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Carol of the Bells / God Rest Ye Merry Gentlemen - Piano and Orchestra
Carol of the Bells / God Rest Ye Merry Gentlemen - Piano and Orchestra
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Piano and Orchestra
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Mykola Leontovych
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Carol of the Bells / God Rest Ye Merry Gentlemen - Piano and Orchestra
Carol of the Bells / God Rest Ye Merry Gentlemen - Piano and Orchestra
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Piano and Orchestra
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Mykola Leontovych
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Matt Riley
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Tapayawi (2 pianos study score)
Tapayawi (2 pianos study score)
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Piano solo
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Juan Guerra González
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Juan Carlos Guerra Gonzalez
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Season of Carols
Piano and Orchestra
[Score and Parts]
-
Easy
Hal Leonard
Piano (opt.). Arranged by Bruce Healey. Music for String Orchestra. Size 9x12 in...
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Piano (opt.). Arranged by Bruce Healey. Music for String Orchestra. Size 9x12 inches. 28 pages. Published by Hal Leonard.
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Kabalevsky - Piano Concerto No. 3, Op. 50 Youth Concerto
Piano and Orchestra
[Sheet music]
-
Easy
Schirmer
Schirmer's Library of Musical Classics, Vol. 2052. By Dimitri Kabalevsky. (Piano...
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Schirmer's Library of Musical Classics, Vol. 2052. By Dimitri Kabalevsky. (Piano). Piano. Book only. Size 9x12 inches. 64 pages. Published by G. Schirmer, Inc.
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Les Classiques favoris Vol. 4
Piano and Orchestra
[Score]
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Intermediate
Lemoine, Henry
For piano. Les Classiques favoris. Classical. Grade 3. Score. 136 pages. Publish...
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For piano. Les Classiques favoris. Classical. Grade 3. Score. 136 pages. Published by Editions Henry Lemoine
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Poul Ruders: Piano Concerto No.2: Piano: Score
Piano and Orchestra
[Score]
Wilhelm Hansen
Piano Concerto No. 2 for Piano and Orchestra (2009) by Poul Ruders.Commissioned ...
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Piano Concerto No. 2 for Piano and Orchestra (2009) by Poul Ruders.Commissioned by The Norwegian Radio Orchestra and Jerome Lowenthal. Solo Piano part: WH31129CProgramme Note In this day and age when faced with the challenge of writing a 'Piano Concerto' e.g. a piece for symphony orchestra and an all-dominating and virtuosic solo Piano part one has two options: either: DO or do NOT go for it wholesale exploiting and enjoying the conrnucopia of sonorous treasures offered by the combination of the orchestra and the 'Grand Piano'. I have opted to go for it. When writing forone of our great young international Piano stars it would be absurd and a waste to do anything less and only 'nibble at the goodies'.However the piece is not a big clunky 'machine'. Rather it is a transparently orchestrated neo-classic (for the lack of a better work) composition in three movements lastign approximately 25 minutes.The piece begins with a moderately paced opening in which the Piano gradually gathers momentum and strength beginning with the most gentle of motifs. In this movement the soloist and orchestra fo not always agree and the vigilant listener will observe the disparity between the two. Following a swift up-beat coda the movement stops almost in mid-breath on one of the gentle Piano chords taken from the very opening.The extreme simplicity of the second movement 'Semplice' (the opening Piano solo bears the marking: 'slightly hesitant - like a child practicing') is after having been joined by the Vibraphone Harp and solo Violin suddenly violated with unprecedented brutality by the rest of the orchestra which virtually 'lies in wait - panting to pounce'. But eventually calm and order is restored.The finale is a crazy rondo of sorts. The marking 'Avanti Risoluto' (Forward with Resolve) is a bit of an understatement. It is a full throttle no hold barred ride -
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Konzertante Werke Op. 32 Wev N.15
Piano and Orchestra
Schott
Carl Maria von Weber's fame rests mainly on ?Der Freischütz'. The unprecedented...
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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
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Sergei Prokofiev: Piano Concerto No.2 In G Minor Op.16: Piano: Study Score
Piano and Orchestra
Boosey and Hawkes
Interestingly there are two different versions of Prokofiev’s second pian...
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Interestingly there are two different versions of Prokofiev’s second piano concerto the first written between 1912 and 1913 the second written in 1923. However during the Russian Civil War the original manuscript of the Concerto was destroyed in a fire in Prokofiev’s apartment in St. Petersburg. In 1923 he recreated the score from memory effectively composing the second edition of the work which was very different. Prokofiev wrote to a friend: I have so completely rewritten the second concerto that it might be considered the fourth (his third piano concerto having been written in the meantime).At the time of composition the concerto's wild temperamentleft some exalted whereas others were horrified by the jarring and at the time futuristic sound. Today however it is generally recognised as a masterpiece and is one of the most virtuosic works in the piano concerto repertoire.Available here is the Hawkes Pocket Score edition (No.877) of Prokoviev’s virtuosic Piano Concerto No.2 in G minor Op.16 and is ideal for study and perusal usage.
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Robert Schumann: Great Works For Piano And Orchestra: Piano: Score
Piano and Orchestra
Dover Publications
Clara Wieck’s sincerest wish was that her future husband Robert Schumann ...
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Clara Wieck’s sincerest wish was that her future husband Robert Schumann turn his extraordinary genius toward the larger and more challenging task of composing orchestral music. Confiding in her diary in 1839 just one year before her marriage she explained that “it would be best if he composed for Orchestra: his imagination cannot find sufficient scope in the Piano…” In the years that followed their marriage Robert Schumann continued to devote much of his attention to Piano music but he also found the time to comply with his beloved Clara’s wish by creating a number of musical pieces composed specifically for Piano andOrchestra. Although Schumann’s genius is most in evidence in his masterful solo Piano compositions and superb lieder his lively and provocative imagination manifests itself with equal aplomb in the works composed for Piano and Orchestra. The same compelling romantic and lyrical qualities that captivate lovers of Schumann’s Piano music are evident in these compositions. Three of his finest are presented here in full score including the A Minor Piano Concerto one of the most popular and frequently performed concertos ever written. All demonstrate his remarkably innovative approach to music diverting substantially from the classic models of the day and display his immense creativity as well as his warmth and sensitivity. Included in this collection of Schumann’s compositions for Piano and Orchestra are: Piano Concerto In A minor Op. 54 (published 1846) Concertstück Op.92 (Introduction and Allegro appassionato; published 1852) Introduction and Allegro Op. 134 (published 1855) These three works by one of the greatest masters of romanticism will delight musicians music lovers and students as well as devotees of Schumann. Pianists will be especially pleased to have these appealing Schumann works in one convenient edition available at
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Ligeti Gyorgy - Concerto - Piano And Orchestra
Piano and Orchestra
Schott
for Piano and Orchestra Instrument : Piano and Orchestra Type : study score Nom...
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for Piano and Orchestra Instrument : Piano and Orchestra Type : study score Nombre de Pages : 140 Content : Vivace molto ritmico e preciso - II Lento e deserto - III Vivace cantabile - IV Allegro risoluto, molto ritmico - V Presto luminoso
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Piano Concerto A Minor Op. 54
Piano and Orchestra
Schott
Concerto pour Piano de Schumann est connu dans le monde entier, mais malgré sa ...
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Concerto pour Piano de Schumann est connu dans le monde entier, mais malgré sa popularité, il reste dans un certain sens un travail inconnu. L'objectif de cette édition n'est pas seulement de fournir un score de critique de le oeuvre, mais en même temps pour indiquer quelles questions de détail devrait faire l'objet de recherches futures. L'analyse critique offert ici donc discussion d'offres de la relation entre la version de Fantasia un mouvement et la version de Concerto pour trois mouvements, le problème de la transition de la deuxième à la troisième mouvement et une série de questions relatives à la version terminée en 1853. Un livret de fac-similés complète le volume. / Piano Et Orchestre
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Concerto (LIGETI GYORGY)
Piano and Orchestra
[Study Score / Miniature]
Schott
for Piano and Orchestra. Par LIGETI GYORGY. / Répertoire / Piano et Orchestre
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Concerto (LIGETI GYORGY)
Piano and Orchestra
[Score]
Schott
for Piano and Orchestra. Par LIGETI GYORGY. / Répertoire / Piano et Orchestre
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Sergei Rachmaninov: Piano Concerto No. 2 in C Minor: Orchestra: Study Score & CD
Piano and Orchestra
[Study Score / Miniature + CD]
Hal Leonard
Score
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Concerto #2 Eb Major Op. 32 Jv 155
Piano and Orchestra
Eulenburg
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Concerto #2
Piano and Orchestra
Schott
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Concerto A Minor Op. 16
Piano and Orchestra
[Study Score / Miniature + CD]
Eulenburg
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Concerto A Minor Op. 16
Piano and Orchestra
Eulenburg
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Concerto #2 D Minor Op. 40
Piano and Orchestra
Eulenburg
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Concerto #1 G Minor Op. 25
Piano and Orchestra
Eulenburg
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Concerto #9 Eb Major Kv 271
Piano and Orchestra
Eulenburg
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Piano Concerto #1 In G Minor Op. 25
Piano and Orchestra
Zen-on
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