Johannes Brahms:The Works for one Instrument and PianoJohannes Brahms' compositions for one instrument and piano have been standards in chamber music literature ever since their inception. These works were written with specific performers in mind and Brahms worked closely with them when refining the final texts. Nevertheless, we rarely approach the music taking into consideration the possibilities of the instruments for which Brahms wrote or the performing practices of the individual players who first performed these compositions, including Brahms himself.The New Urtext EditionsBärenreiter's pioneering new scholarly-critical editions of Brahms' works for one instrument and piano are edited by a team of musicologists who are also performers. They offer today's musicians not just a reliable musical text based on all known sources, but also a comprehensive approach to the works, which aims to place them in their historical context and to elucidate the complex of meanings that the composer wished his notation to convey to performers.In addition to the musical text these editions offer an informative Introduction laying out the genesis, publication history and reception of the works. At the same time there is a complete list of the sources, an explanation of the editorial procedures and a Critical Commentary. Also, each volume contains a detailed discussion of specific performing practice issues raised by individual works.An integral part of Bärenreiter's Brahms publication complex is a text booklet which approaches general performance practice issues of the 19th century with regard to e.g. tempo, rubato, rhythmic flexibility and articulation. Furthermore musicians will find valuable information concerning vibrato, portamento and bowing. Last but not least characteristics of Brahms' own piano playing as well as that of his circle and contemporaries are discussed.The violin and viola sonata editions come not only with an Urtext part freed from all editorial emendations, but also with an additional part including fingering and bowing based on the practices of Joseph Joachim and his colleagues. These markings especially draw on publications of the sonatas edited by Joachim's pupils Leopold Auer and Ossip Schnirlin as well as those by Brahms' associate Franz Kneisel. A similar approach has been used for the violoncello sonatas, drawing on performance markings by Robert Hausmann (for whom Brahms wrote the Sonata in F major), Hugo Becker, with whom Brahms performed it, and Julius Klengel who was also close to his circle.Bärenreiter's new Brahms complex also importantly brings two neglected works back into the player's hands, namely the splendid versions of the op. 120 sonatas, originally written for viola or clarinet and piano. Brahms' arrangements for violin and piano unaccountably disappeared from the standard repertoire early in the 20th century. In these versions Brahms did not simply adjust the solo part for the violin, he made many alterations to the piano part, casting thought-provoking light on the clarinet and viola versions.- A pioneering set of Urtext editions- String editions include an Urtext solo part and a second part with fingering as well as performance markings- Each edition offers a preface on performance practice aspects pertaining to the respective works- A separate text booklet includes pioneering texts on general issues of performance practice in the 19th century as well as on specific issues with regard to Johannes Brahms' chamber music / Violon Et Piano

The Works for one Instrument and PianoJohannes Brahms' compositions for one instrument and piano have been standards in chamber music literature ever since their inception. These works were written with specific performers in mind and Brahms worked closely with them when refining the final texts. Nevertheless, we rarely approach the music taking into consideration the possibilities of the instruments for which Brahms wrote or the performing practices of the individual players who first performed these compositions, including Brahms himself.The New Urtext EditionsBärenreiter's pioneering new scholarly-critical editions of Brahms' works for one instrument and piano are edited by a team of musicologists who are also performers. They offer today's musicians not just a reliable musical text based on all known sources, but also a comprehensive approach to the works, which aims to place them in their historical context and to elucidate the complex of meanings that the composer wished his notation to convey to performers.In addition to the musical text these editions offer an informative Introduction laying out the genesis, publication history and reception of the works. At the same time there is a complete list of the sources, an explanation of the editorial procedures and a Critical Commentary. Also, each volume contains a detailed discussion of specific performing practice issues raised by individual works.An integral part of Bärenreiter's Brahms publication complex is a text booklet which approaches general performance practice issues of the 19th century with regard to e.g. tempo, rubato, rhythmic flexibility and articulation. Furthermore musicians will find valuable information concerning vibrato, portamento and bowing. Last but not least characteristics of Brahms' own piano playing as well as that of his circle and contemporaries are discussed.The violin and viola sonata editions come not only with an Urtext part freed from all editorial emendations, but also with an additional part including fingering and bowing based on the practices of Joseph Joachim and his colleagues. These markings especially draw on publications of the sonatas edited by Joachim's pupils Leopold Auer and Ossip Schnirlin as well as those by Brahms' associate Franz Kneisel. A similar approach has been used for the violoncello sonatas, drawing on performance markings by Robert Hausmann (for whom Brahms wrote the Sonata in F major), Hugo Becker, with whom Brahms performed it, and Julius Klengel who was also close to his circle.Bärenreiter's new Brahms complex also importantly brings two neglected works back into the player's hands, namely the splendid versions of the op. 120 sonatas, originally written for viola or clarinet and piano. Brahms' arrangements for violin and piano unaccountably disappeared from the standard repertoire early in the 20th century. In these versions Brahms did not simply adjust the solo part for the violin, he made many alterations to the piano part, casting thought-provoking light on the clarinet and viola versions.- A pioneering set of Urtext editions- String editions include an Urtext solo part and a second part with fingering as well as performance markings- Each edition offers a preface on performance practice aspects pertaining to the respective works- A separate text booklet includes pioneering texts on general issues of performance practice in the 19th century as well as on specific issues with regard to Johannes Brahms' chamber music / Violon Et Piano

51 pièces pour piano du répertoire romantique, des compositeurs tels que Brahms, Chopin, Fauré, Field, Grieg, Liszt, Mendelssohn, Rachmaninoff, Schubert, Schumann, Scriabin, et Tchaikovsky. Comprend notamment : la Rhapsodie en Sol Mineur Opus 79 No2 de Brahms, la Fantaisie-Impromptu in Do# mineur Opus 66 de Chopin, Rêves damour No3 de Liszt, et bien d'autres. / Piano

Brahms Trio op.40 célèbre Corne, composée en 1865 pour le cor naturel, est un travail d'une importance considérable parmi la production du compositeur. Il est dit d'avoir un lien émotionnel fort à la mort de sa mère trois mois plus tôt.Christopher Hogwood s'appuie sur une source nouvellement découverte de cette publication Bärenreiter, une source qui n'a pas été disponible pour n'importe quelle édition précédente. Nous apprenons maintenant que Brahms a écrit au moins le mouvement trio quelques douze ans plus tôt - en 1853 - et qu'il a été prévu à l'origine pour piano solo. Ce mouvement de piano est imprimé dans l'appendice.Cette édition Urtext offre non seulement l'instrumentation standard de violon, cor et piano, mais aussi la notation alternative pour violoncelle ou un alto au lieu de la corne. Les variantes trouvées dans le violoncelle et parties d'alto sont présentés comme Ossias dans la partition.L'introduction (Eng / Ger) décrit le processus de composition, comprend des informations sur la performance et de l'histoire publication de l'oeuvre, et offre des commentaires sur la pratique d'exécution. Un commentaire critique avec des pages de télécopie des tours au large de cette édition des manuscrits de pionnier.- Annexe avec la version 1853 de piano du mouvement trio- Comprend les pièces de rechange pour violoncelle et l'alto / Violon, Violoncelle, Piano Et Corne

Contient: Schubert: Rastlose Liebe - Die Allmacht - Im Abendroth - Nacht und Traume - Wohin? - Nachtviolen - Der Schmetterling - Heidenroslein - Ungeduld - Liebhaber in allen Gestalten - Schumann: Die Lotosblume - Mein schoner Stern! - Widmung - Fruhlingsnacht - Der Nussbaum - Auftrage - Schneeglockchen - Du bist wie eine Blume - Mit Myrthen und Rosen - Mondnacht - Brahms: Von ewiger Liebe - Standchen - O komme, holde Sommernacht - Auf dem Kirchhofe - Botschaft - Vergebliches Standchen - Der Tod, das ist die kuhle Nacht - In Waldeseinsamkeit - Wie Melodien zieht es mir - Meine Liebe ist grun - Wolf: In der Fruhe - Lebe wohl! - Nun wandre, Maria - Und willst du deinen Liebsten sterben - Verborgenheit - Mignon - Auf demgrunen Balcon - Nummersatte Liebe - In dem Schatten meiner Locken - Bescheidene Liebe - Strauss: Morgan - Cacilie - Standchen - Heimkehr - Traum durch die Dammerung - Allerseelen - Zueignung - Ich trage meine Minne Heimliche Aufforderung - Ruhe, meine Seele! / Chant Et Piano

Voici le nouveau volume de la fameuse collection Pianorama ! Ce répertoire, bien connu des apprentis pianistes, s?adresse à ceux qui étudient l?instrument depuis environ cinq années.

Les arrangements de variété, musique de films, jazz et musique traditionnelle sont élaborés dans le plus grand respect des ?uvres originales afin de procurer un maximum de satisfaction et de plaisir. Chacun pourra retrouver tour à tour sous ses doigts le thème du film Rosemary?s baby, une chanson de Radiohead, de Michael Jackson, un standard du jazz comme «Take The A Train» joué par Duke Ellington, ou encore une Danse hongroise de Brahms.

Chaque morceau est accompagné d?un portrait de son compositeur, ainsi que de conseils sur le jeu pianistique. Un CD accompagne l?ouvrage, et reprend tous les titres dans une version d?écoute de grande qualité
/ Méthodes and études instrumentales / Partition CD / Spirale /

The Piano Bench Of Classical Music is designed to be the cornerstone of your personal music library. This tremendous piano collection contains 400 pages of great music literature, specially selected and edited for the pianist who loves classical music. No other single volume can provide the wealth of exquisite piano selections contained within these pages. Here you will find the world's greatest inventions, movements, nocturnes, valses, mazurkas, intermezzos, romantic short pieces, impressionist works, and light classics - as well as the most rewarding traditional arrangements of themes from the great symphonies, chamber works, operas and ballets by the master composers of the past four centuries. / Piano

With the new Urtext Primo series, the Wiener Urtext Edition wants to close the gap arising at the point of transition to additional lessons after having studied a piano method. Beginning with a performance level which is outlined by pieces such as Bach's Minuet in G (BWV Anh. 116), Mozart's Minuet in F (KV 5) or Schumann's Wilder Reiter (Op. 68/8), works by three different composers are selected for each volume of the Urtext Primo series, with the aim of offering piano pupils (or even adults who want to resume piano playing) a wide range of repertoire pieces on the basis of which they can enhance their technical and musical skills. The pieces' range of levels of difficulty is relatively narrow so that the volume can be used continuously over a period of about two years. This is what distinguishes the Urtext Primo approach from almost all common anthologies. The selected repertoire takes into account not only pieces of the classic canon of lessons, but also lesser known works which are in no way of less importance for piano lessons. The Urtext Primo volumes are published in the internationally recognised standard of the Wiener Urtext editions. The explanations included in each volume shall help to deepen the knowledge of musical styles, music history and piano playing. A repertoire chart at the end of each volume gives a rough overview of the levels of difficulty of the selected pieces.Volume 4 combines works of the German Romanticism by Schumann, Brahms and Theodor Kirchner. Apart from well known pieces from Schumann's 'Album for the Youth' and the easiest waltzes from opus 39 (in the easier version) by Brahms, the selection contains the attractive set of variations from Schumann's first Youth Sonata Op. 118/1 and Brahms' Saraband in A minor WoO 5/1 as well as a number of pleasant pieces by Theodor Kirchner which continue the tonal air of Schumann and Brahms in easy playable pieces. / Piano

The first three movements of Johannes Brahms' E minor Cello Sonata were composed in 1862, the last movement was written in 1865. During the first years of its performance the work was received with mixed enthusiasm. By the end of Brahms' life, however, it was widely performed and by the first decades of the 20th century it was firmly embedded in the repertoire of many distinguished cellists. It was notably Robert Hausmann's advocacy of the work which seems to have contributed greatly to its promotion.Of particular value to the editors were the three early performance editions of the Cello Sonata op. 38 by Cornelius van Vliet and Edwin Hughes, Hugo Becker and Carl Friedberg, as well as Julius Klengel. The cellists' van Vliet, Becker and Klengel's fingering and bowing allows for a better understanding of their performance practice. As such, the Bärenreiter edition comes with a cello part marked with fingering and bowing by the editors which are based on the practices of Brahms' contemporaries. We also provide an unmarked urtext part.An important part of this edition is the extensive preface. Firstly it informs about the works' origins, early performances, its publication as well as early reception. Truly remarkable is the unique Performance Practice Commentary. Here the editors take the premise that already a few decades after Brahms' death a widening gulf developed between the composer's expectations and the performance practices of the early 20th century. In a very concrete and practical way, the editors summarize some of the key issues in understanding Brahms' notation with regard to rhythm and timing, dynamics and accentuation, dots and strokes, slurring and non legato, piano pedalling and overholding, piano arpeggiation and dislocation, string instrument fingering, string instrument harmonics and vibrato. In this way, the edition offers an exciting and often surprising insight in Romantic musical interpretation.- A pioneering Urtext edition- With an unmarked Urtext part- With a second part including fingering and bowing based on the practices of contemporaries of Brahms- With an extensive Performance Practice Commentary- For further information on Romantic performance practice we recommend: ?Performance Practices in Johannes Brahms' Chamber Music', text booklet BA 9600 / Violoncelle Et Piano

Pianoworks Duets 2 is the perfect resource for developing pianists to explore duet-playing. They'll develop balance playing in time and sight-reading while learning attractive and accessible arrangements in a huge variety of styles and genres including 'Spring' from Vivaldi's The Four Seasons Joplin's exuberant rag 'The Easy Winners' and the traditional Scottish song 'Afton Water'. In addition the collection contains several new and original gems by Alan Bullard the co-author of this celebrated series. 21 duets with parts of equal standard compiled and arranged for beginner to intermediate pianists (approx.Grades 3-5) Wide range of styles including Classical Romantic jazz folk and contemporary CD contains backing tracks of each part to allow solo practice Useful tips on style and technique and background information on every piece Perfect companion to Pianoworks Book 2 and Pianoworks Collection 2