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| Rise Again Songbook Lyrics and Chords Hal Leonard
(Words and Chords to Nearly 1200 Songs 9x12 Spiral Bound). Edited by Annie Patte...(+)
(Words and Chords to Nearly 1200 Songs 9x12 Spiral Bound). Edited by Annie Patterson and Peter Blood. For Vocal. Vocal. Softcover. 304 pages. Published by Hal Leonard
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| Rise Again Songbook Hal Leonard
(Words and Chords to Nearly 1200 Songs Spiral-Bound). Edited by Annie Patterson ...(+)
(Words and Chords to Nearly 1200 Songs Spiral-Bound). Edited by Annie Patterson and Peter Blood. For Vocal. Vocal. Softcover. 304 pages. Published by Hal Leonard
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| For Younger People-Part I of Album for the Young, Op.68 Piano solo ABRSM Publishing
By Robert Schumann. Edited by Howard Ferguson. For Piano solo. (Part 1 of Album ...(+)
By Robert Schumann. Edited by Howard Ferguson. For Piano solo. (Part 1 of Album for the Young, Opus 68). Level: 2, 3, 4, 5. 24 pages. Published by ABRSM (Associated Board of the Royal Schools of Music).
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| Six Lieder of Clara Schumann Violin and Piano Carl Fischer
Composed by Clara Wieck- Schumann. Arranged by Lauren Taylor. Collection - Sc...(+)
Composed by Clara Wieck-
Schumann. Arranged by Lauren
Taylor. Collection - Score and
Parts. 24+4 pages. Carl
Fischer Music #BF149.
Published by Carl Fischer
Music
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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 | | |
| The New Imperial Edition Low voice [Accompaniment CD] Boosey and Hawkes
Accompaniment CDs Bass Songs. Performed by Various. Boosey and Hawkes Voice. CD ...(+)
Accompaniment CDs Bass Songs. Performed by Various. Boosey and Hawkes Voice. CD only. Size 9x12 inches. 8 pages. Published by Boosey and Hawkes.
(1)$19.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Rise Up Singing
Lyrics and Chords [Sheet music] Hal Leonard
The Group Singing Songbook. By Various. Vocal. Size 9.5x12 inches. 281 pages. Pu...(+)
The Group Singing Songbook. By Various. Vocal. Size 9.5x12 inches. 281 pages. Published by Hal Leonard.
(1)$39.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Rise Up Singing Lyrics and Chords [Sheet music] Hal Leonard
Arranged by Peter Blood, Annie Patterson. Vocal. Size 7.5x10.5 inches. 283 pages...(+)
Arranged by Peter Blood, Annie Patterson. Vocal. Size 7.5x10.5 inches. 283 pages. Published by Hal Leonard.
(1)$34.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| The Berlin Flower Diary of Clara Schumann Breitkopf & Härtel
SKU: BR.BV-285 Composed by Clara Wieck-Schumann. Edited by Harry Schmidt ...(+)
SKU: BR.BV-285 Composed by Clara Wieck-Schumann. Edited by Harry Schmidt and Renate Hofmann. This edition: paperback. Hardback. Buchverlag Breitkopf & Hartel (Music Books). Romantic period. Book. 136 pages. Breitkopf and Haertel #BV 285. Published by Breitkopf and Haertel (BR.BV-285). ISBN 9783765102851. 7.5 x 9.5 inches. German. Blooming JoyFlowers played an important role in the lives of people of the 19th century - picking them, binding them to wreaths, giving them as messages of friendship and love, using them to ornament a room or clothing, belonged to the forms of general sociability. It is within this context that Clara Schumann's flower diaries can be viewed: The first of the series was created in 1854, the year of Robert Schumann's admission to the Endenich mental institution, and was intended to share her inner and outer life with the initially personally unavailable invalid. In 1857, the meanwhile nearly 40-year-old Clara Schumann began her last flower diary, barely a year and a half after her husband's death. It reflects the travel stops of the pianist who was by now increasingly concertizing throughout central Europe and England, as well as her relationships with close friends, including especially the young Johannes Brahms who had presented her with the little volume expressly for her collections and annotations. The facsimiled diary pages of the exemplar preserved in the Staatsbibliothek Berlin are supplemented by biographical and botanical comments. $32.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| A First Book of Schumann Piano solo - Easy Alfred Publishing
(For the Beginning Pianist). Edited by David Dutkanicz. For Piano. Book; M...(+)
(For the Beginning Pianist).
Edited by David Dutkanicz.
For Piano. Book;
Masterworks; Piano
Collection; Piano
Supplemental. Dover Edition.
Masterwork Arrangement;
Romantic. Elementary.
Published by Alfred Music
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| The Romantic Era Piano solo Hal Leonard
102 Selections from Symphonies, Ballets, Operas, and Piano Literature for Piano ...(+)
102 Selections from Symphonies, Ballets, Operas, and Piano Literature for Piano Solo. By Various. World's Greatest Classical Music. Size 9x12 inches. 256 pages. Published by Hal Leonard.
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| Joys For Ever - Book 1 Piano solo Forsyth Publications
A lovely collection containing 54 famous melodies arranged and made easy for Pia...(+)
A lovely collection containing 54 famous melodies arranged and made easy for Piano and Keyboard, by George Coulter. These short, simplified arrangements retain the magic and melody of the originals but are suitable for lower-intermediate players
$11.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Album fur die Jugend Piano solo - Intermediate ABRSM Publishing
By Schumann. For piano. Published by ABRSM (Associated Board of the Royal School...(+)
By Schumann. For piano. Published by ABRSM (Associated Board of the Royal Schools of Music).
$18.99 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Saxmania : Standards Music Sales | | |
| The Piano Bench Of Easy Classical Music Piano solo [Sheet music] - Easy Music Sales
The Piano Bench of Easy Classical Music arranged by Amy Appleby. For Piano Solo....(+)
The Piano Bench of Easy Classical Music arranged by Amy Appleby. For Piano Solo. Music Sales America. Classical. Softcover. 400 pages. Music Sales #AM967549. Published by Music Sales
(1)$34.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| The Hundred Best Short Songs - Book Four Contralto voice, Piano Music Sales
Contralto. Music Sales America. Classical. 56 pages. Music Sales #PAT00604. Publ...(+)
Contralto. Music Sales America. Classical. 56 pages. Music Sales #PAT00604. Published by Music Sales
$13.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| The Phillips Collection of Traditional American Fiddle Tunes Vol 1 Violin [Sheet music] Mel Bay
by Stacy Phillips. For fiddle. All styles, fiddle tunes. Level: Multiple Levels....(+)
by Stacy Phillips. For fiddle. All styles, fiddle tunes. Level: Multiple Levels. Book. Solos. Size 8.75x11.75. 268 pages. Published by Mel Bay Pub., Inc.
(1)$39.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Ultimate Classical Collection Piano solo [Sheet music] - Intermediate/advanced Hal Leonard
73 Selections from the All-Time Greatest Music. Piano Solo Songbook (Intermediat...(+)
73 Selections from the All-Time Greatest Music. Piano Solo Songbook (Intermediate to advanced piano arrangements with no lyrics). Size 9x12 inches. 272 pages. Published by Hal Leonard.
(1)$24.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Essential Classics Concert band De Haske Publications
Concert Band/Harmonie - very easy, easy SKU: BT.DHP-1094811-401 Small ...(+)
Concert Band/Harmonie - very easy, easy SKU: BT.DHP-1094811-401 Small Masterpieces for Great Performances. Arranged by Jan de Haan. Essential Elements. Book Only. Composed 2009. 24 pages. De Haske Publications #DHP 1094811-401. Published by De Haske Publications (BT.DHP-1094811-401). ISBN 9789043132701. 9x12 inches. English. ESSENTIAL CLASSICS is a collection of pieces ideally suited to introduce beginning bands, whether in or outside of school, to the classical repertoire. The easy arrangements make the most popular melodies of all time accessible to young musicians, without the frustration of playing music that is too difficult for them. Now they can enjoy music from instrumental works and operas to oratorios and lieder, from Tylman Susato to George Gershwin. The pieces are arranged in ascending order of difficulty, coinciding with the progress students are making in Volumes 1 and 2 of ESSENTIAL ELEMENTS the complete method for music education in schools and bands. But even without ESSENTIALELEMENTS, ESSENTIAL CLASSICS is an excellent source of repertoire by itself. In addition to the music the individual parts contain short snippets of information about the music, composer and genre, written in a style younger players will understand. The full score contains more in-depth information on the music. No matter how you use ESSENTIAL CLASSICS with your band, your players will love all the fun and engaging arrangements it as to offer.
Die deutschsprachige Ausgabe dieser Reihe ist unter dem Titel Bläserklasse Klassik erhältlich.
De Susato Gershwin, de l’oratorio au lied en passant par l’opéra et autres genres, Essential Classics propose une plongée dans l’univers classique. Les arrangements suivent la progression des recueils Essential Elements (Vol. 1 & 2), mais peuvent également être utilisés de façon indépendante. La version intégrale de chaque arrangement est disponible sur le compact disc d’accompagnement vendu séparément. Sommaire : La Mourisque (Susato) • Le Printemps (Vivaldi) • Musette (J.-S. Bach) • Le gai laboureur (Schumann) • L’Innamorata (Gastoldi) • 2e mouvement du Quatuor « L’Empereur » (Haydn) • 4e mouvement duQuintette « La Truite » (Schubert) • Ouverture de Guillaume Tell (Rossini) • Le beau Danube bleu (J. Strauss II) • Trumpet Voluntary (Clarke) • Alléluia du Messie (Haendel) • La lettre Élise (Beethoven) • Capriccio italien (Tcha kovski) • 4e mouvement de la Symphonie du » Nouveau Monde » (Dvoøák) • Une petite musique de nuit - 1er mouvement (Mozart) • Danse hongroise n° 5 (Brahms) • Land of Hope and Glory (Elgar) • La donna è mobile (Verdi) • Marche Nuptiale (Wagner) • Cancan (Offenbach) • Symphonie n° 1 - 3e mouvement (Mahler) • Summertime (Gershwin).
ESSENTIAL CLASSICS è il materiale ideale per far familiarizzare le bande principianti o junior con il repertorio della musica classica. Gli arrangiamenti, ideati in ordine progressivo di difficolt , sono ideali per sviluppare le prime conoscenze gi acquisite e rinforzare la capacit di applicazione in un contesto strutturato in maniera pedagogica e motivante. Da Susato a Gershwin, dall’oratorio al lied, passando per l’opera e altri generi musicali, ESSENTIAL CLASSICS propone un’immersione nell’universo classico. La versione integrale di ogni arrangiamento è disponibile sul CD di accompagnamento venduto separatamente.separatamente. $10.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Essential Classics Concert band De Haske Publications
Concert Band/Harmonie - very easy, easy SKU: BT.DHP-1094814-401 Small ...(+)
Concert Band/Harmonie - very easy, easy SKU: BT.DHP-1094814-401 Small Masterpieces for Great Performances. Arranged by Jan de Haan. Essential Elements. Book Only. Composed 2009. 24 pages. De Haske Publications #DHP 1094814-401. Published by De Haske Publications (BT.DHP-1094814-401). ISBN 9789043132732. 9x12 inches. English. ESSENTIAL CLASSICS is a collection of pieces ideally suited to introduce beginning bands, whether in or outside of school, to the classical repertoire. The easy arrangements make the most popular melodies of all time accessible to young musicians, without the frustration of playing music that is too difficult for them. Now they can enjoy music from instrumental works and operas to oratorios and lieder, from Tylman Susato to George Gershwin. The pieces are arranged in ascending order of difficulty, coinciding with the progress students are making in Volumes 1 and 2 of ESSENTIAL ELEMENTS the complete method for music education in schools and bands. But even without ESSENTIALELEMENTS, ESSENTIAL CLASSICS is an excellent source of repertoire by itself. In addition to the music the individual parts contain short snippets of information about the music, composer and genre, written in a style younger players will understand. The full score contains more in-depth information on the music. No matter how you use ESSENTIAL CLASSICS with your band, your players will love all the fun and engaging arrangements it as to offer.
Die deutschsprachige Ausgabe dieser Reihe ist unter dem Titel Bläserklasse Klassik erhältlich.
De Susato Gershwin, de l’oratorio au lied en passant par l’opéra et autres genres, Essential Classics propose une plongée dans l’univers classique. Les arrangements suivent la progression des recueils Essential Elements (Vol. 1 & 2), mais peuvent également être utilisés de façon indépendante. La version intégrale de chaque arrangement est disponible sur le compact disc d’accompagnement vendu séparément. Sommaire : La Mourisque (Susato) • Le Printemps (Vivaldi) • Musette (J.-S. Bach) • Le gai laboureur (Schumann) • L’Innamorata (Gastoldi) • 2e mouvement du Quatuor « L’Empereur » (Haydn) • 4e mouvement duQuintette « La Truite » (Schubert) • Ouverture de Guillaume Tell (Rossini) • Le beau Danube bleu (J. Strauss II) • Trumpet Voluntary (Clarke) • Alléluia du Messie (Haendel) • La lettre Élise (Beethoven) • Capriccio italien (Tcha kovski) • 4e mouvement de la Symphonie du » Nouveau Monde » (Dvoøák) • Une petite musique de nuit - 1er mouvement (Mozart) • Danse hongroise n° 5 (Brahms) • Land of Hope and Glory (Elgar) • La donna è mobile (Verdi) • Marche Nuptiale (Wagner) • Cancan (Offenbach) • Symphonie n° 1 - 3e mouvement (Mahler) • Summertime (Gershwin).
ESSENTIAL CLASSICS è il materiale ideale per far familiarizzare le bande principianti o junior con il repertorio della musica classica. Gli arrangiamenti, ideati in ordine progressivo di difficolt , sono ideali per sviluppare le prime conoscenze gi acquisite e rinforzare la capacit di applicazione in un contesto strutturato in maniera pedagogica e motivante. Da Susato a Gershwin, dall’oratorio al lied, passando per l’opera e altri generi musicali, ESSENTIAL CLASSICS propone un’immersione nell’universo classico. La versione integrale di ogni arrangiamento è disponibile sul CD di accompagnamento venduto separatamente. $10.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Essential Classics Concert band De Haske Publications
Concert Band/Harmonie - very easy, easy SKU: BT.DHP-1094816-401 Small ...(+)
Concert Band/Harmonie - very easy, easy SKU: BT.DHP-1094816-401 Small Masterpieces for Great Performances. Arranged by Jan de Haan. Essential Elements. Book Only. Composed 2009. 24 pages. De Haske Publications #DHP 1094816-401. Published by De Haske Publications (BT.DHP-1094816-401). ISBN 9789043132756. 9x12 inches. English. ESSENTIAL CLASSICS is a collection of pieces ideally suited to introduce beginning bands, whether in or outside of school, to the classical repertoire. The easy arrangements make the most popular melodies of all time accessible to young musicians, without the frustration of playing music that is too difficult for them. Now they can enjoy music from instrumental works and operas to oratorios and lieder, from Tylman Susato to George Gershwin. The pieces are arranged in ascending order of difficulty, coinciding with the progress students are making in Volumes 1 and 2 of ESSENTIAL ELEMENTS the complete method for music education in schools and bands. But even without ESSENTIALELEMENTS, ESSENTIAL CLASSICS is an excellent source of repertoire by itself. In addition to the music the individual parts contain short snippets of information about the music, composer and genre, written in a style younger players will understand. The full score contains more in-depth information on the music. No matter how you use ESSENTIAL CLASSICS with your band, your players will love all the fun and engaging arrangements it as to offer.
Die deutschsprachige Ausgabe dieser Reihe ist unter dem Titel Bläserklasse Klassik erhältlich.
De Susato Gershwin, de l’oratorio au lied en passant par l’opéra et autres genres, Essential Classics propose une plongée dans l’univers classique. Les arrangements suivent la progression des recueils Essential Elements (Vol. 1 & 2), mais peuvent également être utilisés de façon indépendante. La version intégrale de chaque arrangement est disponible sur le compact disc d’accompagnement vendu séparément. Sommaire : La Mourisque (Susato) • Le Printemps (Vivaldi) • Musette (J.-S. Bach) • Le gai laboureur (Schumann) • L’Innamorata (Gastoldi) • 2e mouvement du Quatuor « L’Empereur » (Haydn) • 4e mouvement duQuintette « La Truite » (Schubert) • Ouverture de Guillaume Tell (Rossini) • Le beau Danube bleu (J. Strauss II) • Trumpet Voluntary (Clarke) • Alléluia du Messie (Haendel) • La lettre Élise (Beethoven) • Capriccio italien (Tcha kovski) • 4e mouvement de la Symphonie du » Nouveau Monde » (Dvoøák) • Une petite musique de nuit - 1er mouvement (Mozart) • Danse hongroise n° 5 (Brahms) • Land of Hope and Glory (Elgar) • La donna è mobile (Verdi) • Marche Nuptiale (Wagner) • Cancan (Offenbach) • Symphonie n° 1 - 3e mouvement (Mahler) • Summertime (Gershwin).
ESSENTIAL CLASSICS è il materiale ideale per far familiarizzare le bande principianti o junior con il repertorio della musica classica. Gli arrangiamenti, ideati in ordine progressivo di difficolt , sono ideali per sviluppare le prime conoscenze gi acquisite e rinforzare la capacit di applicazione in un contesto strutturato in maniera pedagogica e motivante. Da Susato a Gershwin, dall’oratorio al lied, passando per l’opera e altri generi musicali, ESSENTIAL CLASSICS propone un’immersione nell’universo classico. La versione integrale di ogni arrangiamento è disponibile sul CD di accompagnamento venduto separatamente. $10.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Essential Classics Concert band De Haske Publications
Concert Band/Harmonie - very easy, easy SKU: BT.DHP-1094820-401 Small ...(+)
Concert Band/Harmonie - very easy, easy SKU: BT.DHP-1094820-401 Small Masterpieces for Great Performances. Arranged by Jan de Haan. Essential Elements. Book Only. Composed 2009. 24 pages. De Haske Publications #DHP 1094820-401. Published by De Haske Publications (BT.DHP-1094820-401). ISBN 9789043132794. 9x12 inches. English. ESSENTIAL CLASSICS is a collection of pieces ideally suited to introduce beginning bands, whether in or outside of school, to the classical repertoire. The easy arrangements make the most popular melodies of all time accessible to young musicians, without the frustration of playing music that is too difficult for them. Now they can enjoy music from instrumental works and operas to oratorios and lieder, from Tylman Susato to George Gershwin. The pieces are arranged in ascending order of difficulty, coinciding with the progress students are making in Volumes 1 and 2 of ESSENTIAL ELEMENTS the complete method for music education in schools and bands. But even without ESSENTIALELEMENTS, ESSENTIAL CLASSICS is an excellent source of repertoire by itself. In addition to the music the individual parts contain short snippets of information about the music, composer and genre, written in a style younger players will understand. The full score contains more in-depth information on the music. No matter how you use ESSENTIAL CLASSICS with your band, your players will love all the fun and engaging arrangements it as to offer.
Die deutschsprachige Ausgabe dieser Reihe ist unter dem Titel Bläserklasse Klassik erhältlich.
De Susato Gershwin, de l’oratorio au lied en passant par l’opéra et autres genres, Essential Classics propose une plongée dans l’univers classique. Les arrangements suivent la progression des recueils Essential Elements (Vol. 1 & 2), mais peuvent également être utilisés de façon indépendante. La version intégrale de chaque arrangement est disponible sur le compact disc d’accompagnement vendu séparément. Sommaire : La Mourisque (Susato) • Le Printemps (Vivaldi) • Musette (J.-S. Bach) • Le gai laboureur (Schumann) • L’Innamorata (Gastoldi) • 2e mouvement du Quatuor « L’Empereur » (Haydn) • 4e mouvement duQuintette « La Truite » (Schubert) • Ouverture de Guillaume Tell (Rossini) • Le beau Danube bleu (J. Strauss II) • Trumpet Voluntary (Clarke) • Alléluia du Messie (Haendel) • La lettre Élise (Beethoven) • Capriccio italien (Tcha kovski) • 4e mouvement de la Symphonie du » Nouveau Monde » (Dvoøák) • Une petite musique de nuit - 1er mouvement (Mozart) • Danse hongroise n° 5 (Brahms) • Land of Hope and Glory (Elgar) • La donna è mobile (Verdi) • Marche Nuptiale (Wagner) • Cancan (Offenbach) • Symphonie n° 1 - 3e mouvement (Mahler) • Summertime (Gershwin).
ESSENTIAL CLASSICS è il materiale ideale per far familiarizzare le bande principianti o junior con il repertorio della musica classica. Gli arrangiamenti, ideati in ordine progressivo di difficolt , sono ideali per sviluppare le prime conoscenze gi acquisite e rinforzare la capacit di applicazione in un contesto strutturato in maniera pedagogica e motivante. Da Susato a Gershwin, dall’oratorio al lied, passando per l’opera e altri generi musicali, ESSENTIAL CLASSICS propone un’immersione nell’universo classico. La versione integrale di ogni arrangiamento è disponibile sul CD di accompagnamento venduto separatamente. $10.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Essential Classics Concert band De Haske Publications
Concert Band/Harmonie - very easy, easy SKU: BT.DHP-1094810-401 Small ...(+)
Concert Band/Harmonie - very easy, easy SKU: BT.DHP-1094810-401 Small Masterpieces for Great Performances. Arranged by Jan de Haan. Essential Elements. Book Only. Composed 2009. 24 pages. De Haske Publications #DHP 1094810-401. Published by De Haske Publications (BT.DHP-1094810-401). ISBN 9789043132695. 9x12 inches. English. ESSENTIAL CLASSICS is a collection of pieces ideally suited to introduce beginning bands, whether in or outside of school, to the classical repertoire. The easy arrangements make the most popular melodies of all time accessible to young musicians, without the frustration of playing music that is too difficult for them. Now they can enjoy music from instrumental works and operas to oratorios and lieder, from Tylman Susato to George Gershwin. The pieces are arranged in ascending order of difficulty, coinciding with the progress students are making in Volumes 1 and 2 of ESSENTIAL ELEMENTS the complete method for music education in schools and bands. But even without ESSENTIALELEMENTS, ESSENTIAL CLASSICS is an excellent source of repertoire by itself. In addition to the music the individual parts contain short snippets of information about the music, composer and genre, written in a style younger players will understand. The full score contains more in-depth information on the music. No matter how you use ESSENTIAL CLASSICS with your band, your players will love all the fun and engaging arrangements it as to offer.
Die deutschsprachige Ausgabe dieser Reihe ist unter dem Titel Bläserklasse Klassik erhältlich.
De Susato Gershwin, de l’oratorio au lied en passant par l’opéra et autres genres, Essential Classics propose une plongée dans l’univers classique. Les arrangements suivent la progression des recueils Essential Elements (Vol. 1 & 2), mais peuvent également être utilisés de façon indépendante. La version intégrale de chaque arrangement est disponible sur le compact disc d’accompagnement vendu séparément. Sommaire : La Mourisque (Susato) • Le Printemps (Vivaldi) • Musette (J.-S. Bach) • Le gai laboureur (Schumann) • L’Innamorata (Gastoldi) • 2e mouvement du Quatuor « L’Empereur » (Haydn) • 4e mouvement duQuintette « La Truite » (Schubert) • Ouverture de Guillaume Tell (Rossini) • Le beau Danube bleu (J. Strauss II) • Trumpet Voluntary (Clarke) • Alléluia du Messie (Haendel) • La lettre Élise (Beethoven) • Capriccio italien (Tcha kovski) • 4e mouvement de la Symphonie du » Nouveau Monde » (Dvoøák) • Une petite musique de nuit - 1er mouvement (Mozart) • Danse hongroise n° 5 (Brahms) • Land of Hope and Glory (Elgar) • La donna è mobile (Verdi) • Marche Nuptiale (Wagner) • Cancan (Offenbach) • Symphonie n° 1 - 3e mouvement (Mahler) • Summertime (Gershwin).
ESSENTIAL CLASSICS è il materiale ideale per far familiarizzare le bande principianti o junior con il repertorio della musica classica. Gli arrangiamenti, ideati in ordine progressivo di difficolt , sono ideali per sviluppare le prime conoscenze gi acquisite e rinforzare la capacit di applicazione in un contesto strutturato in maniera pedagogica e motivante. Da Susato a Gershwin, dall’oratorio al lied, passando per l’opera e altri generi musicali, ESSENTIAL CLASSICS propone un’immersione nell’universo classico. La versione integrale di ogni arrangiamento è disponibile sul CD di accompagnamento venduto separatamente. $10.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Essential Classics Concert band De Haske Publications
Concert Band/Harmonie - very easy, easy SKU: BT.DHP-1094821-401 Small ...(+)
Concert Band/Harmonie - very easy, easy SKU: BT.DHP-1094821-401 Small Masterpieces for Great Performances. Arranged by Jan de Haan. Essential Elements. Book Only. Composed 2009. 24 pages. De Haske Publications #DHP 1094821-401. Published by De Haske Publications (BT.DHP-1094821-401). ISBN 9789043132800. 9x12 inches. English. ESSENTIAL CLASSICS is a collection of pieces ideally suited to introduce beginning bands, whether in or outside of school, to the classical repertoire. The easy arrangements make the most popular melodies of all time accessible to young musicians, without the frustration of playing music that is too difficult for them. Now they can enjoy music from instrumental works and operas to oratorios and lieder, from Tylman Susato to George Gershwin. The pieces are arranged in ascending order of difficulty, coinciding with the progress students are making in Volumes 1 and 2 of ESSENTIAL ELEMENTS the complete method for music education in schools and bands. But even without ESSENTIALELEMENTS, ESSENTIAL CLASSICS is an excellent source of repertoire by itself. In addition to the music the individual parts contain short snippets of information about the music, composer and genre, written in a style younger players will understand. The full score contains more in-depth information on the music. No matter how you use ESSENTIAL CLASSICS with your band, your players will love all the fun and engaging arrangements it as to offer.
Die deutschsprachige Ausgabe dieser Reihe ist unter dem Titel Bläserklasse Klassik erhältlich.
De Susato Gershwin, de l’oratorio au lied en passant par l’opéra et autres genres, Essential Classics propose une plongée dans l’univers classique. Les arrangements suivent la progression des recueils Essential Elements (Vol. 1 & 2), mais peuvent également être utilisés de façon indépendante. La version intégrale de chaque arrangement est disponible sur le compact disc d’accompagnement vendu séparément. Sommaire : La Mourisque (Susato) • Le Printemps (Vivaldi) • Musette (J.-S. Bach) • Le gai laboureur (Schumann) • L’Innamorata (Gastoldi) • 2e mouvement du Quatuor « L’Empereur » (Haydn) • 4e mouvement duQuintette « La Truite » (Schubert) • Ouverture de Guillaume Tell (Rossini) • Le beau Danube bleu (J. Strauss II) • Trumpet Voluntary (Clarke) • Alléluia du Messie (Haendel) • La lettre Élise (Beethoven) • Capriccio italien (Tcha kovski) • 4e mouvement de la Symphonie du » Nouveau Monde » (Dvoøák) • Une petite musique de nuit - 1er mouvement (Mozart) • Danse hongroise n° 5 (Brahms) • Land of Hope and Glory (Elgar) • La donna è mobile (Verdi) • Marche Nuptiale (Wagner) • Cancan (Offenbach) • Symphonie n° 1 - 3e mouvement (Mahler) • Summertime (Gershwin).
ESSENTIAL CLASSICS è il materiale ideale per far familiarizzare le bande principianti o junior con il repertorio della musica classica. Gli arrangiamenti, ideati in ordine progressivo di difficolt , sono ideali per sviluppare le prime conoscenze gi acquisite e rinforzare la capacit di applicazione in un contesto strutturato in maniera pedagogica e motivante. Da Susato a Gershwin, dall’oratorio al lied, passando per l’opera e altri generi musicali, ESSENTIAL CLASSICS propone un’immersione nell’universo classico. La versione integrale di ogni arrangiamento è disponibile sul CD di accompagnamento venduto separatamente. $10.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Essential Classics Concert band [Score] De Haske Publications
Concert Band/Harmonie - very easy, easy SKU: BT.DHP-1094806-401 Small ...(+)
Concert Band/Harmonie - very easy, easy SKU: BT.DHP-1094806-401 Small Masterpieces for Great Performances. Arranged by Jan de Haan. Essential Elements. Score Only. Composed 2009. 80 pages. De Haske Publications #DHP 1094806-401. Published by De Haske Publications (BT.DHP-1094806-401). ISBN 9789043132657. 9x12 inches. English. ESSENTIAL CLASSICS is a collection of pieces ideally suited to introduce beginning bands, whether in or outside of school, to the classical repertoire. The easy arrangements make the most popular melodies of all time accessible to young musicians, without the frustration of playing music that is too difficult for them. Now they can enjoy music from instrumental works and operas to oratorios and lieder, from Tylman Susato to George Gershwin. The pieces are arranged in ascending order of difficulty, coinciding with the progress students are making in Volumes 1 and 2 of ESSENTIAL ELEMENTS the complete method for music education in schools and bands. But even without ESSENTIALELEMENTS, ESSENTIAL CLASSICS is an excellent source of repertoire by itself. In addition to the music the individual parts contain short snippets of information about the music, composer and genre, written in a style younger players will understand. The full score contains more in-depth information on the music. No matter how you use ESSENTIAL CLASSICS with your band, your players will love all the fun and engaging arrangements it as to offer.
Die deutschsprachige Ausgabe dieser Reihe ist unter dem Titel Bläserklasse Klassik erhältlich.
Essential Classics est le matériel idéal pour familiariser votre Classe d’Orchestre ou votre Orchestre Junior avec le répertoire classique. Les arrangements de difficulté progressive sont taillés sur mesure pour développer les premiers acquis et renforcer la capacité d’application des connaissances dans un contexte pédagogiquement structuré et motivants pour vos jeunes musiciens. De Susato Gershwin, de l’oratorio au lied en passant par l’opéra et autres genres, Essential Classics propose une plongée dans l’univers classique. Les arrangements suivent la progression des recueils Essential Elements (Vol. 1 & 2), mais peuvent également être utilisés de façonindépendante. La version intégrale de chaque arrangement est disponible sur le compact disc d’accompagnement vendu séparément. Sommaire : La Mourisque (Susato) • Le Printemps (Vivaldi) • Musette (J.-S. Bach) • Le gai laboureur (Schumann) • L’Innamorata (Gastoldi) • 2e mouvement du Quatuor « L’Empereur » (Haydn) • 4e mouvement du Quintette « La Truite » (Schubert) • Ouverture de Guillaume Tell (Rossini) • Le beau Danube bleu (J. Strauss II) • Trumpet Voluntary (Clarke) • Alléluia du Messie (Haendel) • La lettre Élise (Beethoven) • Capriccio italien (Tcha kovski) • 4e mouvement de la Symphonie du » Nouveau Monde » (Dvoøák) • Une petite musique de nuit - 1er mouvement (Mozart) • Danse hongroise n° 5 (Brahms) • Land of Hope and Glory (Elgar) • La donna è mobile (Verdi) • Marche Nuptiale (Wagner) • Cancan (Offenbach) • Symphonie n° 1 - 3e mouvement (Mahler) • Summertime (Gershwin).
ESSENTIAL CLASSICS è il materiale ideale per far familiarizzare le bande principianti o junior con il repertorio della musica classica. Gli arrangiamenti, ideati in ordine progressivo di difficolt , sono ideali per sviluppare le prime conoscenze gi acquisite e rinforzare la capacit di applicazione in un contesto strutturato in maniera pedagogica e motivante. Da Susato a Gershwin, dall’oratorio al lied, passando per l’opera e altri generi musicali, ESSENTIAL CLASSICS propone un’immersione nell’universo classico. La versione integrale di ogni arrangiamento è disponibile sul CD di accompagnamento venduto separatamente. $34.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Essential Classics Concert band De Haske Publications
Concert Band/Harmonie - very easy, easy SKU: BT.DHP-1094812-401 Small ...(+)
Concert Band/Harmonie - very easy, easy SKU: BT.DHP-1094812-401 Small Masterpieces for Great Performances. Arranged by Jan de Haan. Essential Elements. Book Only. Composed 2009. 24 pages. De Haske Publications #DHP 1094812-401. Published by De Haske Publications (BT.DHP-1094812-401). ISBN 9789043132718. 9x12 inches. English. ESSENTIAL CLASSICS is a collection of pieces ideally suited to introduce beginning bands, whether in or outside of school, to the classical repertoire. The easy arrangements make the most popular melodies of all time accessible to young musicians, without the frustration of playing music that is too difficult for them. Now they can enjoy music from instrumental works and operas to oratorios and lieder, from Tylman Susato to George Gershwin. The pieces are arranged in ascending order of difficulty, coinciding with the progress students are making in Volumes 1 and 2 of ESSENTIAL ELEMENTS the complete method for music education in schools and bands. But even without ESSENTIALELEMENTS, ESSENTIAL CLASSICS is an excellent source of repertoire by itself. In addition to the music the individual parts contain short snippets of information about the music, composer and genre, written in a style younger players will understand. The full score contains more in-depth information on the music. No matter how you use ESSENTIAL CLASSICS with your band, your players will love all the fun and engaging arrangements it as to offer.
Die deutschsprachige Ausgabe dieser Reihe ist unter dem Titel Bläserklasse Klassik erhältlich.
De Susato Gershwin, de l’oratorio au lied en passant par l’opéra et autres genres, Essential Classics propose une plongée dans l’univers classique. Les arrangements suivent la progression des recueils Essential Elements (Vol. 1 & 2), mais peuvent également être utilisés de façon indépendante. La version intégrale de chaque arrangement est disponible sur le compact disc d’accompagnement vendu séparément. Sommaire : La Mourisque (Susato) • Le Printemps (Vivaldi) • Musette (J.-S. Bach) • Le gai laboureur (Schumann) • L’Innamorata (Gastoldi) • 2e mouvement du Quatuor « L’Empereur » (Haydn) • 4e mouvement duQuintette « La Truite » (Schubert) • Ouverture de Guillaume Tell (Rossini) • Le beau Danube bleu (J. Strauss II) • Trumpet Voluntary (Clarke) • Alléluia du Messie (Haendel) • La lettre Élise (Beethoven) • Capriccio italien (Tcha kovski) • 4e mouvement de la Symphonie du » Nouveau Monde » (Dvoøák) • Une petite musique de nuit - 1er mouvement (Mozart) • Danse hongroise n° 5 (Brahms) • Land of Hope and Glory (Elgar) • La donna è mobile (Verdi) • Marche Nuptiale (Wagner) • Cancan (Offenbach) • Symphonie n° 1 - 3e mouvement (Mahler) • Summertime (Gershwin).
ESSENTIAL CLASSICS è il materiale ideale per far familiarizzare le bande principianti o junior con il repertorio della musica classica. Gli arrangiamenti, ideati in ordine progressivo di difficolt , sono ideali per sviluppare le prime conoscenze gi acquisite e rinforzare la capacit di applicazione in un contesto strutturato in maniera pedagogica e motivante. Da Susato a Gershwin, dall’oratorio al lied, passando per l’opera e altri generi musicali, ESSENTIAL CLASSICS propone un’immersione nell’universo classico. La versione integrale di ogni arrangiamento è disponibile sul CD di accompagnamento venduto separatamente. $10.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Essential Classics Concert band De Haske Publications
Concert Band/Harmonie - very easy, easy SKU: BT.DHP-1094808-401 Small ...(+)
Concert Band/Harmonie - very easy, easy SKU: BT.DHP-1094808-401 Small Masterpieces for Great Performances. Arranged by Jan de Haan. Essential Elements. Book Only. Composed 2009. 24 pages. De Haske Publications #DHP 1094808-401. Published by De Haske Publications (BT.DHP-1094808-401). ISBN 9789043132671. 9x12 inches. English. ESSENTIAL CLASSICS is a collection of pieces ideally suited to introduce beginning bands, whether in or outside of school, to the classical repertoire. The easy arrangements make the most popular melodies of all time accessible to young musicians, without the frustration of playing music that is too difficult for them. Now they can enjoy music from instrumental works and operas to oratorios and lieder, from Tylman Susato to George Gershwin. The pieces are arranged in ascending order of difficulty, coinciding with the progress students are making in Volumes 1 and 2 of ESSENTIAL ELEMENTS the complete method for music education in schools and bands. But even without ESSENTIALELEMENTS, ESSENTIAL CLASSICS is an excellent source of repertoire by itself. In addition to the music the individual parts contain short snippets of information about the music, composer and genre, written in a style younger players will understand. The full score contains more in-depth information on the music. No matter how you use ESSENTIAL CLASSICS with your band, your players will love all the fun and engaging arrangements it as to offer.
Die deutschsprachige Ausgabe dieser Reihe ist unter dem Titel Bläserklasse Klassik erhältlich.
De Susato Gershwin, de l’oratorio au lied en passant par l’opéra et autres genres, Essential Classics propose une plongée dans l’univers classique. Les arrangements suivent la progression des recueils Essential Elements (Vol. 1 & 2), mais peuvent également être utilisés de façon indépendante. La version intégrale de chaque arrangement est disponible sur le compact disc d’accompagnement vendu séparément. Sommaire : La Mourisque (Susato) • Le Printemps (Vivaldi) • Musette (J.-S. Bach) • Le gai laboureur (Schumann) • L’Innamorata (Gastoldi) • 2e mouvement du Quatuor « L’Empereur » (Haydn) • 4e mouvement duQuintette « La Truite » (Schubert) • Ouverture de Guillaume Tell (Rossini) • Le beau Danube bleu (J. Strauss II) • Trumpet Voluntary (Clarke) • Alléluia du Messie (Haendel) • La lettre Élise (Beethoven) • Capriccio italien (Tcha kovski) • 4e mouvement de la Symphonie du » Nouveau Monde » (Dvoøák) • Une petite musique de nuit - 1er mouvement (Mozart) • Danse hongroise n° 5 (Brahms) • Land of Hope and Glory (Elgar) • La donna è mobile (Verdi) • Marche Nuptiale (Wagner) • Cancan (Offenbach) • Symphonie n° 1 - 3e mouvement (Mahler) • Summertime (Gershwin).
ESSENTIAL CLASSICS è il materiale ideale per far familiarizzare le bande principianti o junior con il repertorio della musica classica. Gli arrangiamenti, ideati in ordine progressivo di difficolt , sono ideali per sviluppare le prime conoscenze gi acquisite e rinforzare la capacit di applicazione in un contesto strutturato in maniera pedagogica e motivante. Da Susato a Gershwin, dall’oratorio al lied, passando per l’opera e altri generi musicali, ESSENTIAL CLASSICS propone un’immersione nell’universo classico. La versione integrale di ogni arrangiamento è disponibile sul CD di accompagnamento venduto separatamente. $10.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Essential Classics Concert band De Haske Publications
Concert Band/Harmonie - very easy, easy SKU: BT.DHP-1094807-401 Small ...(+)
Concert Band/Harmonie - very easy, easy SKU: BT.DHP-1094807-401 Small Masterpieces for Great Performances. Arranged by Jan de Haan. Essential Elements. Book Only. Composed 2009. 24 pages. De Haske Publications #DHP 1094807-401. Published by De Haske Publications (BT.DHP-1094807-401). ISBN 9789043132664. 9x12 inches. English. ESSENTIAL CLASSICS is a collection of pieces ideally suited to introduce beginning bands, whether in or outside of school, to the classical repertoire. The easy arrangements make the most popular melodies of all time accessible to young musicians, without the frustration of playing music that is too difficult for them. Now they can enjoy music from instrumental works and operas to oratorios and lieder, from Tylman Susato to George Gershwin. The pieces are arranged in ascending order of difficulty, coinciding with the progress students are making in Volumes 1 and 2 of ESSENTIAL ELEMENTS the complete method for music education in schools and bands. But even without ESSENTIALELEMENTS, ESSENTIAL CLASSICS is an excellent source of repertoire by itself. In addition to the music the individual parts contain short snippets of information about the music, composer and genre, written in a style younger players will understand. The full score contains more in-depth information on the music. No matter how you use ESSENTIAL CLASSICS with your band, your players will love all the fun and engaging arrangements it as to offer.
Die deutschsprachige Ausgabe dieser Reihe ist unter dem Titel Bläserklasse Klassik erhältlich.
De Susato Gershwin, de l’oratorio au lied en passant par l’opéra et autres genres, Essential Classics propose une plongée dans l’univers classique. Les arrangements suivent la progression des recueils Essential Elements (Vol. 1 & 2), mais peuvent également être utilisés de façon indépendante. La version intégrale de chaque arrangement est disponible sur le compact disc d’accompagnement vendu séparément. Sommaire : La Mourisque (Susato) • Le Printemps (Vivaldi) • Musette (J.-S. Bach) • Le gai laboureur (Schumann) • L’Innamorata (Gastoldi) • 2e mouvement du Quatuor « L’Empereur » (Haydn) • 4e mouvement duQuintette « La Truite » (Schubert) • Ouverture de Guillaume Tell (Rossini) • Le beau Danube bleu (J. Strauss II) • Trumpet Voluntary (Clarke) • Alléluia du Messie (Haendel) • La lettre Élise (Beethoven) • Capriccio italien (Tcha kovski) • 4e mouvement de la Symphonie du » Nouveau Monde » (Dvoøák) • Une petite musique de nuit - 1er mouvement (Mozart) • Danse hongroise n° 5 (Brahms) • Land of Hope and Glory (Elgar) • La donna è mobile (Verdi) • Marche Nuptiale (Wagner) • Cancan (Offenbach) • Symphonie n° 1 - 3e mouvement (Mahler) • Summertime (Gershwin).
ESSENTIAL CLASSICS è il materiale ideale per far familiarizzare le bande principianti o junior con il repertorio della musica classica. Gli arrangiamenti, ideati in ordine progressivo di difficolt , sono ideali per sviluppare le prime conoscenze gi acquisite e rinforzare la capacit di applicazione in un contesto strutturato in maniera pedagogica e motivante. Da Susato a Gershwin, dall’oratorio al lied, passando per l’opera e altri generi musicali, ESSENTIAL CLASSICS propone un’immersione nell’universo classico. La versione integrale di ogni arrangiamento è disponibile sul CD di accompagnamento venduto separatamente. $10.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
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| Robert Schumann: Schumann
– A Listener's Guide:
Reference Books Amadeus Press
Includes full-length audio CD-Over the course of some three dozen volumes Amade...(+)
Includes full-length audio CD-Over the course of some three dozen volumes Amadeus Press highly acclaimed Unlocking the Masters series has drawn readers into the worlds of the greatest composers and their music. Curated pairings of critically minded introductory texts andcompanion CDs loaded with tracks selected from the worlds foremost libraries of recorded classics the series truly brings the sounds and stories of its legendary subjects to life. Its latest entry Victor Lederers Schumann: A Listeners Guide isan essential portal to the musical works of and tempestuous life of this little-understood genius. Many if not most major composers improve over the course of their careers. For Schumann however the opposite was true: plagued throughout his lifeby physical and mental illnesses he helplessly ? and consciously ? endured the gradual diminution of his prodigious talent until his premature death at age 46. Throughout Schumann: A Listeners Guide Lederer provides unflinching critiques of theweaknesses that plagued Schumanns style contrasting them with the brilliance of his earliest triumphs. This eminently accessible account explores the full spectrum of the master composers oeuvre from his popular early music and lieder to hisworks for chamber ensembles composed in 1842 to his four beloved if flawed symphonies. It also accounts for Schumanns dramatic works particularly Genoveva his only opera and Incidental Music to Byrons ?Manfred ? a bewilderingly unappreciatedmusical score. As with all volumes in the UTM series Schumann: A Listeners Guide is accompanied by a CD containing two of the masters most daring imaginative flights both explored in detail in the text: the Davidsbündlertänze for piano andDichterliebe (A Poets Love) one of the all-time greatest song cycles and works for voice. Geared toward fledglings but written with an eye turned to aficionados the book is a must-have for Schumann buffs and classical music fans young and old.
19.99 GBP - Sold by Musicroom UK | |
| Robert Schumann: A First
Book of Schumann: Piano:
Instrumental Album Piano solo Dover Publications
For The Beginning Pianist-This beginner's piano book spotlights the music of one...(+)
For The Beginning Pianist-This beginner's piano book spotlights the music of one of the Romantic movement's most influential composers Robert Schumann. Its easy-to-play renditions of Schumann's beloved works progressively increase in difficulty and are accessible to novices of all ages.Contents include selections from Forest Scenes Scenes from Childhood Album for the Young and Carnaval a collection of short pieces representing revelers at a masked ball. Selections include 'Traumerei ' 'Happy Farmer ' 'Papillons ' and other melodies for solo piano.Dover Original.
6.10 GBP - Sold by Musicroom UK | |
| Library Of Piano Classics
Large Print Edition Pf Piano solo - Intermediate Music Sales
A compendium of the world's most beloved classical music presented in easy-to-re...(+)
A compendium of the world's most beloved classical music presented in easy-to-read large print. A splendid collection of pieces that over the years have captured the heart of music lovers everywhere. / Piano
23.49 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: 3-10 days - In Stock Supplier | |
| Hans-Günter Heumann:
Best of Piano Classics 2:
Piano: Instrumental Album Piano solo - Intermediate Schott
40 Arrangements of Famous Classical Masterpieces-Following the success of the fi...(+)
40 Arrangements of Famous Classical Masterpieces-Following the success of the first volume of original compositions for piano in Best of Piano Classics (ED 9060) Schott now presents another collection with a selection of 40 arrangements of popular classical masterpieces for the discerning amateur pianist to use over the years. The contents include great works from Bach to Gershwin ranging from chamber music symphonies and concertos through to opera. This selection of musical favourites presents the best known and loveliest pieces of classical music from the Baroque era through to the 20th Century from ???Air??? to ???Rhapsody in Blue???. With fingerings tempo and pedal suggestions added these appealing arrangements for advancedplayers in modern printed scores that are easy to read are recommended not only for tuition purposes but for all those who enjoy playing the piano in their leisure time.
16.50 GBP - Sold by Musicroom UK Pre-shipment lead time: In Stock | |
| 88 PIANO CLASSICS FOR
BEGINNERS Easy Piano [Sheet music] - Beginner Dover Publications
Par . Beginning pianists of all ages will cherish this excellent compilation of ...(+)
Par . Beginning pianists of all ages will cherish this excellent compilation of classics. Each piece was carefully selected and simplified to help students develop their skills. Many of the greatest composers ? J. S. Bach, Beethoven, Brahms, Mendelssohn, Mozart, Rimsky-Korsakov, Rachmaninoff, Tchaikovsky, and others ? are represented by several pieces each, some newly adapted for the piano. Composers and works not usually featured in beginner\'s books include pieces by Borodin, Gluck, Rameau, and Tallis. Well-known classics include Bach\'s Brandenburg Concerto No. 3, Debussy\'s Claire de Lune, Moussorgsky\'s Pictures at an Exhibition, Satie\'s Gymnopedie No. 1, Schumann\'s Child Falling Asleep, and \'Spring\' from Vivaldi\'s Four Seasons. Several orchestral pieces have been newly adapted for the piano, including \'Dance of the Swan\' from Swan Lake, \'Elephant\' from Carnival of the Animals, \'Largo\' from Xerxes, and \'Waltz of the Flowers\' from The Nutcracker. / Date parution : 2022-11-12/ Recueil / Piano
22.90 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: 3-10 days - In Stock Supplier | |
| David Dutkanicz:
dov231925: Piano:
Instrumental Album Piano solo - Easy Dover Publications
Beginning pianists of all ages will cherish this excellent compilation of classi...(+)
Beginning pianists of all ages will cherish this excellent compilation of classics. Each piece was carefully selected and simplified to help students develop their skills. Many of the greatest composersâ??J. S. Bach Beethoven Brahms Mendelssohn Mozart Rimsky-Korsakov Rachmaninoff Tchaikovsky and othersâ??are represented by several pieces each some newly adapted for the piano. Composers and works not usually featured in beginner's books include pieces by Borodin Gluck Rameau and Tallis.Well-known classics include Bach's Brandenburg Concerto No. 3 Debussy's Claire de Lune Moussorgsky's Pictures at an Exhibition Satie'sGymnopedie No. 1 Schumann's Child Falling Asleep and 'Spring' from Vivaldi's Four Seasons. Several orchestral pieces have been newly adapted for the piano including 'Dance of the Swan' from Swan Lake 'Aquarium' from Carnival of the Animals 'Largo' from Xerxes and 'Waltz of the Flowers' from The Nutcracker.Dover Original.
17.30 GBP - Sold by Musicroom UK Pre-shipment lead time: In Stock | |
| Piano Inspiration, Book 2 Piano solo - Intermediate/advanced ABRSM Publishing
ABRSM Grades 7-8 . This special collection of intermediate to advanced piano rep...(+)
ABRSM Grades 7-8 . This special collection of intermediate to advanced piano repertoire has been lovingly curated by internationally renowned pianist, Isata Kanneh-Mason. Inspired by her musical journey from childhood prodigy to accomplished performer, and drawing on her championship of female composers and composers of colour, Isata has handpicked a wonderfully diverse melange of music for players to explore. Alongside classical masterpieces such as Clara Schumann?s Notturno, players will find repertoire by Samuel Coleridge-Taylor, George Gershwin and Alexander Desplat as well as a stunning new work by Errollyn Wallen. Carefully edited and fingered, Piano Inspiration 2 is ideal both for recreational playing and those seeking own-choice repertoire for ABRSM Performance Grades (Grades 7 ).
? 12 pieces for intermediate to advanced players, each holding special significance to Isata
? A wonderful array of styles, composers and traditions that span four centuries of piano music
? An original work by Errollyn Wallen, specially composed for this collection
? Ideal for own-choice repertoire selection in ABRSM Performance Grades (Grades 7 )
Pianist Isata Kanneh-Mason is in great demand in the UK and internationally as a soloist and chamber musician. She offers eclectic and interesting repertoire and has performed at many of the world?s finest concert venues, including the Royal Albert Hall for her BBC Proms solo debut in 2023. As a Decca recording artist, she entered the UK classical charts at No. 1 with her 2019 album Romance, and has since released Summertime, featuring twentieth-century American repertoire; Muse, a duo album with her brother Sheku; and Childhood Tales, which showcases music inspired by a nostalgia for youth. Isata is recipient of the coveted Leonard Bernstein Award and the Opus Klassik Award for best young artist.
13.95 GBP - Sold by Musicroom UK Pre-shipment lead time: In Stock | |
| Piano Inspiration, Book 1 Piano solo - Intermediate ABRSM Publishing
ABRSM Grades 4-6. This special collection of intermediate piano repertoire has b...(+)
ABRSM Grades 4-6. This special collection of intermediate piano repertoire has been lovingly curated by internationally renowned pianist, Isata Kanneh-Mason. Inspired by her musical journey from childhood prodigy to accomplished performer, and drawing on her championship of female composers and composers of colour, Isata has handpicked a wonderfully diverse melange of music for players to explore. Alongside well-known classical masterpieces, Isata presents stunning pieces by Florence Price, Amy Beach and Eleanor Alberga, as well as a beautifully evocative new work by Natalie Klouda and her very own Waltz. Carefully edited and fingered, Piano Inspiration 1 is ideal both for recreational playing and those seeking own-choice repertoire for ABRSM Performance Grades (Grades 4?6).
? 16 pieces for intermediate players, each holding special significance to Isata
? A wonderful array of styles, composers and traditions that span four centuries of piano music
? Original works by Isata Kanneh-Mason and Natalie Klouda, specially composed for this collection
? Ideal for own-choice repertoire selection in ABRSM Performance Grades (Grades 4?6)
Pianist Isata Kanneh-Mason is in great demand in the UK and internationally as a soloist and chamber musician. She offers eclectic and interesting repertoire and has performed at many of the world?s finest concert venues, including the Royal Albert Hall for her BBC Proms solo debut in 2023. As a Decca recording artist, she entered the UK classical charts at No. 1 with her 2019 album Romance, and has since released Summertime, featuring twentieth-century American repertoire; Muse, a duo album with her brother Sheku; and Childhood Tales, which showcases music inspired by a nostalgia for youth. Isata is recipient of the coveted Leonard Bernstein Award and the Opus Klassik Award for best young artist.
12.95 GBP - Sold by Musicroom UK Pre-shipment lead time: In Stock | |
| Classical Music for
Children Trompette (B) et Piano [Sheet music + CD] Schott
23 Easy Pieces for Trumpet and Piano. This edition provides young pupils with an...(+)
23 Easy Pieces for Trumpet and Piano. This edition provides young pupils with an access to classical music. Apart from pieces they may already know, like melodies from the Magic Flute, Beethoven's Symphony No. 6 or Vivaldi's Four Seasons, they also get to know other works from the Baroque, Classical and Romantic periods. The pieces are set in a pupil-friendly register and were deliberately recorded on CD in a moderate tempo. In order to encourage joint music-making, the piano accompaniment is such that it can also be played by piano pupils./ Recueil / Trompette (B) et Piano
20.00 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: 3-10 days - In Stock Supplier | |
| Robert Schumann: Selected
Songs For Solo Voice And
Piano: Voice: Mixed
Songbook Piano, Voice Dover Publications
Over 100 songs including 'Myrthen' 'Sechs Gedichte Von Reinick' 'Frauenliebe ...(+)
Over 100 songs including 'Myrthen' 'Sechs Gedichte Von Reinick' 'Frauenliebe und Leben' Breitkopf
19.30 GBP - Sold by Musicroom UK Pre-shipment lead time: In Stock | |
| The New Imperial Edition Low voice, Piano Boosey and Hawkes
Ces collections de 30 chansons chaque, sorti il y a plus de 50 ans ont été un ...(+)
Ces collections de 30 chansons chaque, sorti il y a plus de 50 ans ont été un pilier d'étude vocal classique. Il y a une liste de chanson différente pour chaque type de voix. Maintenant accompagnement CDs sont disponibles qui correspondent à chaque livre. Particularités de CD-ROM sont ajoutées sur le CD audio qui permettent le tempo sur les accompagnements être ajustés sans changer la pelouse, ou permettre aussi, transposition. / Basse Et Piano
25.50 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: 3-10 days - In Stock Supplier | |
| Heumann H.-g. - Best Of
Piano Classics 2 - 40
Classical Arrangements Piano solo Schott
Armes Waisenkind (The Poor Orphan) Op.68 No.6 Auf Der Gondel (In A Gondola) ...(+)
Armes Waisenkind (The Poor Orphan) Op.68 No.6 Auf Der Gondel (In A Gondola) Op.68 Barentanz (Bear's Dance) Op.68 Ein Choral (A Chorale) Op.68 No.4 Erinnerung (Remembrance) Op.68 No.28 Ernteliedchen (The Harvest Song) Op.68 No.24 Erster Verlust (First Loss) Op.68 No.16 Figurierter Choral (Ornamented Chorale) Op.68 No.41 Fremder Mann (A Stranger) Op.68 No.29 Frohlicher Landmann, Von Der Arbeit Zuruckkehrend (The Merry Peasant, Returning From Work) Op.68 No.10 Fruhlingsgesang (Spring Song) Op.68 No.15 Fur Ganz Kleine (For Very Young People) Op.68 Gukkuk Im Versteck (Hide And Seek) Op.68 Haschemann (Catch-me-if-you-can) Op.68 Jagerliedchen (Huntsman's Song) Op.68 No.7 Kleine Fuge (Little Fugue) Op.68 No.39 Kleine Romanze (Little Romance) Op.68 No.19 Kleine Studie (A Little Study) Op.68 No.14 Kleiner Morgenwanderer (Little Dawn-wanderer) Op.68 No.17 Knecht Ruprecht (Knight Rupert) Op.68 No.12 Knight Rupert Op.68 No.12 [Schumann, Robert] Kriegslied (Battle Song) Op.68 No.31 Landliches Lied (Country Song) Op.68 No.20 Langsam Und Mit Ausdruck Zu Spielen (Poco Lento E Espressivo) Op.68 No.21 Lied Italienischer Marinari (Italian Fishermen's Song) Op.68 No.36 Mai, Lieber Mai, Bald Bist Du Wieder Da! (May, Lovely May, You'll Soon Be Here Again!) Op.68 No.13 Matrosenlied (Sailor's Song) Op.68 No.37 Melodie (Melody) Op.68 No.1 Mignon (Mignon) Op.68 No.35 Nachklange Aus Dem Theater (Echoes Of The Theatre) Op.68 No.25 Nicht Schnell, Hubsch Vorzutragen (Andantino Con Espressione) Op.68 No.26 Nordisches Lied (Nordic Song) Op.68 No.40 Puppenschlafliedchen (Doll's Lullaby) Op.68 Rebus (Puzzle) Op.68 Reiterstuck (The Horseman) Op.68 No.23 Rundgesang (Roundelay) Op.68 No.22 Schnitterliedchen (Reaper's Song) Op.68 No.18 Sehr Langsam (Molto Lento) Op.68 No.30 Sheherazade Op.68 No.32 Sicilianisch (Siciliano) Op.68 No.11 Soldatenmarsch (Soldiers' March) Op.68 No.2 Stuckchen (Little Piece) Op.68 No.5 Sylvesterlied (New-year's Eve Song) Op.68 No.42 The Wild Horseman Op.68 No.8 (Album For The Young) Thema (Theme) Op.68 No.34 Trallerliedchen (Humming Song) Op.68 No.3 Volksliedchen (Folksong) Op.68 No.9 'weinlesezeit - Frohliche Zeit' ('vintage-time - Happy Time') Op.68 No.33 Winterszeit I And Ii (Wintertime I And Ii) Op.68 No.38
20.60 EUR - Sold by Woodbrass Pre-shipment lead time: On order | |
| Johannes Brahms: Symphony
No.1 In C Minor Op.68:
Orchestra: Miniature
Score Orchestra Ernst Eulenburg u. Co.
A wonderful composition written between 1855 and 1876 and in part it is a retur...(+)
A wonderful composition written between 1855 and 1876 and in part it is a return to the Baroque Symphonic tradition. It is a solemn piece that seems to reflect the tortuous period of its creation the terminal insanity and later death of his friend and mentor Robert Schumann. At times ominous building to climactic heights where other times it is warm and uninhibited this is a spectacular work. That demonstrates the skill of a young master composer. Eulenberg's celebrated and highly authoritative miniature score is the definitive reference source for study performance preparation or simply for those with a love of the great orchestral works.
16.99 GBP - Sold by Musicroom UK | |
| Franz Lachner: 2 German
Songs: Chamber Ensemble:
Instrumental Album Spartan Press
This edition supersedes the Nova Music publication of 1982 (NM249) edited by Geo...(+)
This edition supersedes the Nova Music publication of 1982 (NM249) edited by Georgina Dobrée which is now out of print. This edition is fully re-edited and includes the option of a second clarinet in place of the voice.Auf Flügeln des Gesanges (On Wings of Song) from Lyrisches Intermezzo of 1823 by Heinrich Heine (1797-1856) tells of melody's power to transport lovers to the most beautiful night garden with bright and fragrant flowers gazelles a murmuring stream and a palm tree under which they can dream. It is well known in the setting by Mendelssohn written in 1834. Seit Ich Ihn Gesehen (Since I First Saw Him) is from Adelbert vonChamisso's set of poems Frauen-Liebe und Leben most famously set by Schumann in 1840. A young girl cries that she has been blinded by the vision of a gentleman who has unknowingly lifted her from darkness. Overwhelmed by the new emotions of adoration and infatuation she retreats into isolation.
11.50 GBP - Sold by Musicroom UK | |
| Pyotr Ilyich Tchaikovsky:
Kinderalbum: Flute:
Instrumental Album Flute and Piano Universal Edition
Magic Flute on Stage-Album for Children?Tomorrow I am going to write a collectio...(+)
Magic Flute on Stage-Album for Children?Tomorrow I am going to write a collection of miniatures for children. For some time I have been thinking it would be good to alleviate the dearth of musical literature for children.? (From a letter Tchaikovsky wrote to Nadezhda von Meck on 30 April 1878) Tchaikovsky?s collection of piano pieces for children is subtitled ?Collection of easy pieces in the style of Schumann.? The instruments Pyotr Il?yich Tchaikovsky studied included the flute but he never wrote any music for it. How ever many of the miniatures from the Album for Children suit the flute perfectly - from the expressive and romantic Morning Prayer and Sweet Dream to the moretechnical Mazurka and Neapolitan Song. These touchingly lyrical miniatures and almost virtuosic dance pieces arranged for flute and piano will be loved by young flautists and met with enthusiasm by concert audiences.
15.50 GBP - Sold by Musicroom UK | |
| Coffret Great Piano solo [Sheet music] - Intermediate Amsco Wise Publications
Une superbe collection de 180 solos de piano. Ce coffret rassemble des standards...(+)
Une superbe collection de 180 solos de piano. Ce coffret rassemble des standards de jazz, de blues et de pop mais aussi des BO de film, des comédies musicales, des piéces classiques et populaires. Consiste en un ensemble de quatre livres (noir, bleu, violet et rouge) de cette collection dans un coffret en édition spéciale. Les quatres volumes sont également disponibles séparément. / Piano/Vocal/Guitare (PVG) / Partition
115.30 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: 3-10 days - In Stock Supplier | |
| Easiest Book of Piano
Classics Piano solo [Sheet music] - Easy Amsco Wise Publications 32.50 EUR - Sold by Note4Piano Pre-shipment lead time: 24 hours - In Stock Only 1 left in stock, order soon ! | |
| Library Of Piano
Favorites Piano Accompaniment [Book] Amsco Wise Publications
A collection of the world's finest classical and popular music for Piano. Here y...(+)
A collection of the world's finest classical and popular music for Piano. Here you will find the great masterpieces of every era - from classical and romance to ragtime and blues. Enjoy three centuries of all-time favourite Piano solos. Including Amazing Grace, Clair de Lune, Grand March from Aida and The Minute Waltz. / Piano Accompagnement
25.60 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: 3-10 days - In Stock Supplier | |
| Step By Step To Piano
Lessons Fun Way Master
Series 2 Piano solo Rhythm
Le Master Series fournit une transition progressive des airs de pépinière pour...(+)
Le Master Series fournit une transition progressive des airs de pépinière pour les graves classiques . Il renforce chaque position tout en introduisant la forme , les danses , l'articulation et la technique des classiques . La série Master renforce également le concept intégré de l'introduction de questions, discussions et la compréhension de la phonétique , les termes théoriques et techniques par des interrogatoires répétés par l'enseignant . Les enseignants doivent signaler intervalles et les accords spécifiques de reconnaissance sonore , poser des questions sur les styles , les périodes , les compositeurs , les termes, les titres, les formes , les marques dynamiques et de tempo en italien , etc , régulièrement pendant les cours. La série Master couvre également toutes les échelles , la lecture et styles de périodes requises dans les classes et les examens . Une section sur les ' FUN PIECES ' est toujours inclus à l'arrière dans les clés et les capacités de lecture nécessaires pour les grades . Ce sont aussi des airs connus persistantes par les parents et les enfants lors des fêtes ou qui sont des airs du pays qu'ils doivent savoir . Ceux-ci peuvent par mémorisé et joué pour les petites séances de divertissement à la maison ou pour les amis . / Piano
15.00 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: 3-10 days - In Stock Supplier | |
| Abba: Mamma Mia And
Others. SATB Acc. (Cps) Choral [Vocal Score] I.M.P.
Cet opéra de Gilbert and Sullivan est défini dans la tour de Londres, au cours...(+)
Cet opéra de Gilbert and Sullivan est défini dans la tour de Londres, au cours du XVIe siècle, et est la plus sombre et peut-être plus émotionnellement engageant, des opéras Savoy, se terminant avec un personnage principal-Hearted et deux missions très réticentes, plutôt que l'habituel de nombreux mariages. Le livret contient humour considérable, y compris beaucoup de calembour-laden fractionné, mais la satire de marque de commerce de Gilbert et de complications de l'intrigue envers sont remplacées par les nouvel ISBNdued en comparaison avec les autres opéras de G and S. / Chant/Vocal/Choeur
7.40 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: 3-10 days - In Stock Supplier | |
| Ian Denley: Time Pieces
for Oboe Volume 1: Oboe:
Instrumental Album Oboe - Easy ABRSM Publishing
Music through the Ages in 2 Volumes-27 pieces of Grade 1-3 standard covering rep...(+)
Music through the Ages in 2 Volumes-27 pieces of Grade 1-3 standard covering repertoire from the Renaissance to the present day. Arranged and selected by Ian Denley.
9.50 GBP - Sold by Musicroom UK Pre-shipment lead time: In Stock | |
| Piano Sheet Music
Anthology (JOURNEY) Piano, Vocal and Guitar [Sheet music] Alfred Publishing
Par JOURNEY. Pour les pianistes qui aiment Voyage, cette collection est un rêve...(+)
Par JOURNEY. Pour les pianistes qui aiment Voyage, cette collection est un rêve devenu réalité. Plus de 150 pages de piano / chant détail des arrangements 28 de chansons standout de la bande pendant des heures illimité de plaisir à les touches. Les paroles complètes et les mélodies vocales sont inclus, avec grilles d'accords de base pour la guitare. Les sélections sont tirées de près de 35 ans de répertoire du groupe légendaire, de leur album 1978, Infinity, à leur album 2011, Eclipse./ Recueil / Piano, Chant et Guitare
94.80 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: 3-10 days - In Stock Supplier | |
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