Par LISZT FRANZ. Pierre DUPONT (Arr. ) / Niveau : Avancé / Transcription / Répertoire / Exemplaire Complet

Including the Transcendental Etudes Ed. Busoni-Liszt's reputation as perhaps the greatest pianist of all time is powerfully supported by his dazzling body of work for solo piano. The undiminished popularity of his etudes with pianists and audiences alike have made them among the most performed and recorded works for solo piano in the Romantic reportoire. The first volume Series 1 include many of Liszt's most inspired piano works and are edited by the great pianist composer and musical scholar Ferruccio Busoni for the Franz Liszt Society and published by Breitkopf and Hartel in Leipzig in 1910-11. Each set of Etudes is a highly successful work in its own terms and are all fiendishly difficult. The separate ' Mazeppa' isyet another working of one of the etudes from these sets. The individual etudes range dramatically in style from the delicate refinement of 'Feux Follets' to the startling bravura of 'Wilde Jagd' (both from Transcendental Etudes). Each will bring to pianists and their listeners a moving encounter with the genius of this towering musical personality

Brilliant transcriptions by the foremost pianist-composer of his day of all 14 songs in the series, including such masterpieces as "Das Fischermädchen," "Am Meer," "Abschied," "Ständchen," "Frühlings-Sehnsucht," "Der Doppelgänger," and other famed lieder. All meticulously reproduced from rare early editions overseen by Liszt himself. A modestly priced collection of hard-to-find gems for pianists and music lovers.

A superb four-volume collection of over 180 solos for the intermediate level Pianist. Includes popular film and show tunes - themes and songs from top TV shows - and classical favourites from choral works, concertos, ballets, operas and symphonies. / Piano

New edition based on the composer's manuscript-This edition of the three concert études is the first and only for which the composer's autograph has been taken into consideration. This allows Liszt's popular Piano cycle to be seen in the most authentic form available today. No closer information has emerged about the origins of the études which appeared in 1849. The autograph which contains all three studies in complete form with elaborated notation and furnished with performance markings appeared in a catalogue in the mid-1930s. But after it was bought by the French pianist François Lang (1908-1944) there were doubts about its whereabouts for several decades. So even Volume I/2 of thecomplete New Liszt Edition published by Editio Musica Budapest in 1971 could rest only on the notation of the first printed editions. The new version edited by Adrienne Kaczmarczyk that appears here pays close heed to the points where knowledge of the manuscript calls for alteration and addition. The autograph also used as the engraver's copy confirms an earlier suspicion. The widely used subtitles (1. Il lamento 2. La leggerezza and 3. Un sospiro) were thought to be alien to Liszt's approach and are now known not to originate from the composer. They were presumably dreamed up by a Paris publisher.

Featuring some of the world's greatest pieces of music from a variety of different genres the 'Top Ten' series contains music for everyone. Whether you're a beginner who wants to know the best classical pieces to learn or amore experienced player looking for the ultimate Piano songs to add to your repertoire we have a 'Top Ten' for you! Each piece comes with interesting background notes to give you that extra bit of insight. The TopTen Most Calming Pieces To Play On Piano contains ten of the world's most relaxing Piano pieces composed by some of the best-known composers of the last two hundred years including Frédéric Chopin Jules Massenet Philip Glass and Yiruma. We've roamed freely across the past two centuries of music to create this tranquil Pianoselection for you. There's a piece each by Chopin and Liszt two major stars of the early Romantic era; a couple of jewels from the Parisian belle epoque by Satie and Massenet; unforgettable melodies from the pens of Dvorak andRachmaninoff; while closer to our own time there's beautiful music by Philip Glass Neil Cowley and Ludovico Einaudi. Let life's stresses melt away as you take a deep breath and lose yourself in these precious musicalmoments...

Par HERDER. Eighty-three best-loved works over 30 composers including Beethoven, Chopin, Brahms, Mendelssohn, Liszt and Paderewski. Edited by Ronald Herder./ Recueil / Piano

In summer 1881 Franz Liszt composed a work that he called ?Valse Oubliée? (Forgotten waltz) in a letter to his publisher. The work is reminiscent of the appealing Piano waltzes that the composer usedto write when he was younger although there is a certain distance to the usual waltz style. Liszt by no means renounces virtuosity and elegance but rather infuses these characteristics with nostalgia and irony byembedding typical melodic and rhythmic elements of salon waltzes in innovative harmonically alienating progressions. In the years that followed he wrote three further ?Valses Oubliées? yet number 1 published here in a single edition has remained the best-loved of these ?Forgotten waltzes? by far.

Par LISZT FRANZ. Révisé par Blet / Niveau : Intermédiaire / classique / Répertoire / Piano

Anton Bruckner (1824-1896). Par BRUCKNER ANTON. Anton Bruckner (b. 4.9.1824, Ansfelden, d. 11.10.1896, Vienna) didn’t have it easy. Throughout his life, the Austrian composer was plagued by self-doubt. Anton Bruckner came from a simple, rural background. After the death of his father, he was accepted as a choirboy at the monastery of Sankt Florian in 1837. After several years as a school assistant and his own organ and piano studies, he first worked as organist in St. Florian, then from 1855 as cathedral organist in Linz. Introduced to music theory and instrumentation by Simon Sechter and Otto Kitzler, he discovered Richard Wagner as an artistic role model, whom he admired throughout his life and also visited several times in Bayreuth. In 1868 Anton Bruckner became professor of basso continuo, counterpoint and organ at the Vienna Conservatory; ten years later court organist; and in 1891 finally honorary doctor of the University of Vienna. He was considered an important organ virtuoso of his era, but had to wait a long time for recognition as a composer. It was not until Symphony No.7 in E major, composed between 1881 and 1883, with the famous Adagio written under the effects of Wagner's death, that he achieved the recognition he had hoped for, even if he was reluctant to accept it given his inclination towards scepticism and self-criticism. Anton Bruckner was a loner who did not want to follow a particular school or doctrine. He composed numerous sacred vocal works, such as his three masses, the Missa Solemnis in B flat minor (1854), the Te Deum (1881-84) and numerous motets. As a symphonic composer, he wrote a total of nine symphonies and many symphonic studies from 1863 onwards, tending to revise completed versions several times over. Bruckner's orchestral works were long considered unplayable, but in fact were merely exceptionally bold for the tonal language of their time, uniting traditions from Beethoven through Wagner to folk music, on the threshold between late Romanticism and Modernism. Anton Bruckner composed about 40 motets during his lifetime, the earliest a setting of Pange lingua around 1835, and the last, Vexilla regis, in 1892. Thomas Doss has compiled some of these motets in this volume for symphonic wind orchestra. These motets show many characteristics of personal expression, especially Bruckner's colourful harmony in the earlier works, which is in places aligned with Franz Schubert (changes between major and minor; and movements in thirds). Later works are characterised by many components which, in addition to the expanded stature of the movements, include above all a sense of the instrumentation as an outward phenomenon and the harmony as a compositional feature that works more internally. Some aspects of Bruckner's work are the result of his long period of study, which familiarised him not only with the tradition of his craft, but also gave him insights into the 'modernity' of his time in such composers as Wagner, Liszt and Berlioz. From this developed his personal standpoint, which always pursues the connection between the old and the new. / Date parution : 2023-07-31/ Répertoire / Concert Band/Harmonie

Sous la forme d'un journal imaginaire, Mélisande Chauveau a pris le parti original de donner la parole à Franz Liszt, entremêlant subtilement dans son récit anecdotes, témoignages de contemporains et extraits de lettres. Elle met l'homme au coeur du sujet dans la réalité musicale, sociale et économique de son époque, nous offrant une relecture passionnante et passionnée de la vie du compositeur. / Livre

Symphonies de Beethoven Nos. 8-9Publié par Sulyok Imre, Mező Imre, Gémesi Géza, Farkas ZoltánInstrument: PianoSérie: New Liszt Edition II. 'B'Genre: RomanticLangue: English, GermanPages: 152 ppDate du parution: Juillet 1993