Over 160 of the best-loved piano pieces together in one comprehensive volume! This is a celebration of easy and rewarding solos for the American pianist. Nowhere else will you find gathered together in one piano treasury so many of America's favorite folk songs, patriotic solos, ragtime gems, blues instrumentals, and jazz standards - along with the beloved classical masterpieces of Bach, Beethoven, Brahms, Chopin, Debussy, Handel, Mendelssohn, Mozart, Schubert, Schumann, Strauss, and Tchaikovsky. / Niveau : Elémentaire / Rép International / Recueil / Piano

The Library Of Baroque Music is an enormously expansive collection of the greatest works produced during that prolific period that flourished between the Renaissance and Classical eras. All arranged for solo Piano, this volume features works drawn from all the major Baroque composers, including some of the greatest pieces of music ever composed. The progression and development of music during the Baroque period can be heard in these pieces, providing you not only with a window into musical history, but also many exciting additions to your repertoire. The retrospective 'Baroque' label was applied to a diverse range of European compositions-often combining a spirit of experimentation with elaborate new musical structures. Dominated primarily by the Harpsichord and Organ, this period also saw the rise and development of larger-scale forms such as the concerto and oratorio. This superb volume is comprised of Keyboard and ensemble works from all the major Baroque composers, arranged for Piano. Featuring Arne, Boyce, Buxtehude, Corelli, Couperin, Gibbons, Lully, Pachelbel, Purcell, Rameau and Vivaldi, the composers here include some of the most respected and revered figures in musical history. The Library Of Baroque Music spans compositions of many of these masters, ranging from Frescobaldi in the early 1600s to Pergolesi a century later, and the famous three - J.S. Bach, Handel and Domenico Scarlatti.Baroque music, so called for its ornateness, was characterised by a bold exploration of counterpoint and new harmonic possibilities. This was variously expressed through the work of perhaps fifty or so major European composers. By the time Baroque began to segue into a new Classical period around 1750 it had already irrevocably changed and expanded the possibilities of music. The works that precipitated this change are available to play in this single volume, perfect for pianists looking to expand their repertoire with both challenging and exciting music.In this thoroughly enjoyable Library Of Baroque Music, the triumphant progression of this period is illustrated in the best possible way - through the compositions themselves, forming the definitive Baroque collection for solo pianists. / Piano

Les oeuvres de Mozart pour piano à quatre mains sont parmi les contributions les plus importantes à ce répertoire. Cette édition savante qui se base sur le 'New Mozart Edition' qui rend ces oeuvres sous une forme révisée et inclut une nouvelle préface.La publication contient également une annexe avec les fragments K. 497A (Fr 1787i) et K. 500a (Fr 1791a) qui sont terminés par Michael Töpel, ainsi que différents morceaux pour orgue, orgue mécanique et de l'horloge musicale transcriptions pour piano à quatre mains.Préfaces instructif de la partie principale et l'annexe ainsi que des notes explicatives sur l'évaluation des sources complètent ce volume, qui seront indispensables pour les enseignants et les artistes. Nouvellement gravé édition Urtext révisé sur la base du 'New Edition Mozart', en prenant les dernières découvertes en compte Première arrangement pour piano à quatre mains de la Andante de Mozart F pour l'horloge musicale K. 616 Leadins et ornementations point d'orgue par Michael Töpel Comprend préfaces détaillées (Ger / Eng) et des informations sur l'évaluation des sources (Ger / Eng) / Piano 4 Mains

Carl Maria von Weber's fame rests mainly on ?Der Freischütz'. The unprecedented success of this opera overshadowed all his other works and contributed to their increasing fall into oblivion. Certain works such as ?Preciosa', ?Oberon', and ?Euryanthe', the overtures, solo concertos and piano sonatas, the lieder and chamber works enjoyed great popularity and were widely known in Germany and abroad as late as the second half of the 19th century. However, any chance of a revival of Weber's influential and substantial oeuvre was wasted in the 1920s, when a complete edition - begun by Hans Joachim Moser and with potential contributors including Wilhelm Kempff, Hans Pfitzner, Max von Schillings, Fritz Stein and Richard Strauss - failed after the third volume.Ever since there have been numerous attempts to restart a complete edition of Weber's works, but as this kind of project would have required the co-operation of scholars from both sides of the inter-German border, the political situation after 1945 was not conducive to any such enterprise. Careful negotiations led to the first tangible steps in the 1980s. The intention, right from the beginning, was to place Weber's work in context, and not to separate his musical output from his influential work as a writer, critic and organiser in the musical field, but to publish his compositions together with his letters, diaries and other literary output as the best way to document the cross-fertilisation between his musical, literary and practical activities.Since the German re-unification both working-parties concerned - at the Staatsbibliothek zu Berlin, and at the Musikwissenschaftliches Seminar, Detmold/Paderborn - have co-operated on the complete edition of the musical works (c. 45 volumes in 10 series: sacred music - cantatas, odes and other occasional works - stage works - lieder and vocal works - orchestral works - chamber music - music for piano - piano reductions - miscellanea, arrangements and orchestrations - works of doubtful attribution). The diaries (6-8 vols.) are edited in Berlin and the letters (8-10 vols.) and other writings (2 vols.) in Detmold. This complete edition aims to be a reliable basis of scholarly debate as well as for the authentic performance practice of Carl Maria von Weber's music. Conforming to the standards of recent historico-critical editions, the textual material will be based on all available authentic sources, accompanied by a detailed documentation of the genesis and a list of variants for each work. The musicological importance of the works will be evaluated by placing them in their historical context, the presentation of their genesis, history and Critical Commentaries. The letters, writings and diaries will be treated as inter-related and relevant to each other in the commentaries, therefore readers should benefit from a wealth of concise information and cross-references. / Piano

Par MOZART WOLFGANG AMADEUS. Four original Sonatas with the Variations in G, K. 501 (probably on the composer's own theme and also original duet), the Fugue in G minor, K. 401 (completed by M. Stadler) and two Fantasias originally for mechanical organ, arranged for piano duet. CONTENTS Fantasia in F minor K594; Fantasia in F minor K608; Fugue in G minor K401; Sonata in B flat K358; Sonata in C K521; Sonata in D K381; Sonata in F K497; Variations in G K501 Four original Sonatas with the Variations in G, K. 501 (probably on the composer's own theme and also original duet), the Fugue in G minor, K. 401 (completed by M. Stadler) and two Fantasias originally for mechanical organ, arranged for piano duet. CONTENTS Fantasia in F minor K594; Fantasia in F minor K608; Fugue in G minor K401; Sonata in B flat K358; Sonata in C K521; Sonata in D K381; Sonata in F K497; Variations in G K501/ Répertoire / Piano 4 Mains

Carl Maria von Weber's fame rests mainly on ?Der Freischütz'. The unprecedented success of this opera overshadowed all his other works and contributed to their increasing fall into oblivion. Certain works such as ?Preciosa', ?Oberon', and ?Euryanthe', the overtures, solo concertos and piano sonatas, the lieder and chamber works enjoyed great popularity and were widely known in Germany and abroad as late as the second half of the 19th century. However, any chance of a revival of Weber's influential and substantial oeuvre was wasted in the 1920s, when a complete edition - begun by Hans Joachim Moser and with potential contributors including Wilhelm Kempff, Hans Pfitzner, Max von Schillings, Fritz Stein and Richard Strauss - failed after the third volume.Ever since there have been numerous attempts to restart a complete edition of Weber's works, but as this kind of project would have required the co-operation of scholars from both sides of the inter-German border, the political situation after 1945 was not conducive to any such enterprise. Careful negotiations led to the first tangible steps in the 1980s. The intention, right from the beginning, was to place Weber's work in context, and not to separate his musical output from his influential work as a writer, critic and organiser in the musical field, but to publish his compositions together with his letters, diaries and other literary output as the best way to document the cross-fertilisation between his musical, literary and practical activities.Since the German re-unification both working-parties concerned - at the Staatsbibliothek zu Berlin, and at the Musikwissenschaftliches Seminar, Detmold/Paderborn - have co-operated on the complete edition of the musical works (c. 45 volumes in 10 series: sacred music - cantatas, odes and other occasional works - stage works - lieder and vocal works - orchestral works - chamber music - music for piano - piano reductions - miscellanea, arrangements and orchestrations - works of doubtful attribution). The diaries (6-8 vols.) are edited in Berlin and the letters (8-10 vols.) and other writings (2 vols.) in Detmold. This complete edition aims to be a reliable basis of scholarly debate as well as for the authentic performance practice of Carl Maria von Weber's music. Conforming to the standards of recent historico-critical editions, the textual material will be based on all available authentic sources, accompanied by a detailed documentation of the genesis and a list of variants for each work. The musicological importance of the works will be evaluated by placing them in their historical context, the presentation of their genesis, history and Critical Commentaries. The letters, writings and diaries will be treated as inter-related and relevant to each other in the commentaries, therefore readers should benefit from a wealth of concise information and cross-references. / Piano Et Orchestre

Grand choix de belles pièces, difficile de trouver un grand nombre ailleurs. Inclus sont clavecin toccatas, Capriccio sur le départ de son frère bien-aimé, Aria variata 'alla Maniera Italiana 'et les 6 Petits Préludes, ainsi que de nombreuses compositions moins connues - plus de 40 en tout. Autorité Breitkopf and Härtel édition.Réimpression de sélections de Werke Johann Sebastian Bach, Série 3, 36, 42, 43, et 44, Breitkopf and Härtel, Leipzig, 1890, 1894 et 1897. / Piano

Cette belle sélection présente les oeuvres les plus célèbres de Felix Mendelssohn, contenant la partition à la fois et audio complète sur CD. Chaque morceau a été composé, ou spécialement aménagé, pour piano solo et est accompagné par de hautes performances de démonstration de qualité sur un CD de musique spécialement commandée. Un complément indispensable à votre bibliothèque de piano. / Piano

Volume 4 K.156-205-Italian composer Domenico Scarlatti (1685-1757) is well-known for his Keyboard compositions. His 555 Keyboard Sonatas remain ever popular to this day and it is for this reason that this fourth volume is indispensable to performers of the genre. Originally composed for the Harpsichord Organ or early Pianoforte the Sonatas display the riveting use of discords and unconventional modulations to remote keys. It is also thought that much of Scarlatti's Keyboard music contains influences of Iberian music considering that he spent much of his working life in the service of the Spanish and Portuguese royal families.The fourth volume comprising Sonatas 156-205 includes the popular and recognisable Sonata in C major (K. 159). Bearing in mind that Domenico Scarlatti was a highly competent and popular Keyboard player in his day so much so that he was employed in the service of two royal families his Sonatas are composed with much experience understanding and expertise creating an essential addition to the repertoire of all Keyboard players of the Baroque genre.

revised edition Compositeur : Mozart, Wolfgang Amadeus Instrumentation : Piano solo Editeur Musicologique : Scheideler, Ullrich Couverture Reliée Contenu : Adagio for Glass Harmonica C major K. 356 (617a) Adagio b minor K. 540 Andante for a Musical Clock F major K. 616 Andantino E flat major K. 236 (588b) 6 German Dances K. 509 Fantasies c, d K. 396 (385f), 397 (385g) Fugue for an organ g minor K. 401 (375e) Fuges G, D K. Anh. A 61/62 (154a) Gigue G major K. 574 Piano Piece F major K. 33 B Kontretanz D Das Donnerwetter K. 534 Kontretänze K. deest (269b) London sketchbook K. 15a-qq Funeral March c minor K. 453a March C major K. 408/1 (383e) Minuet D major K. 355 (576b) Minuets C, D C major K. 61g II, 94 (73h) 8 Minuets K. 315a (315g) 12 Minuets K. 103 (61d) Modulierendes Präludium K. deest Mozarts pieces from the Nannerl Notenbuch K. 1a?f, 2?5, 9a (5a),6?8 Prelude (Fantasy) and Fugue C major K. 394 (383a) Präludium C major K. 284a (395/300g) Rondos D, a K. 485, 511 Sonata movements g, B flat B flat major K. 312 (590d), 400 (372a) Suite C major K. 399 (385i) Appendix: 2 Piano pieces B flat, E flat K. Anh. 20 a (626b/25) Ballettmusic from Ascanio in Alba K. 111 Sonata [allegro and allegretto] F major K. Anh. 135 (547a) Fragment from the Nannerl Music Book K. 9b (5b) Fragments from the London Sketchbook K. 15 nn, rr, ss Fragment (Sarabande) from the Suite K. 399 (385i)

20 Intermediate to Early Advanced Pieces with Practice and Performance Tips. The music in this collection has been selected to illustrate specific topics that would be addressed in a piano lesson. Dr. Immanuela Gruenberg provides clear techniques and ideas about performance that explore the characteristics and demands of each piece. CONTENTS: CPE BACH: Solfeggietto · BARTOK: Minuet from The First Term at the Piano · CIMAROSA: Sonata in B-flat Major, C. 27 · FAURE: Romance Without Words, Op. 17, No. 3 · FRANCK: Adagio from Three Early Pieces · FRANCK: Poco maestoso from L'organiste, Volume 1 · GREIG: Bell Ringing from Lyric Pieces, Op. 54, No. 6 · HAYDN: Allegretto from Sonata in C Major, Hob. XVI:3 · LISZT: Etude in D Minor, Op. 1, No. 4 · MACDOWELL: The Witch from Marionettes, Op. 38, No. 6 · MENDELSSOHN: Prelude in B-flat Major, Op. 35, No. 6 · MENDELSSOHN: A Song Without Words in F Major · L MOZART: Allegro moderato in F Major from Nannerl's Notebook · WA MOZART: German Dance, K. 509, No. 3 · SATIE: Crooked Dance No. 2 from Cold Pieces · D. SCARLATTI: Sonata in C Major, K. 95/L. 358 · D. SCARLATTI: Sonata in D Minor, K. 141/L. 422 · SCHUBERT: Ecossaise, D. 735, No. 3 · Landler, D. 145, No. 7 · SCHUMAN: Wild Rider from Album for the Young, Op. 68, No. 8 / Niveau : Intermédiaire à Avancé / Etudes et exercices / Date parution : 2020-04-11/ Recueil / Piano

[Klavierwerke - Band 3 : Einzelne Suiten und Stücke. Erste Folge (Nr. 1-22)] / Classique / Editeur : Terence Best / Partition / Cartonné / Plats de carton / Edition Urtext