American Company
(124 results)
No shipping to countries within the European Union.
|
European Companies
(55 results) |
|
|
|
| Just A Closer Walk: Eight American Hymns in a Jazz Style Piano solo - Intermediate MorningStar Music Publishers
Composed by Chuck Marohnic. Jazz Piano, Bestseller. Ash Wednesday, Memorial. Pub...(+)
Composed by Chuck Marohnic. Jazz Piano, Bestseller. Ash Wednesday, Memorial. Published by MorningStar Music Publishers
$17.95 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Just A Closer Walk / Amazing Grace Piano solo Santorella Publications | | |
| Celebrate America! (NFMC) Piano solo FJH
Piano - Intermediate; Late Intermediate SKU: FJ.FJH2133 Arranged by Myra ...(+)
Piano - Intermediate; Late Intermediate SKU: FJ.FJH2133 Arranged by Myra Brooks-Turner. Piano Collection; Piano Supplemental. The FJH Piano Teaching Library. This title is on the 2017-2021 National Federation of Music Clubs list. Patriotic. Book. The FJH Music Company Inc #98-FJH2133. Published by The FJH Music Company Inc (FJ.FJH2133). ISBN 9781569398647. UPC: 674398227785. English. This collection of seven intermediate/late intermediate level solos offers an assortment of colorful new arrangements, which include four NFMC selections from the 2011--- 2013 bulletin. Selections include: Red River Valley Rock; Let Us Break Bread Together; Cool Jazz Clementine; Just a Closer Walk with Thee; Careless Love; The Yellow Rose of Texas; and Poor Wayfaring Stranger. $5.50 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Just a Closer Walk Piano solo - Intermediate/advanced Lillenas Publishing Co.
(Gospel Favorites for the Journey of Faith). By Myra Schubert. For piano. Sacred...(+)
(Gospel Favorites for the Journey of Faith). By Myra Schubert. For piano. Sacred. Moderately advanced. Published by Lillenas Publishing Company
$26.95 - See more - Buy online | | |
| Cradle-Music Piano solo Breitkopf & Härtel
Piano SKU: BR.EB-9458 Composed by Helmut Lachenmann. Solo instruments; st...(+)
Piano SKU: BR.EB-9458 Composed by Helmut Lachenmann. Solo instruments; stapled. Edition Breitkopf. Music post-1945. Sheet Music. Composed 1963. 8 pages. Duration 3'. Breitkopf and Haertel #EB 9458. Published by Breitkopf and Haertel (BR.EB-9458). ISBN 9790004189351. 9 x 12 inches. Wiegenmusik (= ,,Cradle Music, not ,,Cradle Song) is determined by a structure of multifariously branching arpeggio figures, often drawn tightly together. After the compressions of the opening, it comes closer and closer toward a state of complete rest: sleeping child (Schumann, Scenes from Childhood), almost as a psychogram. CDs:Pierre-Laurent Aimard CD Accord 202082 Marino Formenti CD Col legno WWE 20222 David Greilsammer CD Sony Classical 88697929692 Roland Keller CD col legno 429 356-2 Helmut Lachenmann CD Montaigne Auvidis MO 782075 Helmut Lachenmann CD mode 252
World premiere: Darmstadt, April 1, 1964. $24.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| American Popular Piano Piano solo Novus Via Music Group
Level Two - Etudes. By Christopher Norton, Scott McBride-Smith. This edition: AP...(+)
Level Two - Etudes. By Christopher Norton, Scott McBride-Smith. This edition: APPE-02. NOVUS VIA MUSIC GROUP. 72 pages. Published by Novus Via Music Group.
$10.50 - 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 | | |
| Landscapes Piano solo Editorial de Musica Boileau
Piano (Piano Solo) SKU: HL.1115727 Poetic Piano Solo. Composed by ...(+)
Piano (Piano Solo) SKU: HL.1115727 Poetic Piano Solo. Composed by Alison Mathews. Piano. Classical. Softcover. 48 pages. Musica Ferrum Editions #FERR9790708147558. Published by Musica Ferrum Editions (HL.1115727). ISBN 9781705179888. UPC: 196288105787. A tender, poetic, new collection of 14 solo piano pieces from British composer Alison Mathews. For grades 5-6, with the exception ofthe last piece which is closer to grade 7. $16.99 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Day Time Impressions Piano solo - Intermediate/advanced Forsyth Publications
Piano Solo - Easy-Intermediate SKU: FP.FBS03 Composed by Sarah Baker. She...(+)
Piano Solo - Easy-Intermediate SKU: FP.FBS03 Composed by Sarah Baker. Sheet Music and Books. Nine pieces on a day time theme for solo piano, by Sarah Baker. Suggested grade 4-5. Classical. Collection. Forsyths Publications #FBS03. Published by Forsyths Publications (FP.FBS03). ISBN 9790570500192. Sarah Baker is Vocal Composer in Residence at Education Music Services, an ABRSM examiner and a well known composer of songs and musicals for primary schools and massed-choral events.
All this experience has come together in the creation of this album of piano pieces, inspired by growing up in the Chiltern Hills. Suitable for players of around grade 4-5 standard, her evocative sound pieces describe a crash-landing hot air balloon, garden invading cows and a even a snake in a pond!
Air Balloon!: One vivid memory I have as a child is of the day that a hot air balloon passed over our house and made an emergency landing on the road in front! The sound of the gas being blown into the balloon to try to keep it high enough to pass the house sounded so loud and intimidating, and then there was the bustle of the neighbours as we all went out into the street to watch. It was both terrifying and exhilarating to watch the balloon float past and then land so near by.
Buzzards Circling: There is something so calming and restful about watching birds of prey circling in the thermal currents of a summer sky. Growing up in the Chilterns gave me plenty of opportunity to watch buzzards and red kites. This piano solo captures the beauty of their flight as they glide so effortlessly through the air.
There’s A Cow In The Garden Eating The Flowers: Inspired by the memory of seeing an unexpected cow in the garden! This surreal image is captured in a quirky waltz, as I portray both the absurdity of the moment and the sense of wonder I felt as a child, looking out of the window and seeing the cow walking round and eating the flowers. The final phrase articulates my longing: ‘I wish it would come again’.
Watching The World Go By: A short, reflective piece, remembering what it was like to have time to just sit and watch the world go by from my bedroom window.
Autumn Skies: A miniature about the beauty of Autumn skies and the poignant sense of loss for a summer gone. Friends I was fortunate to have several children of my own age living close by. We seemed to be forever making dens, playing out in the street and generally enjoying each other’s company. This piece reflects that sense of well-being.
Snake In The Pond: One hot summer I was astonished and scared to see a grass snake cooling off in our garden pond! I watched, both horrified and fascinated, as it rose up from the depths and then disappeared again. Here I portray the sense of the hazy summer afternoon as I peacefully watched the tiny movements of fish in the pond, contrasted with the fear and excitement of seeing the snake appear.
Morning Commute: I recollect many mornings stuck in traffic as my Dad took me to school on his way to work. There is one main road out of the village where I grew up, and that got more and more congested the closer we got to the town. We may not have chatted a lot, but it was always good to be together with my Dad, lost in our own thoughts.
The Witch’s Cottage: My siblings and I had a fascination with a small cottage nearby. It was set back from the road in a dark part of the woods and we called it 'the witch's cottage’. Every time we passed, I imagined I heard the distant cackle of the witch and wished I could catch a glimpse of her.
These pieces are written to complement my other collection, Night Time Impressions, which also draw on childhood recollections, particularly of the woods behind the house where I grew up. - Sarah Baker 2023. $12.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Frederic Chopin: Etude E major op. 10,3 Piano solo [Sheet music] - Advanced G. Henle
Piano Solo. By Frederic Chopin. Edited by E. Zimmermann. For piano solo. This ed...(+)
Piano Solo. By Frederic Chopin. Edited by E. Zimmermann. For piano solo. This edition: HN656. Piano (Harpsichord), 2-hands. Henle Music Folios. Pages: 5. Urtext edition-paper bound. 7 pages. Published by G. Henle.
$8.95 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Teneritas for Piano Solo Piano solo Metropolis Music Publishers
Piano Solo SKU: IS.PN7604EM Composed by Peter Knockaert. Keyboards - Pian...(+)
Piano Solo SKU: IS.PN7604EM Composed by Peter Knockaert. Keyboards - Piano. Metropolis Music Publishers #PN7604EM. Published by Metropolis Music Publishers (IS.PN7604EM). ISBN 9790365076048. In difficult times, it’s important to experience a little tenderness. Teneritas (Latin for ‘tenderness’) is what the world needs so much more. By expressing tenderness we will come closer to one another and only by understanding each other there will be respect for each other. With the words of the Dalai Lama: We need to develop a sense of the oneness of humanity by considering other human beings as brothers and sisters. This is how we will build a more peaceful world. Genuine peace comes about through mutual understanding and respect for each other’s wellbeing.. $18.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Lorie Line - The Heritage Collection Volume IV Piano solo [Sheet music] Hal Leonard
Traditional Hymns of Inspiration. By Lorie Line. Piano Solo. Softcover. 80 page...(+)
Traditional Hymns of Inspiration. By Lorie Line. Piano Solo. Softcover. 80 pages. Published by Hal Leonard.
$34.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Piano, Vol. 2 Piano solo Editorial de Musica Boileau
Piano SKU: BO.BC0006 Composed by Pau Casals. Published by Editorial de Mu...(+)
Piano SKU: BO.BC0006 Composed by Pau Casals. Published by Editorial de Musica Boileau (BO.BC0006). Despite a strong vocation for the cello, which he studied and began to play with a distinctive character, Pau Casals, like most ambitious, creative musicians, wrote at the piano and for the piano, as it is the ultimate teaching instrument, summarising the full vision of the creative process. Any creative musician habitually worked at the piano, whether for this instrument alone or for piano accompanied by other solo instruments. To date, it has not been possible to document whether Casals had systematic training on this instrument, although at that time it was more common than it is today because, considering its qualities of timbre and combination, it was particularly attractive for creating test pieces and different kinds of compositions.
The piano works contained in this second volume include part of the salon repertoire, a continuation of the first volume, and four sardanas for piano of diverse origin: some are reductions of more complex forms and others sketches for instrumental groups. In the first group, some works intended for children are published, a demonstration of the tenderness the ‘cellist felt for the children of his closest friends. In the second case, the sardanas are works from his first exile in Prada and show the nostalgia of the composer, away from his country against his will.
In general, the works are not especially complex; their purpose and nature are diverse. They come in the context of salon music, with the appearance of creative entertainments characterised by a basically tonal, transparent language with a widespread tendency to modulate to nearby keys more as a momentary expressive resource than as a structural evolutionary procedure. They show a lack of systematic work on the instrument as well as the commonplaces of piano composition of their time. In some of these works, the piano thread breaks, the works do not have the thrust of finished products; the occasional appearance of chords that are difficult or impossible to finger leads us to think of intentions closer to test pieces than to products intended for normal performance. But not all these piano works are circumstantial. There is also a prelude and a minuet of a certain piano writing complexity. $27.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| The Ice Cream Truck Piano solo Alfred Publishing
By Mary K. Sallee. For Piano. Piano Solo. Level: Elementary. Sheet. 4 pages. Pub...(+)
By Mary K. Sallee. For Piano. Piano Solo. Level: Elementary. Sheet. 4 pages. Published by Alfred Publishing.
$2.50 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Marche fatale Piano solo Breitkopf & Härtel
Piano SKU: BR.EB-9253 Composed by Helmut Lachenmann. Solo instruments; st...(+)
Piano SKU: BR.EB-9253 Composed by Helmut Lachenmann. Solo instruments; stapled. Edition Breitkopf. World premiere of the orchestral version: Stuttgart, January 1, 2018World premiere of the piano version: Mito, June 17, 2017 Have a look into EB 9283. New music (post-2000). Score. Composed 2016/17/20. 12 pages. Duration 8'. Breitkopf and Haertel #EB 9253. Published by Breitkopf and Haertel (BR.EB-9253). ISBN 9790004185537. 9 x 12 inches. Marche fatale is an incautiously daring escapade that may annoy the fans of my compositions more than my earlier works, many of which have prevailed only after scandals at their world premieres. My Marche fatale has, though, little stylistically to do with my previous compositional path; it presents itself without restraint, if not as a regression, then still as a recourse to those empty phrases to which modern civilization still clings in its daily utility music, whereas music in the 20th and 21st centuries has long since advanced to new, unfamiliar soundscapes and expressive possibilities. The key term is banality. As creators we despise it, we try to avoid it - though we are not safe from the cheap banal even within new aesthetic achievements.Many composers have incidentally accepted the banal. Mozart wrote Ein musikalischer Spass [A Musical Jape], a deliberately amateurishly miscarried sextet. Beethoven's Bagatellen op. 119 were rejected by the publisher on the grounds that few will believe that this minor work is by the famous Beethoven. Mauricio Kagel wrote, tongue in cheek, so to speak, Marsche, um den Sieg zu verfehlen [Marches for being Unvictorious], Ligeti wrote Hungarian Rock; in his Circus Polka Stravinsky quoted and distorted the famous, all too popular Schubert military march, composed at the time for piano duet. I myself do not know, though, whether I ought to rank my Marche fatale alongside these examples: I accept the humor in daily life, the more so as this daily life for some of us is not otherwise to be borne. In music, I mistrust it, considering myself all the closer to the profounder idea of cheerfulness having little to do with humor. However: Isn't a march with its compelling claim to a collectively martial or festive mood absurd, a priori? Is it even music at all? Can one march and at the same time listen? Eventually, I resolved to take the absurd seriously - perhaps bitterly seriously - as a debunking emblem of our civilization that is standing on the brink. The way - seemingly unstoppable - into the black hole of all debilitating demons: that can become serene. My old request of myself and my music-creating surroundings is to write a non-music, whence the familiar concept of music is repeatedly re-defined anew and differently, so that derailed here - perhaps? - in a treacherous way, the concert hall becomes the place of mind-opening adventures instead of a refuge in illusory security. How could that happen? The rest is - thinking.(Helmut Lachenmann, 2017)CD (Version for Piano):Nicolas Hodges CD Wergo WER 7393 2 Bibliography:Ich bin nicht ,,pietistisch verformt. Ein Gesprach [von Jan Brachmann] mit dem Komponisten Helmut Lachenmann, in: FAZ vom 7. Juni 2018, p. 15.
World premiere of the piano version: Mito/Japan, June 17, 2017, World premiere of the orchestral version: Stuttgart, January 1, 2018, World premiere of the ensemble version: Frankfurt, December 9, 2020. $30.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Frederic Chopin : Minute Waltz Piano solo - Intermediate Santorella Publications
Minute Waltz * Masterpiece Edition composed by Frederic Chopin (1810-1849). For ...(+)
Minute Waltz * Masterpiece Edition composed by Frederic Chopin (1810-1849). For piano solo. Solo. Masterpiece Edition series. Classical. Intermediate. Sheet Music. Text Language: English. 4 pages. Published by Santorella Publications
$3.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Alfred's Basic Piano Prep Course: Sacred Solo Book F Piano solo [Sheet music] Alfred Publishing
By Willard A. Palmer, Morton Manus, and Amanda Vick Lethco. For Piano. Piano - A...(+)
By Willard A. Palmer, Morton Manus, and Amanda Vick Lethco. For Piano. Piano - Alfred's Basic Method. Alfred's Basic Piano Library. Sacred. Book. 16 pages. Published by Alfred Publishing.
$6.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| 33. Gospel (Jazz Piano Solos Series Volume 33) Piano solo Hal Leonard
(Jazz Piano Solos Series Volume 33). Composed by Various. For Piano/Keyboard. ...(+)
(Jazz Piano Solos Series
Volume 33). Composed by
Various. For Piano/Keyboard.
Piano Solo Songbook.
Softcover. 98 pages.
Published by Hal Leonard
$19.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Well-Tempered Jazz Piano Collection
Piano solo [Sheet music] - Intermediate Shawnee Press
Well-Tempered Jazz (Piano Solos). Arranged by Mark Hayes. For piano solo. Well-T...(+)
Well-Tempered Jazz (Piano Solos). Arranged by Mark Hayes. For piano solo. Well-Tempered Series. Jazz and Sacred. SMP Level 5 (Intermediate). Collection. Standard notation, chord names and performance notes. 72 pages. Shawnee Press #HE5044. Published by Shawnee
(5)$20.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Muistijalkia ja impressioita Piano solo Fennica Gehrman
Piano SKU: FG.55011-564-4 Memories and Impressions. Composed by La...(+)
Piano SKU: FG.55011-564-4 Memories and Impressions. Composed by Lauri Kilpio. Fennica Gehrman #55011-564-4. Published by Fennica Gehrman (FG.55011-564-4). ISBN 9790550115644. Lauri Kilpio's (b. 1974) Memories and Impressions (2019) is a 14-movement suite for solo piano lasting around 24 minutes. It was commissioned by the Mikkeli Music School. The duration and level of technical difficulty of the pieces increase progressively, from the rudiments toward the relatively advanced D-level (although some movements are in practice closer to the even more challenging C-level). Part of the idea for the suite was for performers of different levels to alternate pieces as the suite progressed. Any pianist may play the entire suite as well, or a selection of excerpts. Memories and Impressions was premiered by students of the Mikkeli Music School during the national seminar of the Finnish Association of Piano Pedagogues in February 2020. $30.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Religious Favorites
Piano solo - Easy Kjos Music Company
By James Bastien. For Piano. Bastien Piano. Bastiens' Older Beginner Piano Libra...(+)
By James Bastien. For Piano. Bastien Piano. Bastiens' Older Beginner Piano Library. Solo Collection. Published by Neil A. Kjos Music Company.
(6)$15.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| I Have Heard You Calling in the Night Piano solo Hope Publishing Company
(Piano Reflections for Memorial Services). Edited by Jane Holstein. Arranged by ...(+)
(Piano Reflections for Memorial Services). Edited by Jane Holstein. Arranged by Various. For piano solo. General, Funeral. Collection. Published by Hope Publishing Company
$69.95 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Hymns with a Touch of Jazz Piano solo [Sheet music] - Intermediate/advanced Hal Leonard
15 Traditional Hymns Arranged in Jazz Style. Arranged by Phillip Keveren. Piano ...(+)
15 Traditional Hymns Arranged in Jazz Style. Arranged by Phillip Keveren. Piano Solo Songbook (Intermediate to advanced piano arrangements with no lyrics). Size 9x12 inches. 48 pages. Published by Hal Leonard.
(3)$14.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Ragtime Gospel Hymns
Piano solo [Sheet music] - Intermediate Hal Leonard
Intermediate to Advanced. Arranged by Steven Tedesco. Piano Solo Songbook (Inter...(+)
Intermediate to Advanced. Arranged by Steven Tedesco. Piano Solo Songbook (Intermediate to advanced piano arrangements with no lyrics). Softcover. 32 pages. Published by Hal Leonard.
(2)$12.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Classic Gospel Piano solo Word Music
10 Master Pieces for Solo Piano. By Various Composers. Arranged by Larry Dalton....(+)
10 Master Pieces for Solo Piano. By Various Composers. Arranged by Larry Dalton. Sacred Folio. Size 9x12 inches. 64 pages. Published by Word Music.
(2)$26.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
Next page 1 31 61 91 ... 91 |
|
| Keys for the Kingdom -
Performance Book Level
C: Piano: Instrumental
Tutor Piano solo Shawnee Press
A Progressive Piano Method for the Christian Student. Keys for the Kingdom is a ...(+)
A Progressive Piano Method for the Christian Student. Keys for the Kingdom is a fully-graded piano pieces series designed especially for the Christian student. While learning the basic concepts of piano playing, the student is introduced to many styles of sacred music: the wealth of great hymnody, songs and psalms of the church, as well as great classics in piano literature that every student needs to excel in musical study. The multi-key, stylistically diverse series introduces basic concepts of rhythm, intervals, scales, chords, music theory, artistry and improvisation. Each method book establishes a gradual, steady pace for the developing student. Calling on decades of teaching experience, the authors have fashioned new ways of reaching proven concepts. Performance Book Level C includes 22 songs: America the Beautiful · The Chariot Race · Deep River · Jesus Loves the Little Children · Just a Closer Walk with Thee · The Royal Procession · To Be like Jesus · We Worship and Adore You · and more.
7.99 GBP - Sold by Musicroom UK | |
| Gospel Treasures: Easy
Piano: Instrumental Album Piano solo - Easy Hal Leonard
Easy Piano - The Phillip Keveren Series-Features Phillip Keveren's easy yet beau...(+)
Easy Piano - The Phillip Keveren Series-Features Phillip Keveren's easy yet beautiful arrangements of 18 cherished gospel favorites including: Amazing Grace - Are You Washed in the Blood? - At Calvary - Church in the Wildwood - His Eye Is on the Sparrow - I've Got Peace like a River - Jesus Is the Sweetest Name I Know - Just a Closer Walk with Thee - Precious Memories - Revive Us Again - Shall We Gather at the River? - When We All Get to Heaven - and more.
15.99 GBP - Sold by Musicroom UK | |
| Good Ol' Southern Gospel:
Easy Piano: Instrumental
Album Piano solo Hal Leonard
Easy Piano-Easy arrangements of 29 traditional songs of faith: Amazing Grace - C...(+)
Easy Piano-Easy arrangements of 29 traditional songs of faith: Amazing Grace - Church in the Wildwood - His Eye Is on the Sparrow - Just a Closer Walk with Thee - In the Garden - Precious Memories - Rock of Ages - Shall We Gather at the River? - Sweet By and By - There Is Power in the Blood - When We All Get to Heaven - more.
13.99 GBP - Sold by Musicroom UK | |
| Just A Closer Walk With
Thee: Piano: Instrumental
Work Piano solo [Sheet music] Schaum Publications
Just A Closer Walk With Thee
3.50 GBP - Sold by Musicroom UK | |
| JOHANN JOHANSSON - PIANO
WORKS Piano solo Faber Music Limited
Jóhann Jóhannsson was an award-winning Icelandic composer, renowned for his co...(+)
Jóhann Jóhannsson was an award-winning Icelandic composer, renowned for his compositions across film, television, theatre and dance, including his stunning score to James Marsh?s Stephen Hawking biopic The Theory of Everything (2014), which earned him a Golden Globe Award for Best Original Score. Jóhann Jóhannsson: Piano Works brings together for the first time transcriptions of his best-loved works in a special limited-edition collection for solo piano, which celebrates music from his solo albums alongside his highly acclaimed and powerfully moving film scores. Featuring 30 pieces accurately transcribed for solo piano, this collection will allow fans of Jóhannsson to immerse in his unique sound-world with music from across his career including The Theory of Everything, Odi et Amo and Flight From the City. Suitable for intermediate piano.With only a thousand copies available, Jóhann Jóhannsson: Piano Works is presented as a stunning high-end cloth-bound hardback limited-edition book. Alongside the scores, it includes a wealth of striking photographs and a specially written introduction from American composer Dustin O?Halloran, a longtime friend of Jóhannsson.?I believe that music acts as a time capsule, preserving the very essence of an individuals heart. When we play music from the past, we possess the ability to summon their spirit and bring them back to life. Jóhann?s music, in its timelessness, will forever remain vibrant and alive. By playing these pieces, you will find yourself drawing closer to his musical world, ensuring its eternal resonance?. Dustin O?Halloran, composer.?Jóhann Jóhannsson: Piano Works offers a superb tribute and testament to the musical achievement of this much-missed composer.? Andrew Eales, pianodao.com A Game of Croquet (from The Theory of Everything) A Model of the Universe (from The Theory of Everything) Bað A Sparrow Alighted Upon Our Shoulder Be Over (from The Shadow Play soundtrack) Beauty (from Blind Massage) By the Roes, and by The Hinds of the Field Dressing Up (from Personal Effects) The Drowned World Eleven Thousand Six Hundred and Sixty-Nine Died of Natural Causes Englabörn (piano version) Flight From the City Flugeldar II Good Morning, Midnight He Says It?s the Future Indian Wedding (from Personal Effects) Innocence (from Free the Mind) Já, Hemmi Minn Jói
60.74 EUR - Sold by Woodbrass Pre-shipment lead time: In Stock | |
| Carol Klose: Northwoods
Toccata: Piano:
Instrumental Album Piano solo Hal Leonard
Intermediate Level 5) Showcase Solo-A spirited recital closer! This energetic sh...(+)
Intermediate Level 5) Showcase Solo-A spirited recital closer! This energetic showpiece exploits both the full range of the keyboard and the player's palette of pianistic color and articulation. The sprightly sixteenth-note passages in C major are contrasted with awarm lyrical section in E-flat major. A vivid study in staccato/legato contrast two-note phrases use of the damper pedal as a coloristic device and cross-hand notes this piece not only sounds impressive but is great fun toplay. (HLSPL Level 5) piano solo. ABA form; 4/4 meter; Allegro tempo; C major/E-flat major; 101 measures. Timing: 3:20.
3.75 GBP - Sold by Musicroom UK | |
| Hymns: Piano:
Instrumental Album Piano solo [Sheet music] - Intermediate Hal Leonard
Jazz Piano Solos Series Volume 47-This wonderful title takes 33 hymns and reimag...(+)
Jazz Piano Solos Series Volume 47-This wonderful title takes 33 hymns and reimagines them for jazz Piano in Piano solo arrangements including chord symbols.Some of the Hymns included in this work are Abide with Me All Hail the Power of Jesus' Name Amazing Grace Be Thou My Vision Blessed Assurance Fairest Lord Jesus Holy Holy Holy How Firm a Foundation It Is Well with My Soul Just a Closer Walk with Thee A Mighty Fortress Is Our God Nearer My God to Thee The Old Rugged Cross Onward Christian Soldiers Rock of Ages Stand Up Stand Up for Jesus What a Friend We Have in Jesus and more.
18.50 GBP - Sold by Musicroom UK Pre-shipment lead time: In Stock | |
| Gospel: Piano:
Instrumental Album Piano solo Hal Leonard
Jazz Piano Solos Series Volume 33-A unique collection of jazzy Piano solo arrang...(+)
Jazz Piano Solos Series Volume 33-A unique collection of jazzy Piano solo arrangements of 20 beloved Gospel favorites including: Amazing Grace Do Lord He's Got the Whole World in His Hands How Great Thou Art I'll Fly Away Just a Closer Walk with Thee The Old Rugged Cross Shall We Gather at the River? There Will Be Peace in the Valley for Me Will the Circle Be Unbroken You'll Never Walk Alone and more. Includes chord symbols.
19.99 GBP - Sold by Musicroom UK Pre-shipment lead time: In Stock | |
| Hymns with a Classical
Flair: Piano: Mixed
Songbook Piano solo [Sheet music] Hal Leonard
15 Traditional Favorites-Using classical compositional devices Phillip Keveren ...(+)
15 Traditional Favorites-Using classical compositional devices Phillip Keveren has developed these 15 enduring hymns into character pieces for piano solo. Includes: Amazing Grace • Blessed Assurance • Fairest Lord Jesus • His Eye Is on the Sparrow • In the Garden • Just a Closer Walk with Thee • Nearer My God to Thee • The Old Rugged Cross • Rock of Ages • Were You There? • and more.
15.99 GBP - Sold by Musicroom UK Pre-shipment lead time: In Stock | |
| Well-Tempered Jazz:
Piano: Instrumental Album Piano solo Shawnee Press
Favorite spirituals and gospel songs all set in styles ranging from old-time sw...(+)
Favorite spirituals and gospel songs all set in styles ranging from old-time swing to blues to bossa to a romantic ?movie theme? to quasi new age stylings. This recording features solo piano with rhythm section.Songs include: Amazing Grace ? Every Time I Feel the Spirit ? Just a Closer Walk with Thee ? Old Time Religion/Swing Low Sweet Chariot ? and more.
19.99 GBP - Sold by Musicroom UK | |
| Teneritas for Piano Solo
(KNOCKAERT PETER) Piano solo [Sheet music] Metropolis Music Publishers
Par KNOCKAERT PETER. In difficult times, it?s important to experience a little t...(+)
Par KNOCKAERT PETER. In difficult times, it?s important to experience a little tenderness. Teneritas (Latin for ?tenderness?) is what the world needs so much more. By expressing tenderness we will come closer to one another and only by understanding each other there will be respect for each other. With the words of the Dalai Lama: ?We need to develop a sense of the oneness of humanity by considering other human beings as brothers and sisters. This is how we will build a more peaceful world. Genuine peace comes about through mutual understanding and respect for each other?s wellbeing.? / Date parution : 2022-11-29/ Répertoire / Piano
19.77 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: 3-10 days - In Stock Supplier | |
| Malcolm Riley Paul Terry:
Sight Reading Success -
Piano Grade 3: Piano: Piano solo [Sheet music + CD] Rhinegold Publishing Ltd.
Written by experienced examiners and teachers each book in the Sight Reading Su...(+)
Written by experienced examiners and teachers each book in the Sight Reading Success series accurately reflects the style of the revised ABRSM tests so is the best possible resource to help students turn the dreaded sight-reading exam into a mere breeze. Uniquely each book is accompanied by a CD providing guidance through each test and demonstrating how it should sound (featuring Vocals by Kate Johnson and Piano by Harriet Power). These Sight Reading Success books are ideal for independent use by students of all ages. These books are a simply excellent way for Piano students to be led through thefundamentals of sight-reading a hugely necessary skill for all players of Piano. This Grade 3 book will guide you through everything you might need in order to prepare for the exam from more advanced rhythms and tempos further key signatures shifting fingering and two notes on the same hand. Towards the end of the book as you get closer to Sight Reading Success you are given lots of pieces that will allow you to practise everything you've learned so far. Not only this but the accompanying CD lets you hear how each piece is meant to be played so you can get it as perfect as possible. Written by experienced examiners and teachers Sight Reading Success accurately reflects the style of the revised ABRSM tests. This also means that you will get some insider insight into the best ways to practise and prepare for the actual exam as well as what to expect at the time. For the most efficient and effective preparation for the sight-reading exam Sight Reading Success For Piano Grade 3 is the most authoritative and comprehensive guide to getting you that great grade in your forthcoming exam.
6.99 GBP - Sold by Musicroom UK Pre-shipment lead time: In Stock | |
| Piano Sonatas Band 1
(ULLMANN VIKTOR) Piano solo Schott
No. 1-4. Par ULLMANN VIKTOR. Ullman‘s seven Piano Sonatas were written between...(+)
No. 1-4. Par ULLMANN VIKTOR. Ullman‘s seven Piano Sonatas were written between 1936 and 1944. Though rediscovered as recently as 1990, they are now available in a number of recordings.
Neo-classical in approach, the piano writing and the use of polytonality places them closer to Skriabin and Prokofiev than to the works of Ullman‘s teachers Arnold Schoenberg and Alois Hába – this applies also to the Piano Concerto, written during the same period. The numerous quotes from Mozart, Wagner, Mahler, and Dukas to folksongs and tunes from operettas are particulary interesting in this context./ Répertoire / Piano
61.05 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: 3-10 days - In Stock Supplier | |
| The Top Ten Most Calming
Pieces To Play On Piano:
Piano: Instrumental Album Piano solo [Sheet music] Amsco Wise Publications
Featuring some of the world's greatest pieces of music from a variety of differ...(+)
Featuring some of the world's greatest pieces of music from a variety of different genres the 'Top Ten' series contains music for everyone. Whether you're a beginner who wants to know the best classical pieces to learn or amore experienced player looking for the ultimate Piano songs to add to your repertoire we have a 'Top Ten' for you! Each piece comes with interesting background notes to give you that extra bit of insight. The TopTen Most Calming Pieces To Play On Piano contains ten of the world's most relaxing Piano pieces composed by some of the best-known composers of the last two hundred years including Frédéric Chopin Jules Massenet Philip Glass and Yiruma. We've roamed freely across the past two centuries of music to create this tranquil Pianoselection for you. There's a piece each by Chopin and Liszt two major stars of the early Romantic era; a couple of jewels from the Parisian belle epoque by Satie and Massenet; unforgettable melodies from the pens of Dvorak andRachmaninoff; while closer to our own time there's beautiful music by Philip Glass Neil Cowley and Ludovico Einaudi. Let life's stresses melt away as you take a deep breath and lose yourself in these precious musicalmoments...
11.99 GBP - Sold by Musicroom UK | |
| Piano Sonatas Band 2
(ULLMANN VIKTOR) Piano solo Schott
No. 5-7. Par ULLMANN VIKTOR. Ullman‘s seven Piano Sonatas were written between...(+)
No. 5-7. Par ULLMANN VIKTOR. Ullman‘s seven Piano Sonatas were written between 1936 and 1944. Though rediscovered as recently as 1990, they are now available in a number of recordings.
Neo-classical in approach, the piano writing and the use of polytonality places them closer to Skriabin and Prokofiev than to the works of Ullman‘s teachers Arnold Schoenberg and Alois Hába – this applies also to the Piano Concerto, written during the same period. The numerous quotes from Mozart, Wagner, Mahler, and Dukas to folksongs and tunes from operettas are particulary interesting in this context./ Répertoire / Piano
54.94 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: 3-10 days - In Stock Supplier | |
| Michael Giacchino: Up:
Easy Piano: Album
Songbook Piano solo - Easy Hal Leonard
Music from the Motion Picture (Easy Piano)-The Up: Music From The Motion Picture...(+)
Music from the Motion Picture (Easy Piano)-The Up: Music From The Motion Picture Soundtrack - Easy Piano Songbook contains 13 pieces from the critically acclaimed movie Up in easy arrangements for the Piano. American film and tv composer Michael Giacchino (born 1967) has received numerous awards for his work. Pixar's 2009 animated film Up for which he composed the music has enjoyed much praise with audiences commending the 'humor and heart of the film'. This matching folio has sold over 1000 copies to date. See the 'Closer Look' feature on the Hal Leonard website to preview sample pages audio excerpts and/or video clips.
22.50 GBP - Sold by Musicroom UK | |
| Wolfgang Amadeus Mozart:
Alla Turca Jazz: Piano:
Instrumental Work Piano solo - Easy Schott
The final movement of the Sonata in A major KV 331 by Wolfgang Amadeus Mozart t...(+)
The final movement of the Sonata in A major KV 331 by Wolfgang Amadeus Mozart the Rondo Alla Turca is one of the most famous piano pieces of all time. Once only familiar to musical experts later a universal piece for all piano pupils its opening melody is now even omnipresent as an alienated sinus tone-like mobile phone ring tone. Fazıl Say's arrangement originally created as an effective encore follows on from this popularity. After the first eight bars have been presented in original form typical elements of jazz superimposed on the still recognisable classical foundations can be discovered such as syncopation of the top notes andornamentation through chromatic blue notes embedded in the at times frenzied chains of semiquavers. In the spirit of the work's improvisatory character Say likes to perfom his Alla Turca Jazz in different combinations for example accompanied by jazz singers of with orchestra. It may appear strange that Fazıl Say who was born in Turkey and - when not on tour - is still resident in that country does not bring back Mozart's interpretation of genuine Turkish music closer to its own roots particularly as many of his compositions such as Black Earth or the Violin Sonata are characterised by a subtle amalgamation of the Classical-Romantic tradition Turkish folk music and elements of jazz. In a further Mozart arrangement the ballet music Patara premiered in Vienna in 2006 composed on the basis of the Rococo-like theme from the first movement of the same A-major Sonata (wich enjoys almost as great popularity as the Alla Turca theme) Say utilised the connection which was absent in Alla Turca albeit in the opposite direction. In the ballet music the piano symbolises Western culture and the Ney flute Oriental culture communcated atmosperically by austere percussion instrumentation and soprano vocalisation.
11.99 GBP - Sold by Musicroom UK Pre-shipment lead time: In Stock | |
| Maurice Ravel: Gaspard De
La Nuit - 3 Poemes:
Piano: Instrumental Album Piano solo Wiener Urtext
Maurice Ravel's Gaspard De La Nuit is one of the most important Piano works of t...(+)
Maurice Ravel's Gaspard De La Nuit is one of the most important Piano works of the 20th century and constitutes the height of the extension of the pianistic playing techniques and tonal possibilites which was already begun by Chopin and Liszt in the 19th century. The three movements Ondine Le Gibet and Scarbo are based on poems by Aloysius Bertrand which Ravel put in front of each of the three pieces. Thus too the work is in a tradition represented by composers such as Schumann and Liszt in the 19th century that combines instrumental music with literary models. For the new edition published by the Wiener Urtext Edition the editorsconsulted not only the first edition used almost exclusively up to now but also Ravel's autograph as well as his personal copy of the first edition on the basis of which numerous passages in the musical text could be corrected and brought closer to Ravel's original intention. In addition the editors included corrections from personal copies of various students of Ravel. Entries of the composer going well beyond mere text corrections and practical performance tips handed down by his students are analysed in the Notes of Interpretation. The reader-friendly large-format Wiener Urtext edition is completed by a trilingual glossary of the French performance instructions used by Ravel as well as English and German translations of Bertrand's three poems.
17.99 GBP - Sold by Musicroom UK | |
| Gospel Gold: Piano:
Instrumental Album Piano solo Shawnee Press
Sacred Treasures for Piano-Some of today's best pianists and arrangers have gath...(+)
Sacred Treasures for Piano-Some of today's best pianists and arrangers have gathered to celebrate the best timeless gospel hymns in a new compilation sure to be a hit with any church pianist. 17 songs including: Stand Up Stand Up for Jesus ? 'Tis SoSweet to Trust in Jesus ? Just a Closer Walk with Thee ? Do Lord ? Rock of Ages ? He Keeps Me Singing ? and many more.
22.50 GBP - Sold by Musicroom UK | |
| Carl Orff: Klavierbuch:
Piano Piano solo Schott
The Orff Piano Book is intended to bring the pianist closer to the special style...(+)
The Orff Piano Book is intended to bring the pianist closer to the special style to simplicity precision and beauty of the music of Carl Orff. Easy pieces and arrangements from Carmina Burana Klavierübung Musik für Kinder Der Mond and Die Bernauerin
14.99 GBP - Sold by Musicroom UK | |
| Franz Liszt: 3 Études de
concert: Piano:
Instrumental Album Piano solo EMB (Editio Musica Budapest)
New edition based on the composer's manuscript-This edition of the three concert...(+)
New edition based on the composer's manuscript-This edition of the three concert études is the first and only for which the composer's autograph has been taken into consideration. This allows Liszt's popular Piano cycle to be seen in the most authentic form available today. No closer information has emerged about the origins of the études which appeared in 1849. The autograph which contains all three studies in complete form with elaborated notation and furnished with performance markings appeared in a catalogue in the mid-1930s. But after it was bought by the French pianist François Lang (1908-1944) there were doubts about its whereabouts for several decades. So even Volume I/2 of thecomplete New Liszt Edition published by Editio Musica Budapest in 1971 could rest only on the notation of the first printed editions. The new version edited by Adrienne Kaczmarczyk that appears here pays close heed to the points where knowledge of the manuscript calls for alteration and addition. The autograph also used as the engraver's copy confirms an earlier suspicion. The widely used subtitles (1. Il lamento 2. La leggerezza and 3. Un sospiro) were thought to be alien to Liszt's approach and are now known not to originate from the composer. They were presumably dreamed up by a Paris publisher.
9.99 GBP - Sold by Musicroom UK Pre-shipment lead time: In Stock | |
| Wolfgang Amadeus Mozart:
Sonata In F K.533/494:
Piano: Instrumental Work Piano solo G. Henle
Piano Sonata in F major K. 533/494-Mozart assembled this sonata from two parts t...(+)
Piano Sonata in F major K. 533/494-Mozart assembled this sonata from two parts that had been composed at different times. The Rondo K. 494 is from 1786. It was only in January 1788 that Mozart composed the two pieces K. 533 and had Hoffmeister in Vienna publishthe three movements as a sonata. To this end he did however thoroughly rework the Rondo incorporating a small fugue-like passage - perhaps to bring the finale closer to the other two movements. In its final version the workshows how intensively Mozart had looked into the style of Bach and Handel at the time. Henle are now offering this sonata included in the complete volume as an attractive single edition with a new preface by the editor.
9.75 GBP - Sold by Musicroom UK | |
| Johannes Brahms: Sonatas
Scherzo And Ballades:
Piano: Instrumental Work Piano solo G. Henle
Johannes Brahms?s Piano Sonatas opp. 1 2 and 5 were among the first works that ...(+)
Johannes Brahms?s Piano Sonatas opp. 1 2 and 5 were among the first works that the 20-year-old composer published. They were composed in 1852/53 although the Sonata in f-sharp minor was apparently the first of the three to becomposed as it was finished by November 1852. This work has a special place in his oeuvre. Besides its passionate atmosphere his contemporaries discerned it to be ?serious and dignified in character?. Brahms dedicated thissonata to Clara Schumann whose husband Robert wrote to the composer that ?Your second sonata my friend has brought me much closer to you?. The ingenious fingerings have been provided by the pianist Andreas Boyde a recognisedBrahms expert.
11.25 GBP - Sold by Musicroom UK | |
| Moira Hayward: A New Tune
A Day: Piano - Book 1:
Piano: Instrumental Tutor Piano solo [Sheet music + CD + DVD] Boston Music
The DVD edition of this hugely popular series of tutors gets you even closer to ...(+)
The DVD edition of this hugely popular series of tutors gets you even closer to your instrument with a set of real music lessons right there on your screen! A New Tune A Day features the same logical gentle pace andkeen attention to detail that made earlier editions so hugely popular and successful. Clear explanatory diagrams and photographs help guide you through the lessons and achieve the very best in tone technique and posture. Theselection of music is fresh and exciting including duets and rounds to inspire the student and ensure that those vital practice hours are never boring!The book includes:Advice on your instrument and the equipmentyou will needInstructions for effective technique and comfortable playingExplanatory pages on reading and understanding musicTests to check your own progress and comprehensionThe accompanying audio CD featuresa virtuoso performance and backing track for each pieces as well as recorded examples to support the lessons.The DVD features lessons on:Basic techniquesPutting the instrument togetherPostureLookingafter your instrumentBasic music notationHow to approach your first piece
15.99 GBP - Sold by Musicroom UK Pre-shipment lead time: In Stock | |
| Gospel Hymns: Melody
Lyrics and Chords: Mixed
Songbook Piano solo Hal Leonard
Piano Chord Songbook-80 gospel favorites including: 'Amazing Grace' 'Blessed A...(+)
Piano Chord Songbook-80 gospel favorites including: 'Amazing Grace' 'Blessed Assurance' 'Down by the Riverside' 'His Eye Is on the Sparrow' 'I Love to Tell the Story' 'Just a Closer Walk with Thee' 'Near the Cross' 'Rock of Ages' 'There Is a Balm in Gilead' 'What a Friend We Have in Jesus' 'Will the Circle Be Unbroken' and many more.
16.99 GBP - Sold by Musicroom UK | |
| Down - Home Adoration:
Piano: Instrumental Album Piano solo [Sheet music] - Intermediate FJH
Appropriate for all performance settings these songs of faith have been arrange...(+)
Appropriate for all performance settings these songs of faith have been arranged with a country flavor to provide performers teachers and students with the fulfilling joy of the contemporary gospel sound. Contents include: Just a Closer Walk with Thee; What a Friend We Have in Jesus; In the Garden; Precious Memories; Amazing Grace; Rock of Ages; God Leads Us Along; The Solid Rock; Little Is Much When God Is In It; I Bowed on My Knees and Cried Holy!.
4.95 GBP - Sold by Musicroom UK | |
Next page 1 31 |
|