For The Left Het For Piano et Orchestra. Par RAVEL MAURICE. In 1929 Paul Wittgenstein, a pianist and war veteran who lost his right arm in the Great War, commissioned Maurice Ravel to write a concerto for him to perform. The result was one of Ravel's most thrilling compositions and, for Wittgenstein, the most important of the many works he commissioned over the course of his career. This scholarly-critical edition of Ravel's Concerto for the Left Hand is based on previously inaccessible and unknown sources. The editor, Douglas Woodfull-Harris, was able to consult manuscripts in the private library of the Paul Wittgenstein Estate which allowed him to retrace the work's evolution from Ravel's autograph working copy to the first printededition. The piano reduction in our edition contains both Ravel's and Wittgenstein's fingerings. Also included is a solo part without fingering, thereby giving pianists the opportunity to enter their own fingering after having studied those of Ravel and Wittgenstein. In 1929 Paul Wittgenstein, a pianist and war veteran who lost his right arm in the Great War, commissioned Maurice Ravel to write a concerto for him to perform. The result was one of Ravel 's most thrilling compositions and, for Wittgenstein, the most important of the many works he commissioned over the course of his career. This scholarly-critical edition of Ravel 's Piano Concerto For The Left Hand is based on previously inaccessible and unknown sources. The editor, Douglas Woodfull-Harris, was able to consult manuscripts in the private library of the Paul Wittgenstein Estate which allowed him to retrace thework's evolution from Ravel 's autograph working copy to the first printed edition. A source of key importance to our new edition is a handwritten French copy of Ravel 's own Piano reduction (the autograph is inaccessible) that he gave to Wittgenstein to facilitate rehearsing the work. This copy is the sole source reflecting Wittgenstein's own interpretation and containing his changes to the final cadenza. It also helps us to understand omissions in the first edition of the score as well as the Piano reduction, and enabled the editor, amongst other things, to correct a great many notes which could be found in previous editions, including the solo Piano part. The Piano reduction in our edition contains both Ravel 's and Wittgenstein's fingering. Also included is a solo part without fingering, thereby giving pianists the opportunity to enter their own fingering after having studied those of Ravel and Wittgenstein. Score and orchestral parts in large format (25. 5 x 32. 5 cm) Includes source descriptions and a Critical Commentary with alternative readings (Eng) Informative Introduction on the work's history and genesis (Ger/Eng/Fr) With facsimile pages Piano reduction with separate Urtext solo part enclosed Full score & parts (BA7881) and two-Piano reduction (BA7881-90) available for sale./ Répertoire / Piano et Orchestre

Par BACH JOHANN SEBASTIAN. Bach's mastery of rhythm and harmony, inventiveness, and genius for composition produced some of the richest and most beautiful music of all time. Those qualities are strikingly evident in his early concerti, which are among the most recorded and performed works in the Baroque repertoire. This volume reprints, complete and unabridged, seven complete concerti for solo keyboard and orchestra from the renowned Bach-Gesellschaft edition, still considered the primary source for Bach's music./ Répertoire / Piano et Orchestre

for Piano and Orchestra Full Score. Par LECUONA ERNESTO. Rapsodia Argentina is based on traditional older Argentinian tangos, the most famous being_x001A_Buenos Aires,_x001A_which is heard at the outset. The whole piece is a kind of huge rondo and is divided into several sections, most of which recur during the course of the composition. One of them is a milonga, a native peasant dance of Argentina (and Bolivia) that is a variation of the tango. Rapsodia Argentina is probably the least known of the three rapsodias for piano and orchestra by Lecuona. For sale is the solo piano part. It is not a 2-piano version or a piano reduction. The solo part matches the available orchestration as arranged and recorded by Thomas Tirino. / Date parution : 2023-06-01/ Répertoire / Piano et Orchestre

Immobilité sérieuse I ', écrite en 2013, est la première d'une série de pièces pour instrument solo et orchestre à cordes de Sophie Lacaze, Hommage à Erik Satie, ' Immobilité sérieuse I ' est basée sur un motif tiré des ' Vexations ' que Satie avaient composées pour le piano, et qui avaient été créées à New York par John Cage et plusieurs de ses amis pianistes le jour de la naissance de la compositrice,' Pour se jouer 840 fois de suite ce motif, il sera bon de se préparer au préalable, et dans le plus grand silence, par des immobilités sérieuses ', Erik Satie, / Piano Et Orchestre

Les deux concertos pour piano de Glazounov appartiennent au genre du concerto symphonique, qui rend néanmoins très grandes exigences sur le soliste. Avec ses harmonies modernes intéressants, le Piano Concerto #2 opus 100 (1917) est sur le même niveau que le populaire Concerto pour violon opus 82. ' Dans ce concerto Glazounov a fourni un exemple brillant de sa compréhension de la variation thématique. Il nous dit qu'il se classe parmi les plus grands. ' (Alex van Amerongen) / Piano Et Orchestre

Concerto pour piano #3 de Beethoven est le seul concerto où il n'existe pas de manuscrit authentique pour la partie solo. L'autographe de la partition est en vertu de laquelle l'articulation, la dynamique et indications de pédale sont pour la plupart absents. Cependant, Beethoven a supervisé la première édition imprimée de la partie solo (1804) avec beaucoup de diligence. Corrections des plaques témoignent du soin avec lequel Beethoven placé insultes et indications de pédale afin d'être cohérente et sans ambiguïté. Au moyen d'un examen approfondi des sources de cette nouvelle édition Urtext présente de nombreuses corrections en termes d'articulation, de la dynamique et des notes. En particulier, les parties orchestrales ont été corrigées pour la première fois depuis la mort de Beethoven. - édition Urtext reflétant les dernières recherches musicologiques - Avec de nombreuses corrections dans la partie solo et pièces orchestrales - Réduction de piano avec une partie de piano solo séparée - Un must pour les pianistes, les orchestres et les chercheurs de Beethoven / Piano Et Orchestre