My First Bach and My First Mozart are now followed by a third edition of easy-to-play original works from one of the most important composers of the Romantic era: Robert Schumann. This collection includes pieces from Album for the Young and Scenes from Childhood, enabling young players to experience Romantic piano music for the first time. Ideal for teaching the first use of the pedal, pupils can learn how to play expressively and to distinguish between melody and accompaniment. / Piano

29 Arrangements For The Beginning Pianist-This collection features 29 works by some of the greatest classical composers in pedagogically sound fun-to-play arrangements that are perfect for beginning pianists.The themes from Beethoven's Ode to Joy and Bach's Sheep May Safely Graze are included along with such favorites as Schumann's Träumerei Brahms's Hungarian Dance No. 5 Tchaikovsky's Marche Slave and Wagner's Song to the Evening Star. This collection also features pieces by Chopin Grieg Handel Vivaldi Liszt and Haydn.An MP3 download is included for every piece which will help beginning pianists develop an ear for the melodies. The MP3smay be downloaded individually or collectively.**Please note: The CD included with this title can only be played through an MP3 compatible program.**

Bring singable songs and practical pedagogy together with 20 MORE children's songs, rhymes and games from around the world! Songbook Three also features extension activities for the classroom, historical references, pedagogical indices and suggestions for including these songs in the First We Sing literacy-based music series available from Hal Leonard. In addition, there are suggestions for Orff instruments and recorder, along with seasonal and holiday songs, singing games and songs just for fun. This third volume comes with digital access to songsheet PDFs for projection or print options, and audio access to sing-along recordings featuring Inner Voices, a group of 8-16 year-old singers from The West Texas Children's Chorus. Ideally suited for teaching musical skills, this collection provides a vocabulary of music and play from which children can draw today. Adults and kids of all ages will discover the fun and enjoyment of listening, learning, singing and playing these songs for generations to come! 20 songs including: Bandyrowe, Goin' to Boston, I'se the Bye, Little Sally Walker, Steal Liza Jane, T'was in the Moon of Wintertime, and more! Suggested for grades 1-5. / Chant

Although Schumann's first attempts at composing for this supreme form of chamber music in 1838/39 were only fragments, the three String Quartets op. 41 in a minor, F major and A major were written in one go in June/July 1842. At the first private performances the audience was enthusiastic and it was Mendelssohn's praise in particular that occasioned Schumann to dedicate the new works to him. The composer wrote to his publisher in an appropriately confident manner: 'Be assured, I have spared no pains in creating something very decent, indeed I sometimes think it is my best?. As is generally known, today Schumann's Opus 41 forms part of the core repertoire for quartet players. / Quatuor A Cordes

Song Cycle. Par SCHUMANN ROBERT. 1840 was Schumann ’s famous “year of song” that brought forth over 100 lieder. They included Myrthen op. 25, which he dedicated “to his dear bride”, Clara Wieck-Schumann. Besides famous songs such as “Widmung”, “Lotosblume” and “Nussbaum” to texts by German poets, the collection also saw Schumann venture further afield, whether to the Scottish Highlands with settings of Robert Burns or to Italy for the “Venetian Songs” of Thomas Moore. Schumann specialist Kazuko Ozawa has examined the first edition of 1840 and all the manuscript sources. Among the dedicatory autograph copies she has also discovered interestingearly versions of individual songs that are here published in an appendix. Our Urtext edition is rounded off with an extensive history of how Myrthen was composed. This volume is a superlative addition to G. Henle Verlag’s series of Robert Schumann ’s song cycles. / Ozawa, Kazuko / Répertoire / Voix (h) et Piano

Album For The Young features 64 classic Piano pieces inspired by the spirit of childhood. From Johannes Brahms' unashamedly lyrical Wiegenlied through the more cerebral approach of Schumann's album Für die Jugend and the works of contemporary composers such as Lutoslawksi and Richard Rodney Bennett, the music contained in this collection offers many contrasting approaches to the idea of music for the young. Great composers down the ages have been consistently attracted to writing albums about or for the young. Some pieces are suitable for children to play and some are drawn from the nostalgic memory of childhood innocence. Here is a unique collection to treasure, reflecting the variety of both their emotional approaches and the richness of their creative responses. / Piano

The Lieder Anthology. 65 Songs by 13 Composers. This edition presents 65 diverse songs by major composers of German art song, or lieder, and is the perfect one-volume lieder source for voice students. All the songs are new Vocal Library editions. Historical notes about the relevant history and background of each song are included, as are line-by-line translations for study. A select committee of experienced voice teachers was consulted to choose the most essential and vocally instructive songs in compiling this collection. Composers represented: Beethoven, Brahms, Franz, Gustav Mahler, Alma Mahler, Fanny Hensel, Mendelssohn, Mozart, Schubert, Clara Schumann, Robert Schumann, Strauss, Wolf. Co-editor Dr. Virginia Saya, on the faculty of Loyola Marymount University, is a musicologist with a special interest in lieder. This collection includes the first American edition of Funf Ophelia Lieder by Brahms. 288 pages, sewn binding.

Original Version - Edition for Cello and Piano. Par SCHUMANN ROBERT. Schumann’s Cello Concerto Rediscovered In her first Urtext edition for Edition Peters, internationally renowned cellist Josephine Knight reveals Robert Schumann’s original version of his Cello Concerto in A minor Op. 129 – a piece he actually called a ‘Concertstück’ – removing generations of inauthentic editorial interventions. This is the only available modern scholarly edition of the work as Schumann originally conceived it, and restores the text from October 1850, based on the composer’s manuscript held in the Biblioteka Jagiellonska in Kraków. This Full Score matches the separately available edition for Cello and Piano (EP 73488). Matching orchestral material is also available from the publisher. Only modern Urtext edition based on Schumann’s original 1850 manuscript Many new corrections and clarifications, especially to the cello part Scholarly preface detailing history of the work and this edition by editor Josephine Knight, Piatti Professor of Cello at the Royal Academy of Music London Cello Part contains Josephine Knight's fingering and bowing suggestions Critical Commentary Cello and piano edition available separately from Edition Peters: orchestral parts available for rental Recording of the Concertstück featuring Josephine Knight available from Dutton Robert Schumann’s tragic last years have mired many of his greatest works in unnecessary doubt. The story of the suppression of his Violin Concerto by well-meaning friends is relatively well-known. Few, however, know that the version of the Cello Concerto that is routinely heard today is so far from Schumann’s original conception of the work – not only in details of phrasing and articulation, but also featuring a different ending with a bold final flourish from the cello. Composed in a burst of inspiration in two weeks in October 1850 shortly after he and Clara had moved to Düsseldorf, Schumann (who in 1850 was still in good health) never heard the piece performed. In an effort to promote a performance of the work, he gave the score to the cellist Robert Emil Bockmühl. Bockmühl made revisions that Schumann resisted, and the hoped-for performance never happened. Schumann’s health failed and he died aged just 46 in 1856. The Concerto, in an already substantially revised form, was premiered in 1860 but it was not given significant recognition until it was championed by Pablo Casals in the 20th century by which time (and since) the text for the work had accreted additions and alterations from generations of soloists. Now Josephine Knight, Piatti Professor of Cello at the Royal Academy of Music, London has returned to the original 1850 manuscript of the work, which is in the Biblioteka Jagiellonska in Kraków, to reveal Schumann’s original thoughts for the first time in a modern Urtext edition. The edition reflects Schumann’s original conception of the work as a Concertstück and restores Schumann’s musical text, free of posthumous interventions. ‘My ultimate wish,’ says the editor, ‘is to give performers both access to, and confidence that they are playing from, an edition which is a true representation of the piece in its original form, no matter how much more difficult this might be. I found that incorporating the changes enabled the piece to take on a completely different character – one that is lighter and happier, even “cheerful”, as Schumann himself described the work.'/ Répertoire / Violoncelle et Piano

Tombeau which takes its title from the central elegy of the work was composed 1966-69. Its form is a series of fairly specific technical studies interspersed with variations. The introduction provides a sortof ‘trailer’ in which each phrase of the theme is punctuated by a brief quote from the ensuing studies (heard in reverse order). This scheme is balanced by that of the finale which is also punctuated by short ‘flashbacks’.Tombeau was written as a tribute to certain composers for the piano notably Schumann and Szymanovsky and to a style of playing that has now become almost ‘historic’. It is also a tribute to our beloved masters many of themobscure who made us musicians. It is therefore in many senses a retrospective work the last of a phase undertaken just before a fairly drastic re-evaluation of techniques ideas and intentions. It is dedicated to StephenKovacevich who commissioned it and gave its first performance on the BBC Third Programme and subsequently at Dartington Hall Summer School.

Examination Pieces. The Edition Peters Grade 8 Piano Anthology has long been a popular resource for anyone approaching this important milestone examination. In September 2022 Edition Peters will release a new Grade 8 Anthology to support the new (2023/2024) Syllabus and, for the first time, will issue new anthologies to support pianists studying at or preparing for Grades 5, 6 and 7. Also new for this year: a selection of lesser-known additional repertoire suitable for the own-choice piece in the new Performance Exams. The four new Piano Anthologies for Grades 5, 6, 7 and 8 2023/2024 comprise a broad selection of examination pieces from lists A, B and C of the Associated Board syllabus. The anthologies support students preparing for the Practical Exam or for the new Performance Exam. Those preparing for the Performance Exams are aided by Performance Notes by Norman Beedie (Lecturer in Classical Improvisation, Piano and Conducting at the Royal Conservatoire of Scotland), which give advice on technique and interpretation for each piece, and guidance on preparing an effective programme. The pieces in this volume are drawn from the extensive range of piano music in the Edition Peters catalogue ? one of the widest available. With candidates able to offer a free choice work in the Performance Exam, each Anthology contains additional lesser-known repertoire suitable for the exam.

The Edition Peters Grade 8 Piano Anthology has long been a popular resource for anyone approaching this important milestone examination. In September 2022 Edition Peters will release a new Grade 8 Anthology to support the new (2023/2024) Syllabus and, for the first time, will issue new anthologies to support pianists studying at or preparing for Grades 5, 6 and 7. Also new for this year: a selection of lesser-known additional repertoire suitable for the own-choice piece in the new Performance Exams. The four new Piano Anthologies for Grades 5, 6, 7 and 8 2023/2024 comprise a broad selection of examination pieces from lists A, B and C of the Associated Board syllabus. The anthologies support students preparing for the Practical Exam or for the new Performance Exam. Those preparing for the Performance Exams are aided by Performance Notes by Norman Beedie (Lecturer in Classical Improvisation, Piano and Conducting at the Royal Conservatoire of Scotland), which give advice on technique and interpretation for each piece, and guidance on preparing an effective programme. The pieces in this volume are drawn from the extensive range of piano music in the Edition Peters catalogue ? one of the widest available. With candidates able to offer a free choice work in the Performance Exam, each Anthology contains additional lesser-known repertoire suitable for the exam.