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| Liszt - 3 Etudes De Concert Piano solo G. Henle
Composed by Franz Liszt. Edited by Rena C. Mueller. Piano Solo, Piano and Keyboa...(+)
Composed by Franz Liszt. Edited by Rena C. Mueller. Piano Solo, Piano and Keyboard, Repertoire, Solos. Three Concert Etudes. Classical, Romantic. Softcover Book. 44 pages. G. Henle #HN481. Published by G. Henle
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| 2 Concert Studies, Ab irato, Morceau de salon Piano solo EMB (Editio Musica Budapest)
Piano SKU: BT.EMBZ6502 Waldesrauschen, Gnomenreigen. Composed by F...(+)
Piano SKU: BT.EMBZ6502 Waldesrauschen, Gnomenreigen. Composed by Franz Liszt. EMB Liszt Works. Studies & Exercises. Book Only. Composed 2014. 48 pages. Editio Musica Budapest #EMBZ6502. Published by Editio Musica Budapest (BT.EMBZ6502). English-German. The Two Concert Studies, which Liszt composed in 1863 for Grand Theoretical and Practical Piano School by Sigmund Lebert and Ludwig Stark, became rather popular already in his lifetime. Today they are among the most often played works by Liszt. Morceau de salon is also a publication for piano education and was written for the Méthode des méthodes de piano of François-Joseph Fétis and Ignaz Moscheles and published in 1840. The virtuoso concert study was revised by Liszt under the title Ab irato a decade later. This edition contains the score of and critical notes to the above works as published in the New Liszt Edition, as well as prefaces in English and German, which provideinformation about all the important issues concerning the genesis and performance rendering. This publication is printed on high quality, durable paper made from renewable raw materials in an environmentally friendly way.
Separate editions from the New Liszt Complete Critical Edition with preface and critical notes. The Two Concert Studies, which Liszt composed in 1863 for Grand Theoretical and Practical Piano School by Sigmund Lebert and Ludwig Stark, became rather popular already in his lifetime.Today they are among the most often played works by Liszt.Morceau de salon is also a publication for piano education and was written for the Méthode des méthodes de piano of François-Joseph Fétis and Ignaz Moscheles and published in 1840. The virtuoso concert study was revised by Liszt under thetitle Ab irato a decade later. This edition contains the score of and critical notes to the above works as published in the New Liszt Edition, as well as prefaces in English and German, which provide information about all the important issuesconcerning the genesis and performance rendering.
Einzelausgabe aus der Neuen Kritischen Liszt-Gesamtausgabe mit Vorwort und kritischem Bericht. Die Zwei Konzertetüden (1. Waldesrauschen, 2. Gnomenreigen), die Liszt 1963 für die Grosse Theoretische-praktische Klavierschule von Sigmunt Lebert und Ludwig Stark schrieb, wurden schon zu seinen Lebzeiten bekannt. Heute gehören sie zuseinen am häufigsten gespielten Stücken. Morceau de salon ist ebenfalls eine pädagogische Etüde, die Liszt für die Méthode des méthodes de piano (1840) von François-Joseph Fétis und Ignaz Moscheles schrieb. Die virtuose Etüde wurde von Liszt unter dem Titel Ab irato einJahrzehnt später als Konzertetüde veröffentlicht. Die hier vorliegende Einzelausgabe enthält die Partitur und den kritischen Kommentar aus der New Liszt Edition, sowie Vorworte in Englisch und Deutsch, mit wertvollen Hinweisen zur Entstehung undSpielweise der Stücke. $14.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Technical Studies II (Supp. 2) Piano solo EMB (Editio Musica Budapest)
Composed by Franz Liszt (1811-1886). For Piano. New Liszt Edition Supplement 'A'...(+)
Composed by Franz Liszt (1811-1886). For Piano. New Liszt Edition Supplement 'A'. Standard notation. 248 pages. Editio Musica Budapest #510-04844. Published by Editio Musica Budapest
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| Franz Liszt : Transcendental Studies
Piano solo [Sheet music] - Advanced G. Henle
Piano Solo. By Franz Liszt. Edited by E.-G. Heinemann. For piano solo. This edit...(+)
Piano Solo. By Franz Liszt. Edited by E.-G. Heinemann. For piano solo. This edition: HN717. Piano (Harpsichord), 2-hands. Henle Music Folios. Pages: IX and 123. Urtext edition (Paper-bound). 131 pages. Published by G. Henle.
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| Liszt - Transcendental Etudes Urtext Piano solo G. Henle
Piano SKU: HU.HN717 Composed by Franz Liszt. Edited by Ernst-Gunter Heinemann. ...(+)
Piano
SKU: HU.HN717
Composed by Franz Liszt. Edited by Ernst-Gunter Heinemann. Piano Solo, Piano and Keyboard, Repertoire, Solos. Transcendental Studies. Classical, Romantic. Softcover Book. 132 pages. G. Henle #HN717. Published by G. Henle (HU.HN717).
12.2 x 9.3 x 0.4 inches.
Liszts Transcendental Studies (Etudes d'execution transcendante) of 1852 are without doubt among the triumphs of virtuoso piano music, and their visionary language and poetic expression make them a milestone of the romantic age. This set of twelve etudes represents the results of the composers own revision of a collection already published in 1827 and 1839. Accordingly, the principal source for this edition was a printed copy of the earlier version with myriad changes in the composers hand. Each of these pieces, including the famous Harmonies du soir and Mazeppa, bears its own title and has entered the concert repertoire less as an etude than as a tone-poem with its own distinctive flavour. Edited by Ernst-Gunter Heinemann with fingerings by Franz Liszt and preface by Maria Eckhardt.
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| Grandes Etudes de Paganini Piano solo EMB (Editio Musica Budapest)
Nos. 1-6. Composed by Franz Liszt (1811-1886). Edited by Zoltan Gardonyi and Ist...(+)
Nos. 1-6. Composed by Franz Liszt (1811-1886). Edited by Zoltan Gardonyi and Istvan Szelenyi. Romantic. Separate editions from the New Liszt Complete Critical Edition. Studies and Exercises. Book Only. 68 pages. Editio Musica Budapest #EMBZ6500. Published by Editio Musica Budapest
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| Etüden (Studies) Band 1 Piano solo EMB (Editio Musica Budapest)
Piano SKU: BT.EMBZ5411 EMB Liszt Works. Studies & Exercises. Book Only. C...(+)
Piano SKU: BT.EMBZ5411 EMB Liszt Works. Studies & Exercises. Book Only. Composed 1970. 132 pages. Editio Musica Budapest #EMBZ5411. Published by Editio Musica Budapest (BT.EMBZ5411). English-German. The history of Liszt's intensely virtuosic and unwaveringly popular Transcendental Etudes dates back to his 12 Etudes composed around 1826. Liszt later reworked 11 pieces of this not-so-technically-difficult series into virtuoso concert etudes, and replaced one of the etudes with a new piece. This version was published in 1837 under the name Grandes études. However, Liszt reworked these 12 big etudes again: the final version of the series - in which, with two exceptions, the pieces were titled - was published in 1851 under the series title Études d exécution transcendante. Transcendental Etudes was the very first volume of the New Liszt Complete Critical Edition, and it wasfirst published in 1970 based on the previous editions of the work. This edition includes footnotes highlighting common performance difficulties as well as English and German forewords, facsimiles, and critical notes in English. $48.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Etüden (Studies) Band 1 Piano solo EMB (Editio Musica Budapest)
Piano SKU: BT.EMBZ5411A EMB New Listz Edition. Studies & Exercises. Book ...(+)
Piano SKU: BT.EMBZ5411A EMB New Listz Edition. Studies & Exercises. Book Hardcover. Composed 1970. 140 pages. Editio Musica Budapest #EMBZ5411A. Published by Editio Musica Budapest (BT.EMBZ5411A). English-German. The history of Liszt's intensely virtuosic and unwaveringly popular Transcendental Etudes dates back to his 12 Etudes which was composed around 1826. Liszt later reworked 11 pieces of this not-so-technically-difficult series into virtuoso concert etudes, and replaced one of the etudes with a new piece. This version was published in 1837 under the name Grandes études. However, Liszt reworked these 12 ''big'' etudes again: the final version of the series - in which, with two exceptions, the pieces were titled - was published in 1851 under the series title Études d'exécution transcendante. Transcendental Etudes was the very first volume of the New Liszt Complete Critical Edition, andit was first published in 1970 based on the previous editions of the work. This edition includes footnotes highlighting common performance difficulties as well as English and German forewords, facsimiles, and critical notes in English. $119.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Free Arrangements and Technical Exercises Piano solo EMB (Editio Musica Budapest)
Piano SKU: BT.EMBZ20004A Complete Edition. Composed by Liszt Feren...(+)
Piano SKU: BT.EMBZ20004A Complete Edition. Composed by Liszt Ferenc. EMB New Listz Edition. Studies & Exercises. Book Hardcover. Composed 2021. 240 pages. Editio Musica Budapest #EMBZ20004A. Published by Editio Musica Budapest (BT.EMBZ20004A). English-German-Hungarian. Supplementary Volume 16 of the New Liszt Edition contains free arrangements and technical exercises. In the first section can be found early versions of three arrangements. The first consists of the first and intermediary versions of a transcription of Die Rose, a song Schubert composed to a poem by Schlegel. The arrangement of the second movement of Berlioz's Harold Symphony also draws on literary inspiration: Lord Byron's (1788-1824) narrative poem Childe Harold's Pilgrimage (1812-18) was a literary experience Liszt shared with Berlioz. The fantasy on themes from Bellini's opera La sonnambula [The Sleepwalker] (here the first version of 1842, and the second version dating from the following decade are given) is important in music history because it was while he worked on this (and other operatic fantasies) that Liszt developed a new concept of the form, which took shape in more complex and more concentrated fantasies than before. Particularly interesting material can be found in the appendix. In addition to sketches and drafts for arrangements of Spanish themes, there are three sources published here for the first time, which shed light on technical aspects of Liszt's piano teaching. These are three sets of exercises: the first written by Liszt himself for Valérie Boissier in 1832; the second a copy in an unidentified hand from the same period or slightly later; and finally the third which was noted down in 1871 by Henri Maréchal in Rome based on the composer's dictation. This latest volume of the New Liszt Edition includes a detailed preface in German, English, and Hungarian containing new research findings, together with five manuscript facsimiles and critical notes. Simultaneously with the cloth-bound Complete Edition, a practical paperback version has been published, the contents of which are identical to those of the hardcover edition, minus the inclusion of critical notes. $119.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| 3 études de Concert Piano solo EMB (Editio Musica Budapest)
Composed by Franz Liszt (1811-1886). EMB. Softcover. 56 pages. Editio Musica ...(+)
Composed by Franz Liszt
(1811-1886). EMB. Softcover.
56 pages. Editio Musica
Budapest #Z15071. Published
by Editio Musica Budapest
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| Piano Music for 1 Hand
Piano solo - Intermediate/advanced Schirmer
Gavotte (Bach) Fantasy In A Flat,op76#1(alkan) Klavierstuck (C.p.e.bach) E...(+)
Gavotte (Bach)
Fantasy In A Flat,op76#1(alkan)
Klavierstuck (C.p.e.bach)
Etude For L.h. (Bartok)
9 Etudes For L.h. (Berens)
Etude For L.h. (Berger)
Etude Op.36 (Blumenfeld)
Etude No. 3,op.273 (Bonimici)
Etude In E Flat Minor,op.10#6
Etude For One Hand (Czerny)
Capriccio In E Flat,op.26#2
Elegy (Godowsky)
Meditation (Godowsky)
Etude For L.h.(op.19) Greulich
Four-voiced Fugue (Kalkbrenner)
Exercise In Arpeggio (Kohler)
Melody(weber's Freischutz)kohler
Rhythmic Studies (Kohler)
3 Folk Songs For L.h. (Kohler)
Hungary's God (Liszt)
La Ricordanza (Marxsen)
Etude,op.92,#4 (Moskowski)
Scherzo (Reger)
Humoreske (Reger)
Romanze (Reger)
Prelude And Fugue (Reger)
see all...
Finale (Son.for L.h.) Reinecke
Moto Perpetuo (Saint-saens)
Nocturne, Op.9,#2 (Scriabin)
Prelude,op.9#1 (Scriabin)
Exercises For L.h.(22,45)tappert
Viennese Pranks (Zichy)
Solfeggietto
Piano Music for 1 Hand (Piano Solo). By Various. Edited by Raymond Lewenthal. Piano Collection. Difficult Class piece for the One Hand Piano Music for Specially Capable Junior Musician (SCJM) event with the National Federation of Music Clubs (NFMC) Festivals Bulletin 2008-2009-2010. SMP Level 8 (Early Advanced). 136 pages. G. Schirmer #ED2773. Published by G. Schirmer
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| Technical Studies III Piano solo EMB (Editio Musica Budapest)
Technical Studies III (Supp. 3). (Supplement Series III). By Franz Liszt (1811-1...(+)
Technical Studies III (Supp. 3). (Supplement Series III). By Franz Liszt (1811-1886). For Piano. New Liszt Edition Supplement 'B'. Standard notation. 132 pages. Published by Editio Musica Budapest
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| 3 Concert Etudes Piano solo G. Henle
Piano Studies. Composed by Franz Liszt (1811-1886). Edited by Michael Schnei...(+)
Piano Studies. Composed by
Franz Liszt (1811-1886).
Edited by Michael Schneidt.
Henle Music Folios. Classical.
Softcover. 52 pages. G. Henle
#HN1573. Published by G. Henle
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| 3 Studies for Harp Harp Ut Orpheus
Harp SKU: UT.MAG-265 Composed by Wilhelm Posse. Edited by Anna Pasetti. S...(+)
Harp SKU: UT.MAG-265 Composed by Wilhelm Posse. Edited by Anna Pasetti. Saddle stitching. Magadis. Classical. Ut Orpheus #MAG 265. Published by Ut Orpheus (UT.MAG-265). ISBN 9790215326422. 9 x 12 inches. Posse’s compositions for harp are rich and varied, and range from the easy pieces dedicated to his students to the virtuoso concert pieces; we must also remember his didactic works, in particular the ‘Six Small Studies’ and the universally known ‘Eight Great Concert Studies’. It is not easy to draw a balance of his legacy in the harp world. On one hand his technical vision of virtuosity combined with a great stability of the hand and rigor of the fingerings certainly contributed to the development of the 20th Century harp technique; on the other hand, his use of the pedals, often driven by two together with the same foot (a very old French technique), has gradually become more and more difficult on modern harps. From the point of view of his contribution to the harp repertoire, the constant run-up to the piano has heavily influenced his compositional production, making him often completely miss the idiomatic effects of 19th Century harp music (except for the use of harmonic sounds), which were so loved by his friend Liszt in the compositions of Parish Alvars. $14.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Ludvig Schytte: 25 Easy Studies For Piano Op.160 Piano solo Wilhelm Hansen
Piano SKU: HL.14029179 Composed by Ludwig Schytte. Music Sales America. B...(+)
Piano SKU: HL.14029179 Composed by Ludwig Schytte. Music Sales America. Book [Softcover]. 12 pages. Edition Wilhelm Hansen #WH13958. Published by Edition Wilhelm Hansen (HL.14029179). ISBN 9788774551904. 8.25x11.75x0.072 inches. Ludwig Schytte (1848-1909) was a Danish composer and pianist, who spent most of his life living and working in Germany and Austria. Born in Jutland, he studied with Franz Liszt before settling in Vienna, where he taught for twenty years. He wrote around 175 works with opus numbers, most of which were published in his lifetime, including two operas and a Piano concerto. Most of his compositions were shorter works for the Piano, and many of his pedagogical studies are still used today. 25 Studies For Piano (25 Leichte Etuden Fur Pianoforte; Op. 160) was published in 1908, making it one of the composer's last works. It has remained popular withPiano teachers and students for over a century. $12.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Etudes d'execution trascendante (Nos 1-12) Piano solo - Intermediate Salabert
Pour piano - Ed. Cortot. Composed by Franz Liszt (1811-1886). Studies & ...(+)
Pour piano - Ed. Cortot.
Composed by Franz Liszt
(1811-1886). Studies &
Exercises. Book Only.
Editions Salabert #SLB
00599400. Published by
Editions Salabert
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| Franz Liszt: Paganini Etudes (Nos. 1-6) Piano solo [Sheet music] Alfred Publishing
Paganini Etudes (Nos. 1-6) by Franz Liszt (1811-1886). Edited by Marty Winkler. ...(+)
Paganini Etudes (Nos. 1-6) by Franz Liszt (1811-1886). Edited by Marty Winkler. For solo piano. Masterworks; Piano Collection. Kalmus Edition. Form: Etude. Classical Period and Studies. Collection. Standard notation and introductory text (does not include words to the songs). 63 pages. Published by Alfred Music Publishing
$10.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Etüden (Studies) Band 2 Piano solo EMB (Editio Musica Budapest)
Piano SKU: BT.EMBZ5412 EMB Liszt Works. Studies & Exercises. Book Only. C...(+)
Piano SKU: BT.EMBZ5412 EMB Liszt Works. Studies & Exercises. Book Only. Composed 1970. 128 pages. Editio Musica Budapest #EMBZ5412. Published by Editio Musica Budapest (BT.EMBZ5412). English-German. $48.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Teachers' Choice Piano Repertory Exam Pieces 2011 Piano solo Play Music Publishing
Piano - Grade 6 SKU: BT.WMP2113 12 Grade 6. Arranged by Josephine ...(+)
Piano - Grade 6 SKU: BT.WMP2113 12 Grade 6. Arranged by Josephine Koh. Teachers' Choice. Exam Material. Book Only. 41 pages. Wells Music Publishers #WMP2113. Published by Wells Music Publishers (BT.WMP2113). ISBN 9789810884819. Teachers' Choice, Selected Piano Repertory & Studies for Grades 6 & 7 is compiled to provide teachers and students with good options for the 2011-2012 ABRSM Piano examinations. - A variety of interesting andappealing Piano pieces with up-to-date editorial suggestions are presented to assist students achieve high standards of musical performance.
- Effective teaching points are suggested with recommended technical studies.Teachers will find this approach very helpful and effective, thus enriching their teaching process, leading to a very successful experience.
- Examination requirements aside, finer details in interpretation andstylisticperformance are strongly encouraged. Beyond the printed page, the editorial suggestions are directed to provide the impetus to strive towards greater musical creativity and perfection.
- Most important of all,enjoy the high standard of music typography; with clear, professionally laid scores that combine musical semiotics with modern publishing technology. Digital print on quality cream-coloured paper ensures comfort in reading andlearning for all students.
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| 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 | | |
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| 12 Studies Op. 1 Piano solo Wiener Urtext
En 1826, âgé de 15 ans Franz Liszt a écrit son premier cycle d'études qu'il ...(+)
En 1826, âgé de 15 ans Franz Liszt a écrit son premier cycle d'études qu'il voulait vraiment être considéré comme un grand étude consistant en 12 exercices différents, comme une Etude en douze exercices. Chacun de ces exercices, cependant, est une étude indépendante portant sur un certain problème technique. Bien qu'ils sont devenus un modèle d'études grand de Liszt ('Grandes Etudes') plus tard, ces premières oeuvres étaient encore loin d'exigences techniques de leurs grands frères et soeurs. Ils conviennent surtout dans les enseignements avancés comme une excellente alternative aux études plus exigeants de Czerny. / Piano
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| Liszt Franz - Technical
Studies 1 - Piano Piano solo EMB (Editio Musica Budapest)
Publié par Mez? Imre Instrument: Piano Série: New Liszt Edition Supplement 'B'...(+)
Publié par Mez? Imre Instrument: Piano Série: New Liszt Edition Supplement 'B' Genre: Romantic Langue: Hungarian, English, German Pages: 220 pp Date du parution: 1983 The Technical Studies 1 is the opening volume of Supplements which completes New Liszt Edition with 11 volumes. Liszt?s series of exercises designed to maintain or further perfect piano technique which has already attained the highest level. The Critical Notes make it possible to study, among other things, the most important discrepancies between the sources of the volume. The thematic Index provides an overview of the content of all three volumes of the Technical Studies.
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| Franz Liszt: 12 Studies
Study And 12 Exercises
Op. 1: Piano:
Instrumental Album Piano solo Wiener Urtext
In 1826 15-year-old Franz Liszt wrote his first cycle of studies which he actua...(+)
In 1826 15-year-old Franz Liszt wrote his first cycle of studies which he actually wanted to be seen as a grand étude consisting of 12 different exercises as an 'Etude en douze exercices'. Each of these exercises however is an independent study dealing with a certain technical problem. Although they became a model of Liszt's great études ('Grandes Etudes') later these early works were still a far cry from the technical demands of their big siblings. They are all the more suited in advanced lessons as an excellent alternative to the more demanding studies of Czerny.
16.99 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.
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| Heller S.- 25 Melodic
Studies Op.45- Piano Schott
Rooted in European music history due to his acquaintance with Chopin, Liszt, Ber...(+)
Rooted in European music history due to his acquaintance with Chopin, Liszt, Berlioz and Schumann, Stephen Heller (1813-1888) is one of the most important representatives of the Romantic character piece. The Budapest-born pianist and piano teacher composed almost exclusively for his instrument. His overall oeuvre comprises more than 150 works, including sonatas, preludes, dances, variations, collections of studies, arrangements, numerous cycles and individual pieces. His rather simple, yet inventive and varied piano setting is typical of 19th-century moderately difficult, virtuoso salon music. In Melodic Studies Op. 45 Heller addresses various technical tasks in a melodious piano setting that is typical of him. Varied, charming idiomatic figurations appear in a harmonically simple and pleasing Romantic tonal language. The rather easy to moderately difficult studies are ideal for lessons and also suitable as performance pieces. Apart from character pieces, this collection also contains effective bravura studies. Contenu - Allegretto - Allegro vivace - Allegretto - Allegretto - Allegretto comodo - Allegretto con moto - Allegretto con moto - Allegretto - Andante quasi Allegretto - Moderato - Allegro - Con moto - Allegro scherzando - Poco maestoso - Poco maestoso - Andantino con tenerezza - Allegro vivace - Allegro - Allegretto grazioso - Allegro - Allegro vivace - Allegretto con moto - Allegro di molto - Allegro veloce - Allegro con brio
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| Ignaz Moscheles: 24
Finishing Studies op. 70:
Piano: Instrumental Album Piano solo Schott
Reprint edited and newly commented by Wilhelm Ohmen.-Ignaz Moscheles' (1794-187...(+)
Reprint edited and newly commented by Wilhelm Ohmen.-Ignaz Moscheles' (1794-1870) Studien für das Pianoforte zur höheren Vollendung bereits ausgebildeter Klavierspieler bestehend aus 24 charakteristischen Tonstücken Op. 70 published in 1827 are among the best studies of that time covering the different idiomatic figurations for the Piano in every key mostly alternating between major and minor mode.With their imaginative piano setting their typical phrasing and expressive harmonic idioms the studies present themselves as the forerunners of the romantic character piece.The technically demanding figuration is mainly played by the right hand but often appears in short left-hand passages as well. Asthe title of the work implies these studies are meant for the advanced pianist although they are not as difficult as the études by Chopin Schumann or Liszt.
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| Franz Liszt: Trois Etudes
De Concert: Piano:
Instrumental Album Piano solo G. Henle
A set of three piano studies composed by Franz Liszt in 1848. Similar to ChopinÃ...(+)
A set of three piano studies composed by Franz Liszt in 1848. Similar to Chopin’s Etudes they address some basic problems of piano technique within a poetic context.Available here is a highly authoritative Urtextedition of Liszt’s Trois Etudes de Concert as edited by Rena Charnin Mueller and Wiltrud Haug-Freienstein with original fingering by the composer.
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| Ludwig Schytte: 25 Easy
Studies For Piano Op.160:
Piano: Study Piano solo [Sheet music] Wilhelm Hansen
Ludwig Schytte (1848-1909) was a Danish composer and pianist who spent most of ...(+)
Ludwig Schytte (1848-1909) was a Danish composer and pianist who spent most of his life living and working in Germany and Austria. Born in Jutland he studied with Franz Liszt before settling in Vienna where he taught for twenty years. He wrote around 175 works with opus numbers most of which were published in his lifetime including two operas and a Piano concerto. Most of his compositions were shorter works for the Piano and many of his pedagogical studies are still used today.25 Studies For Piano (25 Leichte Etuden Fur Pianoforte; Op. 160) was published in 1908 making it one of the composer’s last works. It has remained popular withPiano teachers and students for over a century.
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| Liszt F. - Studi (12)
Op. 1 - Piano Piano solo Emb (editio Musica Budapest)
Op.1 Édité par Zempléni Kornél Instrument: Piano Genre: Studies Langue: Hun...(+)
Op.1 Édité par Zempléni Kornél Instrument: Piano Genre: Studies Langue: Hungarian, English, German Pages: 56 pp Date du parution: 1960
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| Liszt Franz - Studies
Vol.1 - Piano Piano solo [Sheet music] EMB (Editio Musica Budapest)
Études d'exécution transcendante Publié par Szelényi István, Gárdonyi Zolt...(+)
Études d'exécution transcendante Publié par Szelényi István, Gárdonyi Zoltán Instrument: Piano Série: New Liszt Edition I. 'B' Genre: Romantic Langue: English, German Pages: 132 pp Date du parution: 1970 Contenu: 1. Preludio R. 2/b G. 139 2. (a-moll - A minor - a-Moll) R. 2/b G. 139 3. Paysage R. 2/b G. 139 4. Mazeppa R. 2/b G. 139 5. Feux follets - Irrlichter R. 2/b G. 139 6. Vision R. 2/b G. 139 7. Eroica R. 2/b G. 139 8. Wilde Jagd R. 2/b G. 139 9. Ricordanza R. 2/b G. 139 10.(f-moll - F minor - f-Moll) R. 2/b G. 139 11.Harmonies du soir R. 2/b G. 139 12.Chasse-neige R. 2/b G. 139
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| Liszt F. - Technical
Studies Vol 2 - Piano Piano solo Emb (editio Musica Budapest)
Publié par Mező Imre Instrument: Piano Série: New Liszt Edition Suppleme...(+)
Publié par Mező Imre Instrument: Piano Série: New Liszt Edition Supplement 'B' Genre: Romantic Langue: Hungarian, English, German Pages: 248 pp Date du parution: 1983
33.80 EUR - Sold by Woodbrass Pre-shipment lead time: On order | |
| Concert Studies (LISZT
FRANZ) Piano solo [Sheet music] Stainer and Bell
Par LISZT FRANZ. / Répertoire / Piano
11.91 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: 3-10 days - In Stock Supplier | |
| Liszt, Franz : 12 Studies
Vol.1 Piano solo [Sheet music] Peters
Preparatory to Transcendental Studies. Vol.1: Nos.1-6 /
13.00 EUR - Sold by Note4Piano Pre-shipment lead time: 3-10 days - In Stock Supplier | |
| 25 Melodic Studies Op. 45 Piano solo [Sheet music] Schott
Ancré dans l'histoire de la musique européenne grâce à ses liens avec Chopin...(+)
Ancré dans l'histoire de la musique européenne grâce à ses liens avec Chopin, Liszt, Berlioz et Schumann, Stephen Heller (1813-1888) est un des représentants les plus importants du genre de la pièce de caractère romantique. Né à Budapest, ce pianiste et p / Piano / 64 pages / niveau : Facile à Intermédiaire / Partition
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| Albert Andraud: Vade
Mecum of the Oboist: Oboe
Solo: Instrumental Album Southern Music Ltd
230 Selected Technical and Orchestral Studies-Eighty-seven daily and technical s...(+)
230 Selected Technical and Orchestral Studies-Eighty-seven daily and technical studies and repertoire include: 18 Studies (Ferling Op. 12) Grandes Etudes and Second Cantilene (A.M. Barret) Sheperds of Provence – duet in four movements for obe and English horn (EugeneBozza Op. 43) Sonata for Oboe in A minor (Johann Sebastian Bach) and a collection of orchestral studies from Beethoven Brahms Chopin Debussy Dvorak Gluck Handel Liszt Mendelssohn Mozart Schubert Strouss Stravinsky Tchaikovsky Wagner and many more composers. Spiral-bound.
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| Saint-saens C. - Danse
Macabre & Other Works -
Piano Piano solo Dover Publications
Danse macabre, Op. 40 ? Dance of death Symphonic poem, transcribed for piano by ...(+)
Danse macabre, Op. 40 ? Dance of death Symphonic poem, transcribed for piano by Franz Liszt Six études pour le piano, Op. 52 ? Six piano studies 1. Prélude 2. Pour l'indépendance des doigts ? For finger independence 3. Prelude and Fugue in F minor 4. Étude de rythme ? Rhythm study 5. Prelude and Fugue in A major 6. En forme de valse ? In waltz form Allegro appassionato, Op. 70 Album pour piano, Op. 72 ? Piano album 1. Prélude 2. Carillon 3. Toccata 4. Valse ? Waltz 5. Chanson napolitaine ? Neapolitan song 6. Finale Rhapsodie d'Auvergne, Op. 73 ? Auvergne rhapsody Wedding Cake, Caprice-Valse, Op. 76 Originally for piano and orchestra / Transcribed for solo piano by A. Benfeld Thême varié, Op. 97 ? Varied theme Three waltzes Valse mignonne, Op. 104 ? Dainty waltz Valse langoureuse, Op. 97 ? Languid Waltz Valse gaie, Op. 139 ? Gay waltz From Six études pour le piano, Op. 111 ? Six piano studies 3. Prelude and Fugue in E-flat Minor 4. Les cloches de Las Palmas ? The bells of Las Palmas 6. Toccata Six études pour la main gauche seule, Op. 135 ? Six studies for left hand alone 1. Prélude 2. Alla fuga ? In fugal style 3. Moto perpetuo ? Perpetual motion 4. Bourrée 5. Élégie ? Elegy 6. Gigue
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| Selected Piano
Masterpieces -
Intermediate Level:
Piano: Mixed Songbook Piano solo [Sheet music] Schirmer
47 Pieces by 16 Composers-47 pieces by CPE Bach JS Bach Beethoven Burgmüller...(+)
47 Pieces by 16 Composers-47 pieces by CPE Bach JS Bach Beethoven Burgmüller Chopin Grieg Gurlitt Heller Kuhlau Kullak Liszt MacDowell Mendelssohn Schubert Schumann and Tchaikovsky. All are at the intermediate level in a slim affordable volume. Includes - J.S. Bach: Invention No. 8 in F Major BWV 779; Prelude in C Major from The Well-Tempered Clavier Book 1 BWV 846; Beethoven: Six Variations on a Swiss Song WoO 64; Burgmüller:L'adieu from 25 Easy and Progressive Studies Op. 100 No. 12; Chopin: Prélude in E minor Op. 28 No. 4; Grieg: Arietta from Lyric Pieces Op. 12 No. 1; Heller: The Avalanche from 25 Melodious Etudes Op. 45 No. 2;LISZT: Gray Clouds; MacDowell: To A Wild Rose from Woodland Sketches Op. 51 No. 1; Mendelssohn: Song Without Words in A Major Op. 19 No. 4; Schumann: About Strange Land and People from Scenes from Childhood Op. 15 No. 1;Tchaikovsky: Sweet Dreams from Album for the Young Op. 39 No. 21
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| Johann Sebastian Bach:
Complete Bach
Transcriptions For Solo
Piano: Piano: Piano solo - Intermediate/advanced Dover Publications
Franz Liszt's transcriptions of other composers' music are as highly regarded as...(+)
Franz Liszt's transcriptions of other composers' music are as highly regarded as his original piano works. First acquainted with Bach through his piano studies Liszt further explored the earlier composer's works in his career as a virtuoso performer. His piano interpretations of Bach's Organ Music are executed in a simple and straightforward manner and they rapidly became the classic models for all future works in this genre. This compilation features Six Organ Preludes and Fugues (BWV 543-548) and the Fantasia and Fugue in G Minor (BWV 542).
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| 3 Letzte Motetten Concert Band/Harmonie [Score and Parts] Oktavian Music
Anton Bruckner (1824-1896). Par BRUCKNER ANTON. Anton Bruckner (b. 4.9.1824, Ans...(+)
Anton Bruckner (1824-1896). Par BRUCKNER ANTON. Anton Bruckner (b. 4.9.1824, Ansfelden, d. 11.10.1896, Vienna) didn’t have it easy. Throughout his life, the Austrian composer was plagued by self-doubt. Anton Bruckner came from a simple, rural background. After the death of his father, he was accepted as a choirboy at the monastery of Sankt Florian in 1837. After several years as a school assistant and his own organ and piano studies, he first worked as organist in St. Florian, then from 1855 as cathedral organist in Linz. Introduced to music theory and instrumentation by Simon Sechter and Otto Kitzler, he discovered Richard Wagner as an artistic role model, whom he admired throughout his life and also visited several times in Bayreuth. In 1868 Anton Bruckner became professor of basso continuo, counterpoint and organ at the Vienna Conservatory; ten years later court organist; and in 1891 finally honorary doctor of the University of Vienna. He was considered an important organ virtuoso of his era, but had to wait a long time for recognition as a composer. It was not until Symphony No.7 in E major, composed between 1881 and 1883, with the famous Adagio written under the effects of Wagner's death, that he achieved the recognition he had hoped for, even if he was reluctant to accept it given his inclination towards scepticism and self-criticism. Anton Bruckner was a loner who did not want to follow a particular school or doctrine. He composed numerous sacred vocal works, such as his three masses, the Missa Solemnis in B flat minor (1854), the Te Deum (1881-84) and numerous motets. As a symphonic composer, he wrote a total of nine symphonies and many symphonic studies from 1863 onwards, tending to revise completed versions several times over. Bruckner's orchestral works were long considered unplayable, but in fact were merely exceptionally bold for the tonal language of their time, uniting traditions from Beethoven through Wagner to folk music, on the threshold between late Romanticism and Modernism. Anton Bruckner composed about 40 motets during his lifetime, the earliest a setting of Pange lingua around 1835, and the last, Vexilla regis, in 1892. Thomas Doss has compiled some of these motets in this volume for symphonic wind orchestra. These motets show many characteristics of personal expression, especially Bruckner's colourful harmony in the earlier works, which is in places aligned with Franz Schubert (changes between major and minor; and movements in thirds). Later works are characterised by many components which, in addition to the expanded stature of the movements, include above all a sense of the instrumentation as an outward phenomenon and the harmony as a compositional feature that works more internally. Some aspects of Bruckner's work are the result of his long period of study, which familiarised him not only with the tradition of his craft, but also gave him insights into the 'modernity' of his time in such composers as Wagner, Liszt and Berlioz. From this developed his personal standpoint, which always pursues the connection between the old and the new. / Date parution : 2023-07-31/ Répertoire / Concert Band/Harmonie
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| 14 Motetten (BRUCKNER
ANTON / DOSS THOMAS (Arr) Concert band Oktavian Music
Anton Bruckner (1824-1896). Par BRUCKNER ANTON / DOSS THOMAS (Arr.). Anton Bruck...(+)
Anton Bruckner (1824-1896). Par BRUCKNER ANTON / DOSS THOMAS (Arr.). Anton Bruckner (b. 4.9.1824, Ansfelden, d. 11.10.1896, Vienna) didn?t have it easy. Throughout his life, the Austrian composer was plagued by self-doubt. Anton Bruckner came from a simple, rural background. After the death of his father, he was accepted as a choirboy at the monastery of Sankt Florian in 1837. After several years as a school assistant and his own organ and piano studies, he first worked as organist in St. Florian, then from 1855 as cathedral organist in Linz. Introduced to music theory and instrumentation by Simon Sechter and Otto Kitzler, he discovered Richard Wagner as an artistic role model, whom he admired throughout his life and also visited several times in Bayreuth. In 1868 Anton Bruckner became professor of basso continuo, counterpoint and organ at the Vienna Conservatory; ten years later court organist; and in 1891 finally honorary doctor of the University of Vienna. He was considered an important organ virtuoso of his era, but had to wait a long time for recognition as a composer. It was not until Symphony No.7 in E major, composed between 1881 and 1883, with the famous Adagio written under the effects of Wagner's death, that he achieved the recognition he had hoped for, even if he was reluctant to accept it given his inclination towards scepticism and self-criticism. Anton Bruckner was a loner who did not want to follow a particular school or doctrine. He composed numerous sacred vocal works, such as his three masses, the Missa Solemnis in B flat minor (1854), the Te Deum (1881-84) and numerous motets. As a symphonic composer, he wrote a total of nine symphonies and many symphonic studies from 1863 onwards, tending to revise completed versions several times over. Bruckner's orchestral works were long considered unplayable, but in fact were merely exceptionally bold for the tonal language of their time, uniting traditions from Beethoven through Wagner to folk music, on the threshold between late Romanticism and Modernism. Anton Bruckner composed about 40 motets during his lifetime, the earliest a setting of Pange lingua around 1835, and the last, Vexilla regis, in 1892. Thomas Doss has compiled some of these motets in this volume for symphonic wind orchestra. These motets show many characteristics of personal expression, especially Bruckner's colourful harmony in the earlier works, which is in places aligned with Franz Schubert (changes between major and minor; and movements in thirds). Later works are characterised by many components which, in addition to the expanded stature of the movements, include above all a sense of the instrumentation as an outward phenomenon and the harmony as a compositional feature that works more internally. Some aspects of Bruckner's work are the result of his long period of study, which familiarised him not only with the tradition of his craft, but also gave him insights into the 'modernity' of his time in such composers as Wagner, Liszt and Berlioz. From this developed his personal standpoint, which always pursues the connection between the old and the new. / Date parution : 2023-08-12/ Répertoire / Concert Band/Harmonie
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| 3 Letzte Motetten Concert Band/Harmonie [Score] Oktavian Music
Anton Bruckner (1824-1896). Par BRUCKNER ANTON. Anton Bruckner (b. 4.9.1824, Ans...(+)
Anton Bruckner (1824-1896). Par BRUCKNER ANTON. Anton Bruckner (b. 4.9.1824, Ansfelden, d. 11.10.1896, Vienna) didn’t have it easy. Throughout his life, the Austrian composer was plagued by self-doubt. Anton Bruckner came from a simple, rural background. After the death of his father, he was accepted as a choirboy at the monastery of Sankt Florian in 1837. After several years as a school assistant and his own organ and piano studies, he first worked as organist in St. Florian, then from 1855 as cathedral organist in Linz. Introduced to music theory and instrumentation by Simon Sechter and Otto Kitzler, he discovered Richard Wagner as an artistic role model, whom he admired throughout his life and also visited several times in Bayreuth. In 1868 Anton Bruckner became professor of basso continuo, counterpoint and organ at the Vienna Conservatory; ten years later court organist; and in 1891 finally honorary doctor of the University of Vienna. He was considered an important organ virtuoso of his era, but had to wait a long time for recognition as a composer. It was not until Symphony No.7 in E major, composed between 1881 and 1883, with the famous Adagio written under the effects of Wagner's death, that he achieved the recognition he had hoped for, even if he was reluctant to accept it given his inclination towards scepticism and self-criticism. Anton Bruckner was a loner who did not want to follow a particular school or doctrine. He composed numerous sacred vocal works, such as his three masses, the Missa Solemnis in B flat minor (1854), the Te Deum (1881-84) and numerous motets. As a symphonic composer, he wrote a total of nine symphonies and many symphonic studies from 1863 onwards, tending to revise completed versions several times over. Bruckner's orchestral works were long considered unplayable, but in fact were merely exceptionally bold for the tonal language of their time, uniting traditions from Beethoven through Wagner to folk music, on the threshold between late Romanticism and Modernism. Anton Bruckner composed about 40 motets during his lifetime, the earliest a setting of Pange lingua around 1835, and the last, Vexilla regis, in 1892. Thomas Doss has compiled some of these motets in this volume for symphonic wind orchestra. These motets show many characteristics of personal expression, especially Bruckner's colourful harmony in the earlier works, which is in places aligned with Franz Schubert (changes between major and minor; and movements in thirds). Later works are characterised by many components which, in addition to the expanded stature of the movements, include above all a sense of the instrumentation as an outward phenomenon and the harmony as a compositional feature that works more internally. Some aspects of Bruckner's work are the result of his long period of study, which familiarised him not only with the tradition of his craft, but also gave him insights into the 'modernity' of his time in such composers as Wagner, Liszt and Berlioz. From this developed his personal standpoint, which always pursues the connection between the old and the new. / Date parution : 2023-07-31/ Répertoire / Concert Band/Harmonie
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| Czerny durch alle
Tonarten - Band 1 und 2:
Piano or Organ: Study Bosworth
Franz Liszt - Carl Czerny - Theodor Leschetizky für Klavier oder Orgel-In this ...(+)
Franz Liszt - Carl Czerny - Theodor Leschetizky für Klavier oder Orgel-In this essential collection John W. Schaum has distilled Czerny's well-known etudes down to short studies using them to illuminate all 24 keys. The resulting selection represents a broad cross-section of Czerny's works giving the student the opportunity to profit from these varied technical studies while saving time and getting right to the heart of each exercise.
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| C.B. Alkan: Festin
D'Esope And Other Works:
Piano: Instrumental Album Piano solo Dover Publications
A phenomenal Piano virtuoso and noteworthy member of 19th century Parisian socie...(+)
A phenomenal Piano virtuoso and noteworthy member of 19th century Parisian society Charles Valentin-Alkan was among Liszt's contemporaries and one of Chopin's close friends. Unlike his legendary companions Alkan gradually slipped into obscurity in his own day because of his eccentric ways.Twenty years later - epitomising the near-theatrical lives of the great Romantics - the composer emerged to present his mature works to an astonished public including some of the most extraordinary most challenging compositions ever written.This collection includes three monumental works from Alkan's 'Twelve Studies In All Minor Keys'Op. 39. as well as three smaller works which complete the edition. Pianists of advanced skills - and student's of music's great revolutionary masters - will welcome this new treasury of hard to find pieces selected and with commentary by Marc-Andre Hamelin the Piano virtuoso who has performed Alkan's music worldwide and recorded the composer's major works.
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| Béla Bartók: Romanian
Folk Dances: Piano:
Instrumental Work Piano solo [Sheet music] - Intermediate Chester
This is a new edition of Béla Bartók?s popular Romanian Folk Dances in its ori...(+)
This is a new edition of Béla Bartók?s popular Romanian Folk Dances in its original scoring for Solo Piano. With fascinating background notes and unique imagery this publication is essential for pianistsinterested in the work of the Hungarian composer.When Bartók?was just 23 years old he visited the Transylvanian town of?Gerlicepuszta. Overhearing a lullaby sung by a teenage servant girl named LidiDósa he quizzed her about it and noted it down. This was the beginning of a passion for folk music that would go on to change the course of the composer's life and work. Romanian FolkDances?remains one of Bartók's most popular and enduring works evoking the folk melodies combined with his own idiosyncratic harmonies and textures. Each of the six short pieces here is based on atraditional melody which Bartók?penned during his travels.? Including newly engraved masterpieces?Stick Dance Waistband Dance In One Spot Dance From Butschum Romanian Polkaand Fast Dance this sheet music collection features editorial revisions guided by recordings of Bartók's own performance. The notation also includes fingering guidancethroughout. Romanian Folk Dances also?features a specially-written introduction as well as some fantastic photographs that both tell the story of the young composer and the intriguingbackstory of this work.? One of the most important 20th century composers and along with Liszt one of Hungary's finest musical minds Bartók?held a strong fascination for folkmusic. Through his studies recordings and arrangements he composed some incredible music like these?Romanian Folk Dances ?while simultaneously initiating the field of
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| Robert Schumann: Album
For The Young Op. 68:
Piano: Instrumental Album Piano solo Wiener Urtext
Robert Schumann's 'Album for the Young' is one of the milestones of educationall...(+)
Robert Schumann's 'Album for the Young' is one of the milestones of educationally inspired Piano literature. This edition does not focus on systematic technical studies but on the development of the player's musical performance as well as on the realisation of musical associations. In this progressively structured work the pieces 'Für Kleinere' [For the Younger Ones] are followed by a second section 'Für Erwachsenere' [For the More Grown-Ups] which both technically and intellectually leaves the world of the childlike behind again and again (e.g. Mignon). This in particular provides a great set of repertoire for adults who wantto resume Piano playing which gives extra relavence to Schumann's opus. The appendix of the revised new edition of the Wiener Urtext Edition also contains pieces originally intended for the album which ultimately were not included in the printed collection. The music section is complemented by the composer's 'Musikalische Haus- und Lebensregeln' which had already been integrated in the first reprints including their original translations into English and French the latter of which was written by none other than Franz Liszt.
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