Music from the Motion Picture Soundtrack. Par PASEK BENJ / PAUL JUSTIN. 11 chansons de la bande originale du film à succès, dont 'The Anonymous Ones' et 'A Little Closer', écrites exclusivement pour le film. Toutes les chansons sont arrangées pour le piano, la voix et la guitare avec les grilles d'accords et les paroles complètes. La mélodie est incluse dans la partie de piano. Sommaire : The Anonymous Ones - For Forever - If I Could Tell Her - A Little Closer - Only Us - Requiem - Sincerely, Me - So Big/So Small - Waving Through a Window - Words Fail - You Will Be Found. / Date parution : 2021-12-09/ Recueil / Piano/Vocal/Guitare (PVG)

arranged for Pianoforte and String Quintet-Concerto for Pianoforte and Orchestra No.4 Op.58: arranged for Pianoforte and String Quintet.Piano Violin (2) Viola (2) Violoncello.This anonymous sextet arrangement of Beethoven’s Fourth Piano Concerto was highly popular in Vienna during the composer’s lifetime. We know this from at least two sets of handwritten parts which were then in circulation.No Piano part has been handed down; indeed the original sets of parts probably omitted the Piano.The soloist presumably studied his part from the first edition of the solo part published with the original performance material in 1808. (The full score did not appear until 1861).The sextetversion deftly integrates the original wind parts into the string texture. The arrangement stands in the tradition of Piano reductions with chamber music accompaniment of the sort which were also made for Mozart’s Piano concertos K.413 to 415 and later for the Chopin concertos.This Urtext edition edited by the renowned Beethoven scholar Jonathan Del Mar presents this arrangement for the first time in print. The musical text is supplemented by an informative Introduction and a Critical Commentary.First ever publication of this arrangement.Includes a separate solo part as was customary in Beethoven’s day.Provides new possibilities for soloists to perform this work.

An Anthology-All eighteen pieces in this collection are reliably dated to the reign of James I and whether by named composers or anonymous ones appear in sources other than the notable Virginal books preserved in the Fitzwilliam Museum Cambridge. The contents demonstrate the variety of forms in the Keyboard repertoire of this period from plainsong-based compositions to dances by Orlando Gibbons. The 'Pretty ways for young beginners to look on' possibly by Thomas Tomkins are a fascinating example of music contemporary to the time written with the didactic purpose of instructing musicians in the techniques of counterpoint.

46 Pieces by 18 Composers-46 pieces by CPE Bach JS Bach Bartók Beethoven Burgmüller Clementi Ellmenreich Grieg Gurlitt Handel Heller Kullak Petzold Reinecke Schumann Streabbog and Tchaikovsky. All are at the earlyintermediate level in a slim affordable volume. Includes - Anonymous: Musette in D Major BWV Appendix 126; Bartók: Slovak Youth Dance from Ten Easy Pieces; Beethoven: Sonatina in G Major Anh. 5 No. 1;Burgmüller: L'arabesque from 25 Easy and Progressive Studies; Clementi: Sonatina in C Major Op. 36 No. 1; Grieg: Watchman's Song from Lyric Pieces Op. 12 No. 3; Schumann: selections from Album for the Young

For Solo Voice and Piano.There are various versions of this anonymous ballad that has its own traditionalmelody. Berkeley provided a folk-like setting in this song for Sophie Wyss (1897-1983) the Swiss sopranoliving in England who gave important premieres of Britten.Wyss and Berkeley gave the first performance in a BBC broadcast on 13 July 1947.He had already dedicated ‘Tant que mes yeux’ Op. 14 No.2/6 to her and withhimshe gave the first performance of that song as well as ‘Ode du premier jour de mai’ Op. 14 No.2/7 at the Fyvie Hall London on 20 February 1945. Those two songswere published performed and recorded but ‘The LowLands of Holland’ has beenneglected. It comes as close as Berkeley ever got to the English folk song tradition.This edition is based on the copyist’s score at the British Library and includes thecorrections thecomposer provided with it.

g-moll Op. 33 B. 63-Composed in 1876 Dvorák’s only piano concerto has been overshadowed by his other two concertos for violin and violoncello respectively. Performers and editors have often attempted to upgrade this pianistically unassuming work by adding stylisations of their own. Our Urtext edition revaluates the sources frees the work from subsequent interventions and presents it to full advantage in its authentic form. The principal source of our new edition is the first complete print issued by the publisher Hainauer in 1883 which has been meticulously collated with the autograph. The anonymous original piano reduction is so full of mistakes that editor Robbert vanSteijn decided instead to present the version by Karel Šolc. - New Urtext edition of Dvorák’s only piano concerto - Foreword by Dvorák scholar David R. Beveridge (Eng/Cz/Ger) - Commentary on performance practice by Czech pianist Ivo Kahánek (Eng/Cz/Ger) - Piano reduction by Karel Šolc adapted to fit this new edition - Full score (BA10420) and two-piano reduction (BA10420-90) available for sale - Performance material (BA10420-72) available for hire

2nd Movement-Transcription of the slow movement of Rachmaninov's First Piano Concerto op 1. Programme note by Murray McLachlan: Rachmaninov's first concerto in F sharp minor op 1 was composed in 1891 and dedicated to Alexander Siloti. The work was substantially revised in 1917 with textures made much lighter. The revised version is also more concentrated and disciplined with the material eliminating some of the earlier episodic sections entirely from the score. The second movement is an exquisite 74 bar miniature a nostalgic nocturne that is contrapuntally rich. In this soloversion the use of all three pedals and the middle pedal in particular make it possible to project the multifaceted textures the 'colour counter-point' that along with Rachmaninov's chromaticism enhances his considerable melodic gifts. Was Rachmaninov the 'Russian Bach?' Certainly his genius for 'inner voices' 'inner melodies' and counter-melodies make his music an inexhaustible treasure house of possibility for the creatively charged solo pianist. In Rachmaninov's piano writing there is simply no such thing as 'padding' or anonymous accompaniments- every line can be vocally or orchestrally charged making the music glow with richness and inspiration. This transcription was given its world premiere on April 1- Rachmaninov's birthday- in 2017 in New York as part of a recital for the Lezetizky society. Further performances were given on what was an intense US Easter tour in Washington Texas Boston and Vermont. I've also performed the transcription in Canada and the UK.

Some of the most often taught original piano literature by dozens of master composers of the past has been carefully selected and compiled by difficulty level. The Early Intermediate edition features 17 pieces by 15 composers, including: Anonymous (18th century): Minuet in G from The Notebook for Anna Magdalena Bach · Johann Sebastian Bach: Gavotte II: La Musette from English Suite No. 6, BWV 811 · Johann Sebastian Bach: Prelude in C Major from The Well-Tempered Clavier, Book 1 · Béla Bartók: Three Pieces from For Children, Sz. 42 · Ludwig van Beethoven: Minuet in G Major, WoO 10, No. 2 · Ludwig van Beethoven: Sonatina No. 1 in G Major, Anh. 5, No. 1 · Anton Diabelli: Rondino · César Franck: The Doll's Complaint · George Frideric Handel: Sarabande from Suite in D minor, HWV 437 · Franz Joseph Haydn: German Dance in D Major, Hob. IX: 22, No. 2 · Friedrich Kuhlau: Scottish Dances Nos. 2, 3, 5 and 6 from Six Scottish Dances · Edward MacDowell: To a Wild Rose from Woodland Sketches · Wolfgang Amadeus Mozart: Minuet in G Major, K. 1 · Jean-Philippe Rameau: La tambourin · Franz Schubert: Waltz in A Major · Robert Schumann: Soldiers' March from Album for the Young · Pyotr Il'yich Tchaikovsky: Italian Song from Album for the Young.

Johann Jacob Froberger (1617 67) enjoyed an outstanding reputation during his lifetime as his compositional style represented a synthesis of Italian French and English influences. There is now a growing awareness that Froberger?s significance for Keyboard music of the 17th century is comparable only with that of Jan Pieterszoon Sweelinck.Each volume contains a critical commentary as well as a detailed foreword with sections on the scope and structure of the new edition the editorial method and performance practice. Information on contemporary instruments ornamentation and Froberger?s biography is also included.Both volumes VI.1 andVI.2 contain music from anonymous copies of the 17th century undoubtedly made from autograph manuscripts which were returned to the Singakademie in Berlin from Kiev in 2001. They also include further new discoveries of manuscripts and compositions.The New Edition of the Complete Works will comprise a total of eleven volumes.- Urtext scholarly-critical edition setting new standards.- Reflects the current state of research.- Music from the newly-discovered ?Kiev sources?.- Detailed explanatory notes (Ger/Eng).

Homage to Anish Kapoor and his sculpture 'Marsyas'. Par PART ARVO. Arvo Pärt about Lamentate: 'Lamentate is music for piano solo and orchestra. With respect to its form, however, the composition cannot really be described as a typical piano concerto. I chose the piano to be the solo instrument because it fixes our attention on something that is 'one'. This 'one' could be a person, or perhaps a first-person narrative. Just as the sculpture leaves the viewer with a light and floating impression in spite of its overwhelming size, the piano, as a large instrument, allowed me to create a sphere of intimacy and warmth that no longer seems anonymous or abstract. Overall, it could be said that my work is marked by two diametrically opposed moods. By way of slight exaggeration, I would characterize these two poles as being 'brutal-overwhelming' and 'intimate-fragile'. The two characters are not simply placed opposite one another, much rather being left to develop themselves in a conflict that runs throughout the entire work.'/ Répertoire / Piano et Orchestre

The Shepherd’s Cradle Song was first published in 1918. It is presented here in the key of Eb Major for low Voices with Piano accompaniment. The text is taken from an anonymous lullaby originally written inGerman which is suitable for any Nativity or Christmastide occasion.Sir Arthur Somervell (1863-1937) was a British composer conductor and civil servant. He studied at King’s College Cambridge and the RoyalCollege of Music under Charles Stanford and Charles Parry. He later became an inspector at the Board of Education for which he received a knighthood. While he wrote several large operatic orchestral and choral works he is bestremembered for his chamber music and art songs.

Twelve pieces by John Bull Giles and Richard Farnaby Orlando Gibbons Leonhard Woodson and others are here collected to make an attractive anthology of English keyboard music found in the precious Lynar A manuscripts which also contain primary sources for the keyboard music of Sweelinck Peter Philips and Tarquinio Merula. Edited by Pieter Dirksen.CONTENTSANONYMOUS: (A toij; Courant; Courant; Masque; O neijbour Robert; Robin)BULL John: (Bonni swet Robin; My Grief)FARNABY Giles: (Kempes Moris)FARNABY Richard: (Flet Stret)GIBBONS Orlando: (The Queenes Command)WOODSON Leonhard: (Malle Siemon)

Edited by Alan Brown. 21 pieces by Byrd Dowland and others transcribed and edited from the so-called 'John Bull' ms. in the Fitzwilliam Museum Cambridge probably in the hand of William Tisdale c.1600.CONTENTSANONYMOUSJohn Holmes' Pavan; My Desire; Passamezzo Galliard; Passamezzo Pavan; Paul's Wharf; PavanBYRD WilliamHunt's Up; PavanDOWLAND JohnGalliard: Can she Excuse; Lachrymae Pavan (2); Lachrymae Pavan (9) (set by William Randall)JOHNSON EdwardMedley (set by William Randall)JOHNSON Robert