Beethoven's fifth and final piano concerto is at the same time the culmination of his efforts in this genre and a reflection of all his artistic skill and expertise. The surviving manuscripts provide a clear insight into his working methods and his intentions regarding the work's performance.The editor, Jonathan Del Mar, has closely scrutinised the autograph solo piano part and reproduced Beethoven's sophisticated performance instructions for the first time in a modern edition. Among other things, this has special repercussions for the left-hand figured bass line of the piano part during the tutti passages.As with the Piano Concertos Nos. 1 to 4, the piano reduction appears with a separate solo part containing all the information needed by the soloist to conduct the ensemble from the piano.- Many wholly new corrections in the solo and orchestral parts- Piano reduction with a separate solo part, as was customary in Beethoven's day- With Beethoven's continuo figures for the first time in a modern edition / Score

Poema Per Pianoforte E Orchestra. Par CASELLA ALFREDO. / oeuvre solo et Orchestre / Date parution : 1905-06-30/ Répertoire / Piano et Orchestre

Hans Abrahamsen's Concerto For Piano And Orchestra was composed in 1999 by commission for the BIT-20 Ensemble. A complex and multi-layered work opening with highly minimal material and very slowly building to an ecstatic frenzy across the four movements. As the piece progresses Abrahamsen has also included some significant nods towards composers Gyorgy Ligeti (a former teacher of the composer) and Gustav Mahler.The work was premiered at the Ultima Festival in Oslo in 2000 with Anne Marie Abildskov as soloist. I Allegro Volante e nervoso II Adagio innocente e semplice III Tempo de grandegioia IV Fluente ma tranquillo Programmenote: ???The piano concerto starts entirely as I usually start with this filigree in the piano and many simultaneous layers ??? Hans Abrahamsen has explained ???The beginning is music that could continue almost minimalistically ad infinitum. But it doesn???t. Instead it has a seizure after just thirty seconds. It literally comes to a halt!???There is no programmatic structure behind the four-movement course of the concerto but a romantically minded listener may be tempted to interpret the development from a quick stalling of the familiar through the introduction (by the lyrical second movement) of something much more ???innocent and simple??? as it says - something feminine one feels like adding - to the third movement???s flashing firework display of a scherzo which draws the curtain aside for a liberating rush of joy as life after the advent of love. However the undersigned assumes full responsibility for this interpretation.The piano soloist is the undisputed main character in the concerto and plays almost constantly in the first three movements. It is only in the fourth movement that she takes a break and listens. ???The piano stirs up an anthill??? is Hans Abrahamsen???s own description ???and it becomes almost operatic! It is as if the music is about to fall right out over the edge of the abyss at the drastic general

E-flat major-Many wholly new corrections in the solo and orchestral parts.Piano reduction with a separate solo part as was customary in Beethoven’s day.With Beethoven’s continuo figures for the first time in a modern edition.Beethoven’s fifth and final Piano Concerto is at the same time the culmination of his efforts in this genre and a reflection of all his artistic skill and expertise. The surviving manuscripts provide a clear insight into his working methods and his intentions regarding the work’s performance.The editor Jonathan Del Mar has closely scrutinised the autograph solo piano part and reproduced Beethoven’ssophisticated performance instructions for the first time in a modern edition. Among other things this has special repercussions for the left-hand figured bass line of the piano part during the tutti passages.As with the Piano Concertos Nos. 1 to 4 the Piano reduction appears with a separate solo part containing all the information needed by the soloist to conduct the ensemble from the Piano.

Edited by Frank MerrickThis is neglected repertoire by an important figure of the early Romantic movement who was a significant influence on Chopin. The contents include Piano Concertos in E flat A flat and E flat scored for strings timps and double woodwind horns and trumpets.First published in 1961.

Le Rondo en Si bémol majeur de Beethoven ne fut publié que deux ans après sa mort dans un arrangement de Carl Czerny.

On a pu prouver entretemps qu?il s?agissait à l?origine du dernier mouvement du 2e Concerto pour piano op. 19 que Beethoven remplaça vers 1794/95 par le final actuel.

La forte influence de Mozart que l?on décèle dans ce mouvement n?est certainement pas étrangère à cette décision.

Beethoven conserva toutefois sa vie durant le manuscrit autographe du Rondo qu?il estimait particulièrement.

Johannes Umbreit présente ici une nouvelle réduction pour piano, tout à fait jouable et reposant sur la partition de l?édition complète des oeuvres de Beethoven. / [Rondo Si bémol majeur WoO 6 pour Piano et Orchestre] / Classique / Partition / Agrafé /

Un nombre quelconque des artistes suivants : pf - 1 en solo (FLA, a-fl).0.1.1(bar-sax) - 0.1.1.1 - str (3 vl, 2 vla, vc, db) 63 pages pour être joué, en tout ou en partie, dans n'importe quelle séquence - 84 ' types ' de composition sont impliqués. Etre effectuées, en tout ou en partie, dans toute durée, avec un nombre quelconque des interprètes ci-dessus comme solo, ensemble de chambre, orchestre symphonique, concert pour piano et orchestre, aria, etc. (voir aussi ARIA, SOLO pour voix 1,2, FONTANA MIX, WBAI). Des pièces disponibles séparément (EP 6705a-m) / Piano Et Orchestre

Widely considered the most important of the Russian nationalist composers Moussorgsky finished relatively few works in the course of his tragically short life. His unorthodox techniques made a considerable impression on later composers. A Night On Bald Mountain is a brilliant example of Moussorgsky's unique sense of theatrical effect and was completed and orchestrated by Rimsky-Korsakov after the composer's death. This work is a staple part of the orchestral repertoire.