a piece of music for a performance medium different from that of its original; arrangement is a possible synonym. Adapting is a key part of this process, for the success of a transcription relies on the transcriber's ability to adapt the piece to the different medium. As a result, the pre-existing material is generally kept intact, recognizable and intelligible; it is strict, literal, objective. Contextual meaning is maintained in the process, as are elements of style and form. Paraphrase, by contrast, implies restating something in a different manner, as in a rewording of a document for reasons of clarity. In nineteenth-century music, paraphrasing indicated elaborating a piece for purposes of expressive virtuosity, often as a vehicle for showmanship. Variation is an important element, for the source material may be varied as much as the paraphraser's imagination will allow; its purpose is metamorphosis. Transcription is adapting and arranging; paraphrasing is transforming and reworking. Transcription preserves the style of the original; paraphrase absorbs the original into a different style. Transcription highlights the original composer; paraphrase highlights the paraphraser. Approximately half of Liszt's compositional output falls under the category of transcription and paraphrase; it is noteworthy that he never used the term arrangement. Much of his early compositional activities were transcriptions and paraphrases of works of other composers, such as the symphonies of Beethoven and Berlioz, vocal music by Schubert, and operas by Donizetti and Bellini. It is conceivable that he focused so intently on work of this nature early in his career as a means to perfect his compositional technique, although transcription and paraphrase continued well after the technique had been mastered; this might explain why he drastically revised and rewrote many of his original compositions from the 1830s (such as the Transcendental Etudes and Paganini Etudes) in the 1850s. Charles Rosen, a sympathetic interpreter of Liszt's piano works, observes, The new revisions of the Transcendental Etudes are not revisions but concert paraphrases of the old, and their art lies in the technique of transformation. The Paganini etudes are piano transcriptions of violin etudes, and the Transcendental Etudes are piano transcriptions of piano etudes. The principles are the same. He concludes by noting, Paraphrase has shaded off into composition...Composition and paraphrase were not identical for him, but they were so closely interwoven that separation is impossible. The significance of transcription and paraphrase for Liszt the composer cannot be overstated, and the mutual influence of each needs to be better understood. Undoubtedly, Liszt the composer as we know him today would be far different had he not devoted so much of his career to transcribing and paraphrasing the music of others. He was perhaps one of the first composers to contend that transcription and paraphrase could be genuine art forms on equal par with original pieces; he even claimed to be the first to use these two terms to describe these classes of arrangements. Despite the success that Liszt achieved with this type of work, others viewed it with circumspection and criticism. Robert Schumann, although deeply impressed with Liszt's keyboard virtuosity, was harsh in his criticisms of the transcriptions. Schumann interpreted them as indicators that Liszt's virtuosity had hindered his compositional development and suggested that Liszt transcribed the music of others to compensate for his own compositional deficiencies. Nonetheless, Liszt's piano transcriptions, what he sometimes called partitions de piano (or piano scores), were instrumental in promoting composers whose music was unknown at the time or inaccessible in areas outside of major European capitals, areas that Liszt willingly toured during his Glanzzeit. To this end, the transcriptions had to be literal arrangements for the piano; a Beethoven symphony could not be introduced to an unknowing audience if its music had been subjected to imaginative elaborations and variations. The same would be true of the 1833 transcription of Berlioz's Symphonie fantastique (composed only three years earlier), the astonishingly novel content of which would necessitate a literal and intelligible rendering. Opera, usually more popular and accessible for the general public, was a different matter, and in this realm Liszt could paraphrase the original and manipulate it as his imagination would allow without jeopardizing its reception; hence, the paraphrases on the operas of Bellini, Donizetti, Mozart, Meyerbeer and Verdi. Reminiscence was another term coined by Liszt for the opera paraphrases, as if the composer were reminiscing at the keyboard following a memorable evening at the opera. Illustration (reserved on two occasions for Meyerbeer) and fantasy were additional terms. The operas of Wagner were exceptions. His music was less suited to paraphrase due to its general lack of familiarity at the time. Transcription of Wagner's music was thus obligatory, as it was of Beethoven's and Berlioz's music; perhaps the composer himself insisted on this approach. Liszt's Lieder Transcriptions Liszt's initial encounters with Schubert's music, as mentioned previously, were with the Lieder. His first transcription of a Schubert Lied was Die Rose in 1833, followed by Lob der Tranen in 1837. Thirty-nine additional transcriptions appeared at a rapid pace over the following three years, and in 1846, the Schubert Lieder transcriptions would conclude, by which point he had completed fifty-eight, the most of any composer. Critical response to these transcriptions was highly favorable--aside from the view held by Schumann--particularly when Liszt himself played these pieces in concert. Some were published immediately by Anton Diabelli, famous for the theme that inspired Beethoven's variations. Others were published by the Viennese publisher Tobias Haslinger (one of Beethoven's and Schubert's publishers in the 1820s), who sold his reserves so quickly that he would repeatedly plead for more. However, Liszt's enthusiasm for work of this nature soon became exhausted, as he noted in a letter of 1839 to the publisher Breitkopf und Hartel: That good Haslinger overwhelms me with Schubert. I have just sent him twenty-four new songs (Schwanengesang and Winterreise), and for the moment I am rather tired of this work. Haslinger was justified in his demands, for the Schubert transcriptions were received with great enthusiasm. One Gottfried Wilhelm Fink, then editor of the Allgemeine musikalische Zeitung, observed of these transcriptions: Nothing in recent memory has caused such sensation and enjoyment in both pianists and audiences as these arrangements...The demand for them has in no way been satisfied; and it will not be until these arrangements are seen on pianos everywhere. They have indeed made quite a splash. Eduard Hanslick, never a sympathetic critic of Liszt's music, acknowledged thirty years after the fact that, Liszt's transcriptions of Schubert Lieder were epoch-making. There was hardly a concert in which Liszt did not have to play one or two of them--even when they were not listed on the program. These transcriptions quickly became some of his most sough-after pieces, despite their extreme technical demands. Leading pianists of the day, such as Clara Wieck and Sigismond Thalberg, incorporated them into their concert programs immediately upon publication. Moreover, the transcriptions would serve as inspirations for other composers, such as Stephen Heller, Cesar Franck and later Leopold Godowsky, all of whom produced their own transcriptions of Schubert's Lieder. Liszt would transcribe the Lieder of other composers as well, including those by Mendelssohn, Chopin, Anton Rubinstein and even himself. Robert Schumann, of course, would not be ignored. The first transcription of a Schumann Lied was the celebrated Widmung from Myrten in 1848, the only Schumann transcription that Liszt completed during the composer's lifetime. (Regrettably, there is no evidence of Schumann's regard of this transcription, or even if he was aware of it.) From the years 1848-1881, Liszt transcribed twelve of Robert Schumann's Lieder (including one orchestral Lied) and three of Clara (one from each of her three published Lieder cycles); he would transcribe no other works of these two composers. The Schumann Lieder transcriptions, contrary to those of Schubert, are literal arrangements, posing, in general, far fewer demands on the pianist's technique. They are comparatively less imaginative in their treatment of the original material. Additionally, they seem to have been less valued in their day than the Schubert transcriptions, and it is noteworthy that none of the Schumann transcriptions bear dedications, as most of the Schubert transcriptions do. The greatest challenge posed by Lieder transcriptions, regardless of the composer or the nature of the transcription, was to combine the vocal and piano parts of the original such that the character of each would be preserved, a challenge unique to this form of transcription. Each part had to be intact and aurally recognizable, the vocal line in particular. Complications could be manifold in a Lied that featured dissimilar parts, such as Schubert's Auf dem Wasser zu singen, whose piano accompaniment depicts the rocking of the boat on the shimmering waves while the vocal line reflects on the passing of time. Similar complications would be encountered in Gretchen am Spinnrade, in which the ubiquitous sixteenth-note pattern in the piano's right hand epitomizes the ever-turning spinning wheel over which the soprano voice expresses feelings of longing and heartache. The resulting transcriptions for solo piano would place exceptional demands on the pianist. The complications would be far less imposing in instances in which voice and piano were less differentiated, as in many of Schumann's Lieder that Liszt transcribed. The piano parts in these Lieder are true accompaniments for the voice, providing harmonic foundation and rhythmic support by doubling the vocal line throughout. The transcriptions, thus, are strict and literal, with far fewer demands on both pianist and transcriber. In all of Liszt's Lieder transcriptions, regardless of the way in which the two parts are combined, the melody (i.e. the vocal line) is invariably the focal point; the melody should sing on the piano, as if it were the voice. The piano part, although integral to contributing to the character of the music, is designed to function as accompaniment. A singing melody was a crucial objective in nineteenth-century piano performance, which in part might explain the zeal in transcribing and paraphrasing vocal music for the piano. Friedrich Wieck, father and teacher of Clara Schumann, stressed this point repeatedly in his 1853 treatise Clavier und Gesang (Piano and Song): When I speak in general of singing, I refer to that species of singing which is a form of beauty, and which is a foundation for the most refined and most perfect interpretation of music; and, above all things, I consider the culture of beautiful tones the basis for the finest possible touch on the piano. In many respects, the piano and singing should explain and supplement each other. They should mutually assist in expressing the sublime and the noble, in forms of unclouded beauty. Much of Liszt's piano music should be interpreted with this concept in mind, the Lieder transcriptions and opera paraphrases, in particular. To this end, Liszt provided numerous written instructions to the performer to emphasize the vocal line in performance, with Italian directives such as un poco marcato il canto, accentuato assai il canto and ben pronunziato il canto. Repeated indications of cantando,singend and espressivo il canto stress the significance of the singing tone. As an additional means of achieving this and providing the performer with access to the poetry, Liszt insisted, at what must have been a publishing novelty at the time, on printing the words of the Lied in the music itself. Haslinger, seemingly oblivious to Liszt's intent, initially printed the poems of the early Schubert transcriptions separately inside the front covers. Liszt argued that the transcriptions must be reprinted with the words underlying the notes, exactly as Schubert had done, a request that was honored by printing the words above the right-hand staff. Liszt also incorporated a visual scheme for distinguishing voice and accompaniment, influenced perhaps by Chopin, by notating the accompaniment in cue size. His transcription of Robert Schumann's Fruhlings Ankunft features the vocal line in normal size, the piano accompaniment in reduced size, an unmistakable guide in a busy texture as to which part should be emphasized: Example 1. Schumann-Liszt Fruhlings Ankunft, mm. 1-2. The same practice may be found in the transcription of Schumann's An die Turen will ich schleichen. In this piece, the performer must read three staves, in which the baritone line in the central staff is to be shared between the two hands based on the stem direction of the notes: Example 2. Schumann-Liszt An die Turen will ich schleichen, mm. 1-5. This notational practice is extremely beneficial in this instance, given the challenge of reading three staves and the manner in which the vocal line is performed by the two hands. Curiously, Liszt did not use this practice in other transcriptions. Approaches in Lieder Transcription Liszt adopted a variety of approaches in his Lieder transcriptions, based on the nature of the source material, the ways in which the vocal and piano parts could be combined and the ways in which the vocal part could sing. One approach, common with strophic Lieder, in which the vocal line would be identical in each verse, was to vary the register of the vocal part. The transcription of Lob der Tranen, for example, incorporates three of the four verses of the original Lied, with the register of the vocal line ascending one octave with each verse (from low to high), as if three different voices were participating. By the conclusion, the music encompasses the entire range of Liszt's keyboard to produce a stunning climactic effect, and the variety of register of the vocal line provides a welcome textural variety in the absence of the words. The three verses of the transcription of Auf dem Wasser zu singen follow the same approach, in which the vocal line ascends from the tenor, to the alto and to the soprano registers with each verse. Fruhlingsglaube adopts the opposite approach, in which the vocal line descends from soprano in verse 1 to tenor in verse 2, with the second part of verse 2 again resuming the soprano register; this is also the case in Das Wandern from Mullerlieder. Gretchen am Spinnrade posed a unique problem. Since the poem's narrator is female, and the poem represents an expression of her longing for her lover Faust, variation of the vocal line's register, strictly speaking, would have been impractical. For this reason, the vocal line remains in its original register throughout, relentlessly colliding with the sixteenth-note pattern of the accompaniment. One exception may be found in the fifth and final verse in mm. 93-112, at which point the vocal line is notated in a higher register and doubled in octaves. This sudden textural change, one that is readily audible, was a strategic means to underscore Gretchen's mounting anxiety (My bosom urges itself toward him. Ah, might I grasp and hold him! And kiss him as I would wish, at his kisses I should die!). The transcription, thus, becomes a vehicle for maximizing the emotional content of the poem, an exceptional undertaking with the general intent of a transcription. Registral variation of the vocal part also plays a crucial role in the transcription of Erlkonig. Goethe's poem depicts the death of a child who is apprehended by a supernatural Erlking, and Schubert, recognizing the dramatic nature of the poem, carefully depicted the characters (father, son and Erlking) through unique vocal writing and accompaniment patterns: the Lied is a dramatic entity. Liszt, in turn, followed Schubert's characterization in this literal transcription, yet took it an additional step by placing the register of the father's vocal line in the baritone range, that of the son in the soprano range and that of the Erlking in the highest register, options that would not have been available in the version for voice and piano. Additionally, Liszt labeled each appearance of each character in the score, a means for guiding the performer in interpreting the dramatic qualities of the Lied. As a result, the drama and energy of the poem are enhanced in this transcription; as with Gretchen am Spinnrade, the transcriber has maximized the content of the original. Elaboration may be found in certain Lieder transcriptions that expand the performance to a level of virtuosity not found in the original; in such cases, the transcription approximates the paraphrase. Schubert's Du bist die Ruh, a paradigm of musical simplicity, features an uncomplicated piano accompaniment that is virtually identical in each verse. In Liszt's transcription, the material is subjected to a highly virtuosic treatment that far exceeds the original, including a demanding passage for the left hand alone in the opening measures and unique textural writing in each verse. The piece is a transcription in virtuosity; its art, as Rosen noted, lies in the technique of transformation. Elaboration may entail an expansion of the musical form, as in the extensive introduction to Die Forelle and a virtuosic middle section (mm. 63-85), both of which are not in the original. Also unique to this transcription are two cadenzas that Liszt composed in response to the poetic content. The first, in m. 93 on the words und eh ich es gedacht (and before I could guess it), features a twisted chromatic passage that prolongs and thereby heightens the listener's suspense as to the fate of the trout (which is ultimately caught). The second, in m. 108 on the words Betrogne an (and my blood boiled as I saw the betrayed one), features a rush of diminished-seventh arpeggios in both hands, epitomizing the poet's rage at the fisherman for catching the trout. Less frequent are instances in which the length of the original Lied was shortened in the transcription, a tendency that may be found with certain strophic Lieder (e.g., Der Leiermann, Wasserflut and Das Wandern). Another transcription that demonstrates Liszt's readiness to modify the original in the interests of the poetic content is Standchen, the seventh transcription from Schubert's Schwanengesang. Adapted from Act II of Shakespeare's Cymbeline, the poem represents the repeated beckoning of a man to his lover. Liszt transformed the Lied into a miniature drama by transcribing the vocal line of the first verse in the soprano register, that of the second verse in the baritone register, in effect, creating a dialogue between the two lovers. In mm. 71-102, the dialogue becomes a canon, with one voice trailing the other like an echo (as labeled in the score) at the distance of a beat. As in other instances, the transcription resembles the paraphrase, and it is perhaps for this reason that Liszt provided an ossia version that is more in the nature of a literal transcription. The ossia version, six measures shorter than Schubert's original, is less demanding technically than the original transcription, thus representing an ossia of transcription and an ossia of piano technique. The Schumann Lieder transcriptions, in general, display a less imaginative treatment of the source material. Elaborations are less frequently encountered, and virtuosity is more restricted, as if the passage of time had somewhat tamed the composer's approach to transcriptions; alternatively, Liszt was eager to distance himself from the fierce virtuosity of his early years. In most instances, these transcriptions are literal arrangements of the source material, with the vocal line in its original form combined with the accompaniment, which often doubles the vocal line in the original Lied. Widmung, the first of the Schumann transcriptions, is one exception in the way it recalls the virtuosity of the Schubert transcriptions of the 1830s. Particularly striking is the closing section (mm. 58-73), in which material of the opening verse (right hand) is combined with the triplet quarter notes (left hand) from the second section of the Lied (mm. 32-43), as if the transcriber were attempting to reconcile the different material of these two sections. Fruhlingsnacht resembles a paraphrase by presenting each of the two verses in differing registers (alto for verse 1, mm. 3-19, and soprano for verse 2, mm. 20-31) and by concluding with a virtuosic section that considerably extends the length of the original Lied. The original tonalities of the Lieder were generally retained in the transcriptions, showing that the tonality was an important part of the transcription process. The infrequent instances of transposition were done for specific reasons. In 1861, Liszt transcribed two of Schumann's Lieder, one from Op. 36 (An den Sonnenschein), another from Op. 27 (Dem roten Roslein), and merged these two pieces in the collection 2 Lieder; they share only the common tonality of A major. His choice for combining these two Lieder remains unknown, but he clearly recognized that some tonal variety would be needed, for which reason Dem roten Roslein was transposed to C>= major. The collection features An den Sonnenschein in A major (with a transition to the new tonality), followed by Dem roten Roslein in C>= major (without a change of key signature), and concluding with a reprise of An den Sonnenschein in A major. A three-part form was thus established with tonal variety provided by keys in third relations (A-C>=-A); in effect, two of Schumann's Lieder were transcribed into an archetypal song without words. In other instances, Liszt treated tonality and tonal organization as important structural ingredients, particularly in the transcriptions of Schubert's Lieder cycles, i.e. Schwanengesang, Winterreise a... $32.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Marga Richter Piano solo Carl Fischer
Complete Works for Solo Piano. Composed by Marga Richter. Score. Carl Fische...(+)
Complete Works for Solo
Piano. Composed by Marga
Richter. Score. Carl Fischer
Music #PL1063. Published by
Carl Fischer Music
$36.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Sonata No. 1 Piano solo Schott
Piano (Piano Solo) SKU: HL.49047082 “Pinus†Piano Solo...(+)
Piano (Piano Solo) SKU: HL.49047082 “Pinus†Piano Solo. Composed by A. Bu. Piano Solo. Classical, Jazz. Softcover. 44 pages. Duration 1020 seconds. Schott Music #ED23666. Published by Schott Music (HL.49047082). ISBN 9781705185223. UPC: 842819118312. A Bu composed the first sketch of this sonata shortly after the death of Nikolai Kapustin in July 2020. The subtitle “Pinus†(Pine) is given in memory of Kapustin's profound artistry and musical determination. Its four-movement structure and jazz style are based on Kapustin's Sonata-Fantasy Op. 39. $24.99 - See more - Buy online | | |
| Sonata Profondo Piano solo [Solo Part] Theodore Presser Co.
For Piano. By Ralph Shapey. Solo piano. For Piano Solo. Solo part. Composed 1995...(+)
For Piano. By Ralph Shapey. Solo piano. For Piano Solo. Solo part. Composed 1995. 26 pages. Duration 18:00. Published by Theodore Presser Company.
$25.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Strange Meeting Piano solo Oxford University Press
Solo piano (Solo) SKU: OU.9780193722491 Composed by Michael Berkeley. Pia...(+)
Solo piano (Solo) SKU: OU.9780193722491 Composed by Michael Berkeley. Piano (Solo). 16 pages. Duration 15'. Oxford University Press #9780193722491. Published by Oxford University Press (OU.9780193722491). ISBN 9780193722491. 12 x 8 inches. A work in three contrasting sections, each reflecting a mood of Wilfred Owen's poem of the same name. The first depicts the 'strangeness' of the meeting ' . . . Down some profound tunnel', and the second portrays the viciousness of war with violent, jabbing rhythms. This leads directly into a concluding chorale-like movement in which a kind of peace is attained, echoing the closing words of the poem 'Let us sleep now . . .'. $16.25 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Sonata Piano solo - Advanced Schott
Piano - advanced SKU: HL.49044170 Piano Solo. Composed by Ulvi Cem...(+)
Piano - advanced SKU: HL.49044170 Piano Solo. Composed by Ulvi Cemal Erkin. This edition: Saddle stitching. Sheet music. Piano Solo. Classical, Contemporary. Softcover. Composed 1946. 26 pages. Duration 15'. Schott Music #ED 21700. Published by Schott Music (HL.49044170). ISBN 9790001194846. 9.0x12.0x0.123 inches. The Sonata is one of Erkin's works which the casual listener may fail to attribute to a particular geography at a first hearing. He will however become absorbed by a unique sense of identity, surprising harmonies and rhythms which integrate with such sincerity and authenticity in the flowof the music. At a more attentive hearing, one can discover features of ancient Anatolian music which Erkin always transforms with extraordinary inspiration, enfolding audiences unfamiliar with this culture in a music which is often profoundly spiritual with an admirably woven polyphonic texture in which not one bar seems superfluous or out of place.The first movement Allegro is woven from two contrasting themes. The first is a vigorous progression in the middle register with contrapuntal elements quasi as counterpoint. A luminous second theme evoking folk tunes connects back to the first theme and the movement ends in a brisk tone.In the second movement Adagio molto sostenuto a profound, introspective first theme is developed in variations of exquisite lyricism. The imposing middle section which forms a rondo suggests latent unrest.Imbued with energy and determination, the final Allegro consists of abstracted elements of Anatolian folk music bearing the creative stamp of Erkin. The movement ends with an impressive crescendo. $18.99 - See more - Buy online | | |
| Bamboo Song Piano solo Theodore Presser Co.
Composed by Chen Yi (1953-). Sws. Duration 6 minutes. Theodore Presser Compa...(+)
Composed by Chen Yi (1953-).
Sws. Duration 6 minutes.
Theodore Presser Company
#110-41828. Published by
Theodore Presser Company
$14.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Variations on an Original Theme in E minor, Op. 1 Piano solo [Sheet music] - Advanced Schott
(Piano Solo). By Charles Marie Widor (1844-1937). For Piano. Piano. Softcover. 4...(+)
(Piano Solo). By Charles Marie Widor (1844-1937). For Piano. Piano. Softcover. 46 pages. Schott Music #ED20415. Published by Schott Music
$22.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Prelude, Blues and Polka Piano solo Bote and Bock
Piano (Piano Solo) SKU: HL.48025031 Piano. Composed by Simon Laks....(+)
Piano (Piano Solo) SKU: HL.48025031 Piano. Composed by Simon Laks. BH Piano. Classical. Softcover. 16 pages. Bote & Bock #M202534854. Published by Bote & Bock (HL.48025031). UPC: 196288019954. 9.0x12.0x0.129 inches. Simon (Polish: Szymon) Laks, born in Warsaw in 1901, had worked in Paris since 1926, where he stood out as one of the most importantrepresentatives of Polish modernism in the context of the Groupe de Six and the Ecole de Paris. Promoted by Szymanowski and inspiredby Ravel, he amalgamated neoclassicism of French provenance with elements of Polish folk music tradition and influences from jazz. Laks work was dramatically interrupted by internment and deportation. He survived Auschwitz as a member and leader of a camp chapel, to which he gave poignant testimony in his book Music in Auschwitz (978-3-7931-4082-5). The piano pieces, which were createdindependently of one another and are summarized as a cycle in this volume, reflect the stylistic range of Laks oeuvre, his typical juggling with the levels E and U and his own profound sense of humor. Simon Lak's 'oeuvre, which is attracting increasing international attention, is published exclusively by Boosey & Hawkes. $21.99 - See more - Buy online | | |
| From the Southland Piano solo Theodore Presser Co.
Chamber Music Piano SKU: PR.140401340 Sketches for Piano. Composed...(+)
Chamber Music Piano SKU: PR.140401340 Sketches for Piano. Composed by Harry T. Burleigh. Edited by Lara Downes. 16 pages. Duration 18 minutes. Theodore Presser Company #140-40134. Published by Theodore Presser Company (PR.140401340). ISBN 9781491134450. UPC: 680160684953. Best known for his settings of spirituals and influence on Dvorák, Henry T. Burleigh was a celebrated baritone, and a prolific composer of original works. FROM THE SOUTHLAND is a suite of six atmospheric scenes of the American south, inspired by Black musical and cultural traditions. FROM THE SOUTHLAND is within reach of intermediate pianists and artistically suited for professional recitals. In 1835, Henry T. Burleigh’s maternal grandfather purchased his own release from slavery for the sum of $50, and traveled north out of Maryland to begin a new life as a free man. He established his family in Ithaca, NY, and then moved to the bustling lakefront city of Erie, PA, where three decades later his grandson Henry would be born and raised.For Burleigh, the “Southland†that inspired this collection of piano sketches was a distant place that could not have been more different from the physical world he knew, up there in the northern snowbelt. And yet these southern landscapes and vignettes must have been intensely present in his consciousness, absorbed through the stories and songs he first learned at his grandfather’s knee.The music of the South – the spirituals and work songs he heard as a child –would travel with Burleigh throughout his long and illustrious musical life. Even as he progressed through his early classical training, his career as a baritone soloist in Erie’s churches and synagogue, his move to New York to study at the National Conservatory of Music, and his rise to national prominence as a concert soloist, these ancestral melodies stayed firmly centered in his musical identity.When he wrote From the Southland, his only composition for solo piano, Burleigh was just beginning his career as a composer. The art songs that would establish him as one of America’s best known composers in the genre were still to come. And so were his iconic arrangements of spirituals that would bring the songs of slavery onto concert stages around the world, transformed into timeless and uniquely American music.These little piano sketches bring together all the things that made Burleigh the musician he was – the lush, late-romantic style of his time; a broad vision for American music; and a profound respect for his heritage, a memory of the world his grandfather left behind, and a love of the music he brought with him. $11.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Songe d'une Nuit d'été n°4 Opus 61 (Collection Anacrouse) Piano solo Editions Bourges
Piano Solo - Moderately Easy SKU: BU.EBR-A075 Composed by Felix Bartholdy...(+)
Piano Solo - Moderately Easy SKU: BU.EBR-A075 Composed by Felix Bartholdy Mendelssohn. This edition: French Edition. Classique. Anacrouse. Transcription pour piano + Biographie + Notes sur l'oeuvre. Score. Editions Bourges #EBR-A075. Published by Editions Bourges (BU.EBR-A075). ISBN 9790560151571. 8.58 x 12.48 inches. La collection ANACROUSE offre aux pianistes novices et confirmés un large choix d’œuvres classiques, allant de la Renaissance à l’époque moderne.
Proposer tout à la fois des « incontournables » du répertoire classique et des pièces de compositeurs parfois oubliés, toutes d’une valeur pédagogique indéniable, tels sont les objectifs que nous nous sommes fixés. Chaque pièce, vendue à l’unité, a fait l’objet d’un travail éditorial attentif, tant sur le plan de l’établissement du texte musical que de sa gravure, afin de garantir aux musiciens les conditions indispensables aux plaisirs tirés du commerce fréquent de ces œuvres.
Les partitions sont proposées sous la forme d’ouvrages traditionnels (feuillets papier), et disponibles également par téléchargement.
Félix Mendelssohn écrit d'abord l'ouverture du songe d'une nuit d'été en 1826. Il recommence à composer les musiques de scène sur le songe en 1842 par la demande du roi de Prusse. Il prend son inspiration dans les comédies de Shakespeare. A l'origine, cette oeuvre est jouée avec un orchestre, deux sopranos et un choeur de femmes. Aujourd'hui, elle représentée sous la forme d'une suite de concert dont certaines parties ne sont plus exécutées. La marche nuptiale précède le grand final de ces musiques de scène. Très célèbre, elle se détache de la suite de concert pour être exécutée dans des situations inattendues comme à la sortie d'un mariage dans sa transcription pour l'orgue, ou pour piano. A l'origine, elle accompagne l'escorte des noces assez cocasses de Titiana et de Bottom aux oreilles d'ânes. Le thème principal caractérise l'entrée des comédiens et provient de l'intermezzo, la deuxième pièce. Ce motif très particulier a permis à beaucoup de couples de mystifier agréablement cette marche à travers ce lieu symbolique du mariage. $9.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Mozart: At the Piano Piano solo [Sheet music] G. Henle
15 Well-Known Original Pieces in Progressive Order. Composed by Wolfgang ...(+)
15 Well-Known Original Pieces in Progressive Order. Composed by Wolfgang Amadeus Mozart (1756-1791). Edited by Sylvia Hewig-Tr�¶scher. At the Piano. Softcover. 64 pages. G. Henle #HN1812. Published by G. Henle (HL.51481812).
$19.95 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Wit and Wisdom from the Piano Bench Piano solo Faber Piano Adventures
Piano/Keyboard SKU: HL.275430 50 Witty and 50 Wise Ways to Inspire Asp...(+)
Piano/Keyboard SKU: HL.275430 50 Witty and 50 Wise Ways to Inspire Aspiring Musicians. Faber Piano Adventures. Piano Reference, Teacher Resource. Softcover. 80 pages. Faber Piano Adventures #DB1000. Published by Faber Piano Adventures (HL.275430). ISBN 9781616777098. UPC: 888680743987. 6.0x9.0x0.253 inches. Suzanne W. Guy with Tonya M. Holland. In this delightful book of reflections, Suzanne Guy shares witty sayings and wise truths gathered over 45 years of teaching piano. From daily chuckles to profound thoughts, the rich imagery and concepts presented here sparkle like musical gems, offering the perfect dose of inspiration. About the Author: Suzanne Guy has presented workshops and master classes at colleges, conventions, and professional organizations throughout the United States. Guy holds the MTNA Master Teacher Certificate and was also selected to be a Mobil Ambassador teacher at the ninth Van Cliburn Competition. Guy holds a degree in piano performance from Agnes Scott College and taught piano pedagogy at both Peabody Conservatory and George Mason University. About Basic Piano Adventures Piano Adventures has set a new standard for a new century of piano teaching. It is fast becoming the method of choice at leading university pedagogy programs and major teaching studios around the world. But more importantly, Piano Adventures is bringing smiles to the faces of thousands of piano students. It can do the same for your students. $9.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Essential Piano Technique Primer B -- Making waves Piano solo Peters
Composed by Illustrated by Eilidh Muldoon, Music by Aaron Burrows, Penelope Ro...(+)
Composed by Illustrated by
Eilidh Muldoon, Music by Aaron
Burrows, Penelope Roskell, and
Words by Carl Heap.
Method/Instruction; Piano
Method; Technique
Musicianship. Penelope
Roskell's Complete Pianist
Series. Form: Classical. Book.
48 pages. Edition Peters #98-
EP73706. Published by Edition
Peters
$11.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Essential Piano Technique Primer A -- Hop, Skip, and Jump Piano solo - Beginner Peters
Composed by Illustrated by Eilidh Muldoon, Music by Aaron Burrows, Penelope Ro...(+)
Composed by Illustrated by
Eilidh Muldoon, Music by Aaron
Burrows, Penelope Roskell, and
Words by Carl Heap.
Method/Instruction; Piano
Method; Technique
Musicianship. Penelope
Roskell's Complete Pianist
Series. Form: Classical. Book.
48 pages. Edition Peters #98-
EP73705. Published by Edition
Peters
$11.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
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| Claude Debussy: La Fille
Aux Cheveux De Lin:
Piano: Instrumental Album Piano solo - Intermediate/advanced Faber Piano Adventures
La fille aux cheveux de lin-Claude Debussy's La Fille Aux Cheveux De Lin or The ...(+)
La fille aux cheveux de lin-Claude Debussy's La Fille Aux Cheveux De Lin or The Girl with the Flaxen Hair for Piano Solo. This is a terrific edition of Debussy's wonderful piece and has been edited to reflect the subtle grace and profound delicacy of the composition. A welcome addition to the performance literature.
2.50 GBP - Sold by Musicroom UK Pre-shipment lead time: In Stock | |
| Beethoven Ludwig Van -
Ludwig Van Beethoven
Complete Piano Sonatas -
001 - Piano Solo
Piano solo [Sheet music] - Advanced Dover Publications
Description The entire corpus of Beethoven’s piano sonatas is contained in ...(+)
Description The entire corpus of Beethoven’s piano sonatas is contained in this two volume work – 32 sonatas in all. Volume One contains the fifteen sonatas from Beethoven’s first period, including the Pathetique, Moonlight and Pastorale Sonatas. The music is reproduced from the exemplary Universal-Edition set edited by Heinrich Schenker. Combining scrupulous scholarship and profound artistic vision, Schenker achieved an edition which is universally admired by musicians and scholars. For this Dover edition, Schenker’s footnotes have been translated into English and his preface retranslated. A new introduction introduction by Carl Schachter has also been included. This edition will be welcomed by all pianists, both professional and amateur, for its accuracy and reliability; it is highly desirable for instruction, study, reference and enjoyment. Songlist Sonata In A Major Op.2, No.2 Sonata In A-flat Major Op.26 Sonata In B Minor Op.14, No.2 Sonata In C Major Op.2, No.3 Sonata In C Minor Op. 10, No. 1 Sonata In C Minor Op.13 Sonata In C Sharp Minor Op.27 No.2 Sonata In D Major Op.10, No.3 Sonata In D Op.28 Sonata In E Major Op.14, No.1 Sonata In E-flat Major Op. 7 Sonata In E-flat Major Op.27, No.1 Sonata In F Major Op.10, No.2 Sonata In F Minor Op.2 No.1 Sonata No.11 In B Flat Op.22
30.60 EUR - Sold by Woodbrass Pre-shipment lead time: On order | |
| BACH / BUSONI - TOCCATA
D-MOLL BWV 565 - PIANO
Piano solo G. Henle
Ferruccio Busoni Toccata en ré mineur pour orgue BWV 565 (Johann Sebastian...(+)
Ferruccio Busoni Toccata en ré mineur pour orgue BWV 565 (Johann Sebastian Bach) Ullrich Scheideler (Editeur) Christian Schaper (Editeur) Marc-André Hamelin (Doigtés) Edition Urtext, transcription pour piano, reliure paperback Bach/Busoni - cette combinaison fait battre plus vite le c?ur des pianistes. Car Busoni parvient même à transcrire pour piano les ?uvres de Bach écrites à l?origine sur mesure pour un autre instrument de telle manière que le monde sonore original reste perceptible, sans empêcher le grand piano de concert de faire étalage de tout son potentiel. Sa transcription de la Toccata pour orgue en ré mineur BWV 565 (laquelle, après une période transitoire d?incertitude, est aujourd?hui de nouveau considérée comme une ?uvre à part entière de Bach) devait, en 1900, aux côtés de la Toccata en Ut majeur BWV 564, conclure la série de ses arrangements de Bach pour les éditions Breitkopf
14.80 EUR - Sold by Woodbrass Pre-shipment lead time: On order | |
| Suzanne W. Guy Tonya M.
Holland: Wit and Wisdom
from the Piano Bench:
Piano: Piano solo Faber Piano Adventures
50 Witty and 50 Wise Ways to Inspire Aspiring Musicians-In this delightful book ...(+)
50 Witty and 50 Wise Ways to Inspire Aspiring Musicians-In this delightful book of reflections Suzanne Guy shares witty sayings and wise truths gathered over 45 years of teaching piano. From daily chuckles to profound thoughts the rich imagery and concepts presented here sparkle like musical gems offering the perfect dose of inspiration. About the Author: Suzanne Guy has presented workshops and master classes at colleges conventions and professional organizations throughout the United States. Guy holds the MTNA Master Teacher Certificate and was also selected to be a Mobil Ambassador teacher at the ninth Van Cliburn Competition. Guy holds a degree in piano performance from Agnes Scott College and taught piano pedagogy at bothPeabody Conservatory and George Mason University.
9.99 GBP - Sold by Musicroom UK | |
| Bill Metthiesen:
Habaneras Maxixes and
Tangos: Piano:
Instrumental Album Piano solo [Sheet music] - Intermediate Mel Bay
The Syncopated Piano Music-This collection showcases the syncopated piano music ...(+)
The Syncopated Piano Music-This collection showcases the syncopated piano music of Latin American during the nineteenth and early twentieth centuries. It features Latin rhythms which are really African rhythms brought to the Americas by slaves and appliedto the music of the European colonists. These rhythms are varied and complex and so is their history. They've had a widespread and profound influence on the evolution of popular music not only in Latin America but also in theUnited States. The most obvious offshoots are the tango in Argentine and Uruguay and most of the other popular dances of South and Central America as well as ragtime and jazz in the United States. Jelly Roll Morton claimed this'Latin tinge' is the essential element that distinguishes jazz from ragtime. These rhythms are the musical roots of groups like 'The Buena Vista Social Club.' Includes historic tangos written by Ignacio Cervantes - Cuba Manuel Saumell - Cuba Juan Morel Campos - Puerto Rico Jose Quinton - Puerto Rico Ernesto Nazareth -Brazil Tomas Leon - Mexico Sebastian Yradier - Spain Eduardo Sanchez du Fuentas - Cuba Will Tyers - USA Vincente Greco -Argentina Anselmo Rosendo (Mendizabal) - Argentina Angel Villoldo - Argentina Eduardo Arolas - Argentina Juan Maglio - Argentina
18.99 GBP - Sold by Musicroom UK Pre-shipment lead time: In Stock | |
| Piano Stylings Vol.2:
Piano: Instrumental Album Piano solo - Intermediate/advanced Faber Music Limited
A collection of the best-loved and most important songs of the popular genre pre...(+)
A collection of the best-loved and most important songs of the popular genre presented in arrangements of varying styles written and by the many great pianists who have helped shaped popular Piano performance. The arrangements reflect a profound respect for the Jazz idiom. The original sheet music is also included to outline how the music has been developed.
15.99 GBP - Sold by Musicroom UK | |
| Ludwig van Beethoven:
Piano Sonata no. 5 in c
minor op. 10 1: Piano: Piano solo G. Henle
Piano Sonata no. 5 in c minor op. 10 no. 1-Decisive and manly ??? most profound ...(+)
Piano Sonata no. 5 in c minor op. 10 no. 1-Decisive and manly ??? most profound sentiment and delicacy ??? and imaginative humour??? ??? thus does Beethoven???s contemporary Carl Czerny accurately describe the three movements of this expressive sonata. As no autograph manuscript has survived the first edition of the three sonatas op. 10 published in Vienna in 1798 forms the sole basis for the revised Urtext edition of the Sonata in c minor. Yet another jewel stemming from the collaboration between Beethoven specialist Norbert Gertsch and star pianist Murray Perahia.
6.99 GBP - Sold by Musicroom UK Pre-shipment lead time: In Stock | |
| From Bartók To
Stravinsky Piano solo [Sheet music] Schott
Quinze des pièces plus simple ont été sélectionnés dans le répertoire du X...(+)
Quinze des pièces plus simple ont été sélectionnés dans le répertoire du XXe siècle. Six de ces ne dépassent pas le compas d'un cinquième. Nous avons délibérément omis de pièces de travaux qui devrait, sans échec, être inclus dans tous les enseignement de piano, de Bartók ' Mikrokosmos ' et ' For Children '. Avec leurs mélodies attrayants et une structure simple et organisée de rythme et de l'harmonie, les pièces de cette sélection prouvent qu'accès à la musique contemporaine peuvent être faites facile même pour les débutants. / Piano
17.21 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: In Stock | |
| Ludwig van Beethoven:
Complete Piano Sonatas -
Volume I: Piano:
Instrumental Piano solo - Advanced Dover Publications
Nos. 1-15-The entire corpus of Beethoven???s piano sonatas is contained in this ...(+)
Nos. 1-15-The entire corpus of Beethoven???s piano sonatas is contained in this two volume work 32 sonatas in all. Volume One contains the fifteen sonatas from Beethoven???s first period including the Pathetique Moonlight and Pastorale Sonatas. The music is reproduced from the exemplary Universal-Edition set edited by Heinrich Schenker. Combining scrupulous scholarship and profound artistic vision Schenker achieved an edition which is universally admired by musicians and scholars. For this Dover edition Schenker???s footnotes have been translated into English and his preface retranslated. A new introduction introduction by Carl Schachter has also been included. This edition will bewelcomed by all pianists both professional and amateur for its accuracy and reliability; it is highly desirable for instruction study reference and enjoyment.
25.40 GBP - Sold by Musicroom UK Pre-shipment lead time: In Stock | |
| Ludwig van Beethoven:
Piano Sonata In E Flat
Op.31 No.3: Piano:
Instrumental Piano solo G. Henle
For half a century Henle?s edition of the Beethoven sonatas the ?New Testament...(+)
For half a century Henle?s edition of the Beethoven sonatas the ?New Testament? of the Piano repertoire has been universally recognized as the standard starting-point for any serious study of these works. Now withthe publication of the three Op. 31 Sonatas in revised separate editions we are raising the yardstick another notch: no less a musician than the pianist and conductor Murray Perahia has agreed for the first timeever to publish his fingerings and as co-editor to confide his profound insights into the sources to music lovers everywhere. The musical text has been prepared in strict accordance with the rules of modern Urtext editing andthe volume is rounded off with a lengthy and informative preface and detailed notes on sources and alternative readings.
7.50 GBP - Sold by Musicroom UK Pre-shipment lead time: In Stock | |
| Epigramas cervantinos
(CASABLANCAS BENET) Piano solo [Sheet music] Unión Musical Ediciones
Par CASABLANCAS BENET. Epigramas Cervantinos was commissioned by pianist Marta E...(+)
Par CASABLANCAS BENET. Epigramas Cervantinos was commissioned by pianist Marta Espinós and the Centro Nacional de Difusión Musica (CNDM) in Madrid. With an approximate duration of 12:30 minutes, the work responds to the author's admiration for the work of Miguel de Cervantes and to the artistic complicities established with Marta Espinós, to whom the work is dedicated. The pieces that make up this triptych are intended to evoke some of the expressive types and characters that we recognise in Cervantes' prodigious legacy - from Don Quixote to the delightful Exemplary Novels - covering a wide range of emotions that range from burlesque to pages of a melancholic and contemplative nature, passing through more impulsive passages and others of conspicuous rhythmic vivacity. The profound charge of humanity that these texts exude is translated into a highly contrasted and colourful piano treatment, at times brilliant and not without virtuosity. The premiere of the work, by the aforementioned performer, took place during the inaugural concert of the Commemorative Events of the 4th Centenary of the death of the illustrious writer, held on 22 April 2016 in the Reading Room of the National Library of Spain (Madrid). / Date parution : 2022-04-01/ Répertoire / Piano
12.43 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: On order | |
| Santa Fe Suite: Seven
Bagatelles for Piano
(SNELL KEITH) Piano solo [Sheet music] Kjos Music Company
Par SNELL KEITH. These contemporary ?snapshot? pieces are descriptive, colorful ...(+)
Par SNELL KEITH. These contemporary ?snapshot? pieces are descriptive, colorful and respectful of ancient traditions and scenes from New Mexico. It is rich with contrasts - from playful sounds, to the deeply profound, to showy toccatinas, and more. Titles include Sunrise, Santa Fe Plaza, On Horseback, Coyotes, Native Land, The Burning of Zozobra, and Sunset. / Date parution : 2022-11-08/ Recueil / Piano
8.13 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: On order | |
| Matthiesen Bill -
Habaneras, Maxixes &
Tangos - Piano Piano solo Mel Bay
This collection showcases the syncopated piano music of Latin American during th...(+)
This collection showcases the syncopated piano music of Latin American during the nineteenth and early twentieth centuries. It features Latin rhythms, which are really African rhythms brought to the Americas by slaves and applied to the music of the European colonists. These rhythms are varied and complex and so is their history. They've had a widespread and profound influence on the evolution of popular music not only in Latin America, but also in the United States. The most obvious offshoots are the tango in Argentine and Uruguay and most of the other popular dances of South and Central America, as well as ragtime and jazz in the United States. Jelly Roll Morton claimed this Latin tinge is the essential element that distinguishes jazz from ragtime. These rhythms are the musical roots of groups like The Buena Vista Social Club.Adios a Cuba (I.Cervantes) - Almendares (I.Cervantes) - Carioca (Ernesto Nazareth) - Coquetona (Danza) (Jose I.Quinton) - Cruz, Perigo!! (Ernesto Nazareth) - El Entreriano (Tango) (A.Rosendo) - El Esquinazo (Tango Criollo) (A.G.Villoldo) - El Panuelo de Pepa (Contradanza) (manuel Saumell) - El Zurdo (Tango) (Juan Maglio) - Esta Chumbado (Ernesto Nazareth) - Garoto (Ernesto Nazareth) - Ilusiones Perdidas (I.Cervantes) - l Chicotazo (Tango No.2) (Vincente Greco) - La Encantadora (I.Cervantes) - La Isabelita (J.Morel Campos) - La Luz Electrica (Tomas Leon) - La Matilde (Contradanza) (Manuel Saumell) - La Paloma (Sebastian Yradier) - La Quejosita (Manuel Saumell) - La Reina de las Flores (Tomas Leon) - Lamentos de Amor (Manuel Saumell) - Laura y Georgina (J.Morel Camppos) - No Me Toques! (J.Morel Campos) - O Que Ha? (Tango) (Ernesto Nazareth) - Por Que, Eh? (Why, Eh?) (I.Cervantes) - Que Le Importa a Usted? (Tomas Leon) - Quien Sabe (Tomas Leon) - Recuerdos de Gottschalk (Contradanza) (Manuel Saumell) - Remando (Tango) (Ernesto Nazareth) - Suipacha (Tango Milonga) (Eduardo Arolas) - Tiene Que Ser (It Must Be) (I.Cervantes) - Trocha (A Cuban Dance) (Wm.H.Tyres) - Tu (Habanera) (E.Sanchez Fuentes) - Vaya Una Pregunta (Tomas Leon) - Vitorioso (Tango) (Ernesto Nazareth) - Vuelta al Hogar (I.Cervantes) - Yo Se Lo Dire a Ustted (Tomas Leon)
26.10 EUR - Sold by Woodbrass Pre-shipment lead time: On order | |
| Philippe Leroux -
Impressions D'enfance -
Piano
Français Piano solo Billaudot
Ces cinq pièces évoquent dans l?ordre chronologique : ? un canon qui ne s?inte...(+)
Ces cinq pièces évoquent dans l?ordre chronologique : ? un canon qui ne s?interrompt que dans les profondeurs, comme cette eau de la fontaine qui tombe en cascade d?une vasque à l?autre, semblant ne jamais s?arrêter ; ? l?obstination d?un enfant qui paraît en colère, mais rit intérieurement car il a décidé de ne pas mettre le vêtement détesté ; ? un chat marchant à pas de velours sur le piano, et qui d?un coup saute sur l?épaule de l?enfant étonné ; ? l?esprit traversé d?émotions diverses, qui même au sein de ce bouleversement parvient à distinguer le c?ur battant de la personne aimée ; ? enfin, quelques secrets cachés sous un manteau de sons et de notes, se révélant lentement à chaque fois qu?un doigt en enlève un fragment sonore.
7.70 EUR - Sold by Woodbrass Pre-shipment lead time: On order | |
| Soul Bird Piano solo Schott
Le titre 'Sielulintu' (l'âme d'oiseau) provient de la mythologie finlandaise an...(+)
Le titre 'Sielulintu' (l'âme d'oiseau) provient de la mythologie finlandaise ancienne dans laquelle les oiseaux jouent un rôle de premier plan. On croyait que l'âme d'un individu a été apporté par un oiseau au moment de la naissance et emmené par un oiseau au moment de la mort. Pas si longtemps, les habitants de la Finlande orientale utilisée pour placer des figures d'oiseaux sculptés dans du bois à leur chevet pendant le sommeil pour protéger l'âme et l'empêcher de se perdre dans leurs rêves.Olli Mustonen / Clavecin Ou Piano
12.80 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: 3-10 days - In Stock Supplier | |
| Liszt, Franz / Wagner,
Richard : Isoldens
Liebestod from Tristan
und Isolde (Richard
Wagner)
Piano solo [Sheet music] - Advanced G. Henle
Liszt, l?un des plus grands pianistes virtuoses de son temps, transcrivit un nom...(+)
Liszt, l?un des plus grands pianistes virtuoses de son temps, transcrivit un nombre impressionnant d?oeuvres d?autres compositeurs pour son instrument de prédilection ? oeuvre clé du XIXe siècle, le Tristan et Isolde de Wagner en fit tout naturellement partie.
C?est de sa géniale transcription pour piano de la célèbre scène finale («Mild und leise, wie er lächelt») que provient par ailleurs le titre communément employé aujourd?hui de «Mort d?Isolde» ? Wagner parlait encore de «transfiguration» d?Isolde.
Nous présentons ce morceau raffiné, mais pas d??une difficulté insurmontable, dans une édition Urtext de la meilleure qualité, incluant les doigtés originaux du maître du clavier. Le texte chanté de cette scène finale du drame est par ailleurs reproduit en annexe à notre édition. / [Isoldens Liebestod / Extrait de Tristan et Isolde (Richard Wagner)] / Classique / Partition / Agrafé /
10.55 EUR - Sold by Note4Piano Pre-shipment lead time: 3-10 days - In Stock Supplier | |
| Gospel Hymns With A
Velvet Touch Piano solo Alfred Publishing
These gospel hymns have stood the test of time with their richness of content an...(+)
These gospel hymns have stood the test of time with their richness of content and profound simplicity. First-verse lyrics (and some refrains) are provided on the first page of each hymn for study and reflection. / Piano
21.04 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: 3-10 days - In Stock Supplier | |
| Sonata Piano solo Schott
The Sonata is one of Erkin's works which the casual listener may fail to attribu...(+)
The Sonata is one of Erkin's works which the casual listener may fail to attribute to a particular geography at a first hearing. He will however become absorbed by a unique sense of identity, surprising harmonies and rhythms which integrate with such sincerity and authenticity in the flow of the music. At a more attentive hearing, one can discover features of ancient Anatolian music which Erkin always transforms with extraordinary inspiration, enfolding audiences unfamiliar with this culture in a music which is often profoundly spiritual with an admirably woven polyphonic texture in which not one bar seems superfluous or out of place. The first movement Allegro is woven from two contrasting themes. The first is a vigorous progression in the middle register with contrapuntal elements quasi as counterpoint. A luminous second theme evoking folk tunes connects back to the first theme and the movement ends in a brisk tone. In the second movement Adagio molto sostenuto a profound, introspective first theme is developed in variations of exquisite lyricism. The imposing middle section which forms a rondo suggests latent unrest. Imbued with energy and determination, the final Allegro consists of abstracted elements of Anatolian folk music bearing the creative stamp of Erkin. The movement ends with an impressive crescendo. / Piano
18.31 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: 3-10 days - In Stock Supplier | |
| Mendelssohn, Félix :
Songe d'une nuit d'été
Opus 61 n°4 `La marche
nuptiale` Do Majeur
(Collection Anacrouse)
Français Piano solo [Sheet music] - Easy EBR Editions Bourges
Félix Mendelssohn écrit d'abord l'ouverture du songe d'une nuit d'été en 182...(+)
Félix Mendelssohn écrit d'abord l'ouverture du songe d'une nuit d'été en 1826. Il recommence à composer les musiques de scène sur le songe en 1842 par la demande du roi de Prusse. Il prend son inspiration dans les comédies de Shakespeare. A l'origine, cette oeuvre est jouée avec un orchestre, deux sopranos et un choeur de femmes. Aujourd'hui, elle représentée sous la forme d'une suite de concert dont certaines parties ne sont plus exécutées. La marche nuptiale précède le grand final de ces musiques de scène. Très célèbre, elle se détache de la suite de concert pour être exécutée dans des situations inattendues comme à la sortie d'un mariage dans sa transcription pour l'orgue, ou pour piano. A l'origine, elle accompagne l'escorte des noces assez cocasses de Titiana et de Bottom aux oreilles d'ânes. Le thème principal caractérise l'entrée des comédiens et provient de l'intermezzo, la deuxième pièce. Ce motif très particulier a permis à beaucoup de couples de mystifier agréablement cette marche à travers ce lieu symbolique du mariage. Marion Colas
6.80 EUR - Sold by Note4Piano Pre-shipment lead time: In Stock | |
| Joanna MacGregor:
Unbeaten Tracks. Piano
Grades 4-6: Piano:
Instrumental Album Piano solo [Sheet music] - Intermediate Faber Music Limited
The 'Unbeaten Tracks' series has made a profound mark on the music world with it...(+)
The 'Unbeaten Tracks' series has made a profound mark on the music world with its volumes of specially commissioned pieces for intermediate-level players. The eight pieces in this volume are written in a kaleidoscopic mix of styles by some of today's most talented composers and are undoubtedly destined to become standard repertoire. There are also small 'Biopics' about each composer. These give titbits of information about the composer's inspiration and intention for their piece and offer musicians a greater insight into the music.
9.99 GBP - Sold by Musicroom UK Pre-shipment lead time: In Stock | |
| Domenico Scarlatti:
Selected Piano Sonatas -
Volume III: Piano:
Instrumental Piano solo [Sheet music] G. Henle
Consid?r? aujourd?hui comme l?un des grands compositeurs de clavier de l?histoir...(+)
Consid?r? aujourd?hui comme l?un des grands compositeurs de clavier de l?histoire de la musique Domenico Scarlatti est ?galement le tout premier virtuose du clavier. Comme les deux volumes pr?c?dents d??uvres choisies de Scarlatti (HN 395 451) cette s?lection contient 24 sonates issues de diff?rentes p?riodes cr?atrices de son ?uvre et offre ainsi une vision globale des multiples facettes du talent de ce compositeur italien qui travaillait ? la cour d?Espagne. Gr?ce ? ses th?mes caract?ristiques ? des m?lodies naturellement chantantes et ? des motifs dansants Scarlatti parvient ? d?passer toute forme de lourdeur baroque. Dans ces sonates en un seul mouvement latechnique de jeu devient un ?l?ment formel structurant. Pour la premi?re fois dans l?histoire du r?pertoire pour clavier l?interpr?te doit y ma?triser de grands sauts et des croisements de mains. La pr?face du grand pianiste Bengt Johnsson revient sur le parcours de Scarlatti et sur les diff?rentes sources sur lesquelles se fonde notre ?dition. Quelques sonates paraissent ici pour la premi?re fois en version imprim?e. Petit cadeau suppl?mentaire une pr?face originale parue initialement dans une ?dition de 1738 en pr?ambule ? 30 sonates pour clavier de Scarlatti est reproduite ici et fournit de nombreuses informations utiles ? la compr?hension de la musique pour clavier de ce compositeur.
28.25 GBP - Sold by Musicroom UK Pre-shipment lead time: In Stock | |
| Impressions of Grace:
Piano: Instrumental Work Piano solo Shawnee Press
This collection for the sanctuary pianist is a reflective gathering of beloved h...(+)
This collection for the sanctuary pianist is a reflective gathering of beloved hymn tunes arranged with profound sensitivity. Each measure reaches out to the heart of the listener with pianistic poetry of the highest order.Appropriate for communion memorial services or general use these sacred evergreens are well paced and filled with colorful harmonies and impressionistic effects. Moderate in difficulty pianists of all levels will embrace thegentle spirit of these lovely offerings. Includes: Reflections ? How Can I Keep from Singing ? Jesus Lover of My Soul ? The King of Love My Shepherd Is ? Thee We Adore O Hidden Savior ? Jesus Loves Me? What Wondrous Love Is This? ? Nocturne on a Silesian Folk Tune ? O the Deep Deep Love of Jesus ? There Is a Balm in Gilead.
15.50 GBP - Sold by Musicroom UK | |
| Michael Berkeley: Strange
Meeting: Piano:
Instrumental Work Piano solo Oxford University Press
A work in three contrasting sections each reflecting a mood of Wilfred Owen's p...(+)
A work in three contrasting sections each reflecting a mood of Wilfred Owen's poem of the same name. The first depicts the 'strangeness' of the meeting '...Down some profound tunnel' and the second portrays the viciousness of war with violent jabbing rhythms. This leads directly into a concluding chorale-like movement in which a kind of peace is attained echoing the closing words of the poem 'Let us sleep now '.
10.75 GBP - Sold by Musicroom UK | |
| Johann Sebastian Bach:
French Suites: Piano:
Instrumental Work Piano solo Alfred Publishing
Bach's suites are considered the most artistic and profound keyboard music ever ...(+)
Bach's suites are considered the most artistic and profound keyboard music ever written. The six suites bearing the nickname - French Suites - are considered the most lyrical and pleasurable to the ear. They are also the least technically demanding.
17.95 GBP - Sold by Musicroom UK | |
| Une Histoire Du Jazz En
France. Tome 1 : Du
Milieu Du XIXe
Siècle A 1929 Piano solo Outre Mesure
La France, fille aînée du jazz?? C'est ce qui se pense, se dit parfois, souven...(+)
La France, fille aînée du jazz?? C'est ce qui se pense, se dit parfois, souvent. L'histoire du jazz en France est en tout cas longue et très riche, de musiques, de musiciens, d'événements, de textes, de pensées, de passions, de conflits. Le projet de cette histoire du jazz en France se conforme à un déroulement chronologique, depuis les débuts jusqu'à 1990. Les volumes suivants couvriront respectivement les périodes 1930-1944, 1945-1959 et 1960-1990. Où faire remonter les débuts?? A l'arrivée en France des Harlem Hellfighters de James Reese Europe dans les derniers jours de 1917?? A la première apparition écrite du mot 'jazz' à l'aube de 1918?? La réponse est donnée par le parti pris par l'auteur?: celui de ne pas raconter seulement l'histoire des musiques et des musiciens, mais de placer celle-ci dans le contexte général de la société française, de ses tendances conservatrices ou progressistes, de ses blocages et de ses évolutions. C'est ainsi qu'on en est amené à remonter aussi loin que le milieu du XIXe, quand des musiciens (faussement ou réellement) noirs apparaissent sur des scènes parisiennes. On parvient de la sorte à retracer une lente maturation, jusqu'à une première articulation placée en 1929, quand s'observe la convergence de mutations sociétales et musicales. Quand, donc, a vraiment commencé le jazz en France ? Et d'abord, que signifie le mot en 1918, quand il est imprimé pour la première fois dans Le Gaulois et Le Figaro?? Est-il arrivé déjà formé des Etats-Unis?? Qui en furent les acteurs, français, étatsuniens, originaires d'autres pays, musiciens, médiateurs de toutes sortes?? Quels mouvements traversaient les sociétés françaises qu'il a rencontrées?? Quels cadres de pensée ont pu permettre qu'il s'implante, durablement comme on le sait?? Telles sont les questions auxquelles se confronte le volume d'ouverture de cette première histoire générale du jazz en France. / Livre
40.00 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: In Stock | |
| J. Pierpont: Jingle
Bells: Piano:
Instrumental Album Piano solo Hal Leonard
Hal Leonard Student Piano Library Showcase Solo Level 1/Pre-Reading-A classic Ch...(+)
Hal Leonard Student Piano Library Showcase Solo Level 1/Pre-Reading-A classic Christmas favorite arranged for the very youngest beginners. Early Elementary (HLSPL Early Level 1); student part with teacher accompaniment; off-staff notation; horizontal-format sheet. Lyrics included.
3.50 GBP - Sold by Musicroom UK | |
| Fred Bock: Bock´s Best
Vol 3 25 Christmas Piano
Solos: Piano:
Instrumental Album Piano solo Fred Bock Music Company
This complete book of tremendous piano solos features just about every song that...(+)
This complete book of tremendous piano solos features just about every song that comes to mind for this sepcial season. From ?Silent Night? and ?Hark the Herald Angels Sing ? to ?Go Tell It on theMountain ? all of these favorites are created in Fred Bock's unique piano styling. This Christmas book sells all year long!
19.99 GBP - Sold by Musicroom UK | |
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