A Century Of Piano Music contains pieces graded accordingly to difficulty, originally written variously for concert hall, class, festival or home: miniatures and more extended pieces that show off each composer at their best. Every major artistic movement can be discerned in this collection of easy and accessible piano works by some of the biggest names in British music of the twentieth century. As an aid to preparation and interpretation, there is a short explanatory paragraph on each piece. Generally, fingering has been added, though not in pieces where several alternatives would be viable. / Piano

Le début du 20ème siècle a été une période de changements dramatiques, où les compositeurs de s'aventurer dans de nouvelles directions et la recherche de nouveaux sons. L'appariement de l'Anthologie de la 20th Century Piano Music avec les pratiques de piano en début du 20ème siècle Piano Music DVD fournit pianistes une occasion unique d'entendre performances informé de la musique qu'ils étudient. Sur le DVD, le Dr Hinson partage des anecdotes historiques sur les compositeurs représentés, en utilisant des exemples de Bartók, Debussy, Joplin, Grainger, Hindemith MacDowell, Coleridge-Taylor, Satie et Schoenberg à partir de l'anthologie. / Piano

British Songs-Volume Four of A Heritage Of 20th Century British Songs provides a wealth of wonderfully British tunes that also happen to be some of the best ever composed. The books aim to provide a diversity of songs for different types and ranges of voice although high voice tends to dominate with some top Gs.

Richard Rodney Bennett 'Fanfare On A Sixteenth Century Tune' arranged for two Pianos. Score format includes two separate parts.

Piano Duets edited by Michael Aston-An attractive and varied collection of 20th-century Piano duets by British composers. The album includes a reprint of Lambert's classic and witty work 'Trois piéces nègres pour les touches blanches' as well as new arrangements of Walton's 'Popular Song' and Vaughan Willliams's beautiful but little know 'The Lake in the Mountains'. This collection will be of interest to Piano duettists everywhere and an ideal introduction to the medium for students of grades 6-8 standard.Contents:York Bowen: Serenade Op.90 No.3Benjamin Britten: Playful Pizzicato from Simple SymphonyBenjamin Britten: Sentimental Saraband from SimpleSymphonyEdward Gregson: Four Pictures Nos. 3 and 4Constant Lambert: Trois pièces nègres pour les touches blanches (Aubade; Siesta; Nocturne)Ralph Vaughan Williams: The Lake in the MountainsWilliam Walton: Touch her soft lips and part from Henry VWilliam Walton: Popular Song from Façade

Maurice Ravel's Gaspard De La Nuit is one of the most important Piano works of the 20th century and constitutes the height of the extension of the pianistic playing techniques and tonal possibilites which was already begun by Chopin and Liszt in the 19th century. The three movements Ondine Le Gibet and Scarbo are based on poems by Aloysius Bertrand which Ravel put in front of each of the three pieces. Thus too the work is in a tradition represented by composers such as Schumann and Liszt in the 19th century that combines instrumental music with literary models. For the new edition published by the Wiener Urtext Edition the editorsconsulted not only the first edition used almost exclusively up to now but also Ravel's autograph as well as his personal copy of the first edition on the basis of which numerous passages in the musical text could be corrected and brought closer to Ravel's original intention. In addition the editors included corrections from personal copies of various students of Ravel. Entries of the composer going well beyond mere text corrections and practical performance tips handed down by his students are analysed in the Notes of Interpretation. The reader-friendly large-format Wiener Urtext edition is completed by a trilingual glossary of the French performance instructions used by Ravel as well as English and German translations of Bertrand's three poems.

Kevin Volans' L'Africaine for Piano solo. Duration: 22 minutes. Composers Note: Most of the piano music I have written has focussed on a number of 20th century musical concerns: withcomplex rhythmic patterning a- and poly-tonality multiple layering of parts on occasion introducing different tone colours (like playing inside the instrument or electronic modulation) ' but above all resonance. The development of the piano in 19th century with its increased size pitch and dynamic range led above all to an instrument capable of rich and full resonance that could rival even an orchestra. All centred around thepedal ' in Anton Rubinstein's words: The soul of the piano. This time I thought it would be interesting to write a piece which pays no attention to this tradition; to write a piece from the point of view ofsome African compositional methods and ways of patterning ' mainly interlocking parts which result in shifting downbeats. For a large part of the piece I treat the left and right hands as two complementaryperformers. So hardly any pedal no concerns with contemporary harmony style structure or technology. I did slip in a slightly concealed reference to Debussy's L'Isle Joyeuse however. The pieceis roughly 22 minutes long in three sections and the title is a slightly tongue-in-cheek reference to Couperin. 

This edition combines Books 1 and 2 of Piano Music For Young And Old a fantastic collection of 24 Five-tone pieces in all keys. This critical edition is designed to accurately reflect the Danish composer Carl Nielsen's intentions and musical ideas and to provide a guide to understanding the composition within the context of his artistic and intellectual development.With Carl Nielsen Danish musical life moved into the 20th century. Composing works in almost every genre - opera and music for the stage orchestral music concertos choral works chamber music Organand Piano music and songs - he created a prominent position for himself in international musical life. Carl Nielsen stands out as one of the most significant symphonists of this century. His concertos and chamber music also have an important place in the international repertoire and his two operas have won considerable recognition not only in Denmark but throughout the world.

Sept pièces pour piano. Par LAKS SIMON. Simon Laks (1901-1983), who moved from Warsaw to Paris in 1926 at the age of 25, belonged to the large group of composers from Central and Eastern European countries who went down in 20th-century music history as the ?École de Paris?. Slavic temperament amalgamated in their music with French esprit, the folklore of their native countries combined with the stylistic elements of neoclassicism and jazz typical of the time. As a member of the ?Association of Young Polish Musicians?, Laks quickly made his way into French musical life. However, his career was ended with the beginning of World War 2 due to the collaboration of the Vichy government with Nazi Germany. Internment in 1941 was followed by deportation to Auschwitz in 1942. Laks survived the Shoah as a member and later leader of a camp band in Birkenau, which he testified to in his moving book Music in Auschwitz. After the traumatic experiences, Laks did not return to regular compositional activity until the 1960s, producing an opera, songs, and chamber music works, some of which were awarded important composition prizes. At the peak of this optimistic creative phase, he composed incidental music for Peretz Hirschbein's famous Yiddish comedy Dem Schmids Techter (The Blacksmith's Daughters), which premiered in New York in 1918, for a new production of the play at the Théâtre de l?Entrepôt in Paris. Along with Prokofiev's Overture on Hebrew Themes and Shostakovich's cycle From Yiddish (Jewish) Folk Poetry, it is one of the most significant 20th-century explorations of art music with Jewish folklore ? homage to a culture irreparably destroyed. From the original score, Holger Groschopp compiled two suites, for violoncello and piano and piano solo, that capture the essence of Lak?s enchanting drama music. The premiere recording of the suites with Holger Groschopp and Adele Bitter was awarded the Opus Klassik 2023 in the category Editorial Achievement of the Year. . / Niveau : moyen - avancé / Date parution : 2024-01-06/ Répertoire / Piano

Spartiti per pianoforte. In the wake of the success of Piano - The New Composers Volume 1, here is the second volume of the series. The publication includes even more titles, and all different from the first volume. Beautiful sheet music of the greatest hits of the 20th Century's best composers, such as Ludovico Einaudi (Le Onde), Hans Zimmer (Now We Are Free), Alan Silvestri (Forrest Gump Theme), John Williams (Star Wars), Howard Shore (Concerning Hobbits), James Horner (Braveheart Theme), Richard Clayderman (Mariage D'Amour), Ennio Morricone (Deborah's Theme) and many others…/ Recueil / Piano

Cants Magics for the Piano was written in 1919. The music of Spanish composer Federico Mompou is rooted firmly in tbe late 19th century where his chief influences were Debussy Ravel and most importantly the eccentric Erik Satie. It is unsophisticated music free of affectation and rhythmic contraints and yet is enormously attractive.

Thomas Adès composed the score for the 2019 film Colette starring Keira Knightley and Dominic West which is based on the life of the French novelist Sidonie-Gabrielle Colette. The film explores her fight for creative ownership and resistance to the societal constraints of the early 20th century. The solo piano piece Souvenir appears in the end credits played by the composer himself.

Enthusiastic response from music educators and teachers greeted the publication in 1968 of the first volume in the CLASSICS TO MODERNS series. Since then as additional titles were added the series has won widespreadpraise and universal acceptance by both teachers and students as a valuable and unique library of piano materials. All those interested in the literature for the piano have been well served by Denes Agay's intelligent compilationsand by his jusicious editing. The series set a new high standard for piano teaching materials and is distinghished by an editorial approach that remains faithful to the composer's intentions. These 142 pieces by the mastersof piano literature date from the second half of the 17th century to the present day