This volume in Hal Leonard's Creative Piano Solo series contains 20 jazz pop songs in beautifully distinctive arrangements. These much-loved tunes have been given new and unique treatments for a fun and fresh presentation. Explore fresh styles and enjoy these favourites with a bit of a twist! Creative Piano Solo: Jazz Pop Songs includes the pieces After The Love Has Gone Don't Know Why Feeling Good Human Nature Smooth Operator Sunny What A Wonderful World and more.  

'Your Love Is King' 'Smooth Operator' 'Jezebel' 'Hang On To Your Love' plus all the tracks from the album. Arranged for piano voice and guitar.

These virtuoso transpositions of themes by Mozart, Verdi, Bellini, and other masters offer unforgettable music for piano. This affordable anthology was published in association with the American Liszt Society. Table of Contents for Piano Transcriptions from French and Italian Operas Sarabande and Chaconne from Almira, Concert Arrangement (Handel) [Sarabande und Chaconne aus dem Singspiel Almira] Reminiscences of Don Juan [Don Giovanni] (Mozart) [Réminiscences de Don Juan] Reminiscences of Robert le Diable: Valse Infernale (Meyerbeer) [Réminiscenes de Robert le diable /Valse Infernale] Overture to William Tell (Rossini) [Ouverture de l'Opéra Guillaume Tell] Reminiscences of Lucia di Lammermoor (Donizetti) [Réminiscences de Lucia de Lammermoor/Fantaisie dramatique] Concert Waltz on Two Themes from Lucia and Parisina (Donizetti) [Valse de concert sure deux Motifs de Lucia et Parisina] Grand Concert Fantasy from Sonnambula (Bellini) [Grosse Concert-Fantaisie aus der Oper Sonnambula] Reminiscences of Norma (Bellini) [Réminiscences de Norma/Grande Fantaisie] Concert Paraphrase of Rigoletto (Verdi) [Rigoletto/Oper von Verdi/Concert-Paraphrase] Miserere from Trovatore (Verdi) [Miserere aus Trovatore von Verdi/Concert-Paraphrase] Concert Paraphrase of Ernani (Verdi) [Ernani/Oper von Verdi/Concert-Paraphrase] Waltz from Faust, Concert Paraphrase (Gounod) [Valse de l'Opéra Faust de Gounod/Paraphrase de Concert] Polonaise from Eugene Onegin (Tchaikovsky) [Polonaise aus Tschaikowskys Oper Jewgeny Onegin]

200 chansons arrangées pour piano solo, chant et accords guitare?Un livre exceptionnel !

Carl Maria von Weber's fame rests mainly on ?Der Freischütz'. The unprecedented success of this opera overshadowed all his other works and contributed to their increasing fall into oblivion. Certain works such as ?Preciosa', ?Oberon', and ?Euryanthe', the overtures, solo concertos and piano sonatas, the lieder and chamber works enjoyed great popularity and were widely known in Germany and abroad as late as the second half of the 19th century. However, any chance of a revival of Weber's influential and substantial oeuvre was wasted in the 1920s, when a complete edition - begun by Hans Joachim Moser and with potential contributors including Wilhelm Kempff, Hans Pfitzner, Max von Schillings, Fritz Stein and Richard Strauss - failed after the third volume.Ever since there have been numerous attempts to restart a complete edition of Weber's works, but as this kind of project would have required the co-operation of scholars from both sides of the inter-German border, the political situation after 1945 was not conducive to any such enterprise. Careful negotiations led to the first tangible steps in the 1980s. The intention, right from the beginning, was to place Weber's work in context, and not to separate his musical output from his influential work as a writer, critic and organiser in the musical field, but to publish his compositions together with his letters, diaries and other literary output as the best way to document the cross-fertilisation between his musical, literary and practical activities.Since the German re-unification both working-parties concerned - at the Staatsbibliothek zu Berlin, and at the Musikwissenschaftliches Seminar, Detmold/Paderborn - have co-operated on the complete edition of the musical works (c. 45 volumes in 10 series: sacred music - cantatas, odes and other occasional works - stage works - lieder and vocal works - orchestral works - chamber music - music for piano - piano reductions - miscellanea, arrangements and orchestrations - works of doubtful attribution). The diaries (6-8 vols.) are edited in Berlin and the letters (8-10 vols.) and other writings (2 vols.) in Detmold. This complete edition aims to be a reliable basis of scholarly debate as well as for the authentic performance practice of Carl Maria von Weber's music. Conforming to the standards of recent historico-critical editions, the textual material will be based on all available authentic sources, accompanied by a detailed documentation of the genesis and a list of variants for each work. The musicological importance of the works will be evaluated by placing them in their historical context, the presentation of their genesis, history and Critical Commentaries. The letters, writings and diaries will be treated as inter-related and relevant to each other in the commentaries, therefore readers should benefit from a wealth of concise information and cross-references. / Piano Et Orchestre

Par ROZYCKI LUDOMIR. It is surprising that in undoubtedly too few publications discussing the life and art of Ludomir Rózycki the attention is paid primarily to his operatic and symphonic works, while piano pieces as well as chamber music are pushed to the margins, analysed incidentally. Meanwhile, they constitute a significant part of his legacy. Rózycki was a composer who magnificently operated with changing moods; he painted colourful musical pictures, packed with symbols, meanings, inspirations, depicting his brilliant imagination and stimulating the minds of his listeners. A cumulation of all these elements of his style in solo and chamber pieces is indeed a sign of his technique. The presented volume, consisting of the poems for the piano, is a great example of it. The publication intended for professional pianists. / Date parution : 2023-10-31/ Recueil / Piano

Ed. critica A. Borin - A. Moccia - Riduzione per canto e pianoforte. With Il Teuzzone, RV 736, the collected edition of operas by Antonio Vivaldi gains a new volume that brings to completion the pair of operas written by the ?Red Priest? for Mantua. Premiered during the last days of 1718, the opera preceded by a few months the production of Tito Manlio, RV 738 (PR 1411). This edition of Teuzzone, the first in modern times, is based on the two complete sources to have survived: a copy originating from the composer?s own archive (Biblioteca Nazionale Universitaria di Torino, Raccolta Mauro Foà 33) and the one today housed in Berlin (Staatsbibliothek zu Berlin ? Preussischer Kulturbesitz, Musikabteilung, N. Mus, ms. 125), which was made for the Mantuan production. Additionally, numerous secondary sources have been collated. An appendix to the volume contains the musical materials discarded by Vivaldi during the period preceding the opera?s premiere. The supporting texts for the edition report on new findings that have emerged from archival and documentary research. It has been established, for instance, that the aria Tu, mio vezzoso (I.03) is a borrowing from Alessandro Severo by Antonio Lotti, while the aria Tornerò, pupille belle (II.02) is a reworking of Nelle mie selve natie, an aria in Scanderbeg, RV 732. These examples reveal the pasticcio-like nature of this Vivaldi opera. In the section concerned with the description of the sources, which includes a meticulous codicological examination of the source in Turin, a bold attempt has been made to reconstruct the phases that the composition of Vivaldi?s opera underwent, an operation that sheds light on the inner workings of Vivaldi?s atelier. In addition, the close relationship of this score to a work with the same title staged in Turin with music by G. Casanova and A. S. Fiorè is analysed.

Oper in drei Akten Kritische Neuausgabe nach den Quellen mit den nachkomponierten Rezitativen von Ernest Guiraud

Oper in 3 Akten. Par PURCELL HENRY. Opera In 3 Acts/ Répertoire / Réduction Piano