As early as the age of four Mozart amazed his father with his quickness of mind as regards Piano-playing. The first works are easy dance movements by the five-year-old who developed with extraordinary speed. During his lifetime he created several Piano pieces apart from the sonatas and variations. The pieces from his youth most of them written down in the music book for Maria Anna Mozart and in the so-called London sketch book are mostly short dance movements but there are already lengthy individual movements as well. From the mid-1770s there are mainly larger individual works including fantasias and rondos which can stand as equals to the sonatas andvariations of the Viennese period.Volume 2 contains the mature works from the later years of composition including the popular fantasias and rondos as well as several sonata form drafts completed by comtemporaries of Mozart. In addition the present edition contains solo piano versions of the Concert Rondo K 382 the rondo from the Duo for Violin and Viola K 423 as well as the overture of the 'Abduction from the Seraglio'.

Piano Concerto No. 2 for Piano and Orchestra (2009) by Poul Ruders. Piano Solo and Orchestral Reduction.Dedicated Becky Starobin. Written for Vassily Primakov. Commissioned by The Norwegian Radio Orchestra and Jerome Lowenthal. Programme Note In this day and age when faced with the challenge of writing a 'Piano Concerto' e.g. a piece for symphony orchestra and an all-dominating and virtuosic solo Piano part one has two options: either: DO or do NOT go for it wholesale exploiting and enjoying the conrnucopia of sonoroustreasures offered by the combination of the orchestra and the 'Grand Piano'. I have opted to go for it. When writing for one of our great young international Piano stars it would be absurd and a waste to do anything less and only 'nibble at the goodies'.However the piece is not a big clunky 'machine'. Rather it is a transparently orchestrated neo-classic (for the lack of a better work) composition in three movements lastign approximately 25 minutes.The piece begins with a moderately paced opening in which the Piano gradually gathers momentum and strength beginning with the most gentle of motifs. In this movement the soloist and orchestra fo not always agree and the vigilant listener will observe the disparity between the two. Following a swift up-beat coda the movement stops almost in mid-breath on one of the gentle Piano chords taken from the very opening.The extreme simplicity of the second movement 'Semplice' (the opening Piano solo bears the marking: 'slightly hesitant - like a child practicing') is after having been joined by the Vibraphone Harp and solo Violin suddenly violated with unprecedented brutality by the rest of the orchestra which virtually 'lies in wait - panting to pounce'. But eventually calm and order is restored.The finale is a crazy rondo of sorts.

A superb 160 page volume packed with solo Piano arrangements of great German music from the 17th to the 20th Centuries. <br> <br>A specially written foreword places the music in historical and national context and includes biographical details of many of the featured composers. The arrangements are intended for the intermediate to advanced player but the book will give any pianist a unique practical and historical insight into Germany's immense contribution to the international world of music. / Classique / Partition /

for Piano and Orchestra. Par MOZART WOLFGANG AMADEUS. Concerto For Piano And Orchestra No. 22 E-flat major K. 482. Piano Solo, Flute, Clarinet (in B-flat) (2), Bassoon (2), Horn (2), Clarin trumpet (2), Kettledrum, Violin (2), Viola (2), Violoncello, Double bass. The New Mozart Edition offers researchers a musicologically unimpeachable text based on all the available sources (first and foremost Mozart 's autograph manuscripts). At the same time, it also serves as an aid to authentic performances. The Barenreiter Urtext study scores are a prime example of how Barenreiter takes a musical text and transfers it into a practical format. The Barenreiter Urtext Study Scores, format 16. 5 x 22. 5cm, are ideal for musical analysis, rehearsal purposes and even conducting. The Study Scores are distinguished by high quality paper and binding as well as an excellent layout. In this way masterworks of musical history are made available as compact sized scores at extremely affordable prices!/ Répertoire / Piano

The Suzuki Method® of Talent Education is based on Dr. Shinichi Suzuki's view that every child is born with ability, and that man is the son of his environment. According to Dr. Suzuki, a world-renowned violinist and teacher, the greatest joy an adult can know comes from developing a child's potential so he/she can express all that is harmonious and best in human beings. Students are taught using the mother-tongue approach. Suzuki Viola School materials include: Viola Parts (Vol. 1-7) * Piano Accompaniments (Vol. 1-7) * Cassettes (Vol. 1-7 performed by Bill Preucil). Suzuki Method® Core Materials available for piano, violin, viola, cello, string bass, flute, harp, guitar, and recorder.

In this easy to intermediate arrangement a student pianist will become familiar with Schubert’s themes and changing tonalities to a certain extent and begin to open a window onto this delightful work.Schubert’s Piano Quintet inA Major written in 1819 and published after his death has unique sonorities due to its instrumentation: Piano Violin Viola Cello and Double Bass rather than the usual String quartet with Piano. It received its nickname fromits theme borrowed from a song that Schubert had written entitled The Trout.