Concert Works For Piano And Orchestra, Version For 1 Piano, Wn A Xiv A Vol.15

Clara Wieck’s sincerest wish was that her future husband Robert Schumann turn his extraordinary genius toward the larger and more challenging task of composing orchestral music. Confiding in her diary in 1839 just one year before her marriage she explained that “it would be best if he composed for Orchestra: his imagination cannot find sufficient scope in the Piano…” In the years that followed their marriage Robert Schumann continued to devote much of his attention to Piano music but he also found the time to comply with his beloved Clara’s wish by creating a number of musical pieces composed specifically for Piano andOrchestra. Although Schumann’s genius is most in evidence in his masterful solo Piano compositions and superb lieder his lively and provocative imagination manifests itself with equal aplomb in the works composed for Piano and Orchestra. The same compelling romantic and lyrical qualities that captivate lovers of Schumann’s Piano music are evident in these compositions. Three of his finest are presented here in full score including the A Minor Piano Concerto one of the most popular and frequently performed concertos ever written. All demonstrate his remarkably innovative approach to music diverting substantially from the classic models of the day and display his immense creativity as well as his warmth and sensitivity. Included in this collection of Schumann’s compositions for Piano and Orchestra are: Piano Concerto In A minor Op. 54 (published 1846) Concertstück Op.92 (Introduction and Allegro appassionato; published 1852) Introduction and Allegro Op. 134 (published 1855) These three works by one of the greatest masters of romanticism will delight musicians music lovers and students as well as devotees of Schumann. Pianists will be especially pleased to have these appealing Schumann works in one convenient edition available at

George Gershwin's iconic Rhapsody in Blue changed the landscape of American music at its 1924 premiere. Its irresistible fusion of classical and jazz has made it one of the most popular American concert works of all time. For this new edition all available sources at the Library of Congress were consulted, including full scores for piano and orchestra as well as two-piano reductions. This edition includes a second copy of the music, making it ideal for all concerto settings. Historical background and critical notes on the sources provide a fascinating window into Gershwin's composition process.

KV 467-Wolfgang Amadeus Mozart's concertos for Piano and Orchestra reveal the then young form in classical perfection. Among the most beautiful of them which are quite equals of his great symphonies are the works which he composed in a two year period (1784- 1786) which marks the highest peak in Mozart's instrumental writing and in his career as a virtuoso.- Urtext of the New Mozart Edition- Full score & parts (BA5317) two-Piano reduction (BA5317-90) and study score format 22.5 x 16.5cm (TP148) available for sale.

KV 467-Wolfgang Amadeus Mozart's concertos for Piano and Orchestra reveal the then young form in classical perfection. Among the most beautiful of them which are quite equals of his great symphonies are the works which he composed in a two year period (1784- 1786) which marks the highest peak in Mozart's instrumental writing and in his career as a virtuoso.- Urtext of the New Mozart Edition- Full score & parts (BA5317) two-Piano reduction (BA5317-90) and study score format 22.5 x 16.5cm (TP148) available for sale.

KV 467-Wolfgang Amadeus Mozart's concertos for Piano and Orchestra reveal the then young form in classical perfection. Among the most beautiful of them which are quite equals of his great symphonies are the works which he composed in a two year period (1784- 1786) which marks the highest peak in Mozart's instrumental writing and in his career as a virtuoso.- Urtext of the New Mozart Edition- Full score & parts (BA5317) two-Piano reduction (BA5317-90) and study score format 22.5 x 16.5cm (TP148) available for sale.

Music Minus One Piano Deluxe 2-CD Set-Together in one package Music Minus One brings you two of nineteenth-century Russia's greatest works for piano and orchestra Rimsky-Korsakov's Piano Concerto (1883) and his protege Anton Arensky's Fantasia on Russian Folksongs for Piano and Orchestra (1899). Both of these short concerted works are single-movement fantasias on Russian folk themes filled with the thunderous orchestrationa and big Russian sounds one associates with Imperial Russia. Both of these works present a perfect opportunity for the pianist or advancing student who wants to tackle a big Romantic-era concerted work but may not be ready for the full-scale concerto. With their relatively short lengths and onlymoderately-difficult piano parts they give the thrill of full-scale performance with significantly less investment than would be otherwise possible with longer works. This Music Minus One edition includes a CD containing the complete performance of the concerto in digital stereo a second digital stereo version of the concerto minus the soloist voluminously indexed for ease of practice and performance and a fully annotated score especially prepared for this MMO release printed on high-quality ivory paper with informative liner notes.

The Boosey Masterworks Library is a truly fantastic collection of popular works from the orchestral repertoire presented in clearly notated and meticulously documented scores.This volume presents the full orchestral score of Rachmainov’s first two piano concertos which remain ever popular in the concert pianist’s repertoire the second piano concerto even more so. The first two piano concertos frame a prolonged period of self-examination and doubt in Rachmaninov’s life his earlier works were not received with great acclaim. However his resurgence as a composer on the international concert platform was brought about by his composition of thePiano Concerto No.2 in C Minor Op.18 which since its first performance remains one of the most important and popular works in the repertoire. This full orchestral score is a wonderful resource for study and perusal purposes and is clearly presented making it easy to read and follow.Note that the revised version (written in 1917) of the first piano concerto is that which is presented in this score.

2me Polonaise brillante pour violon avec acompagnement de piano op.21 Henryk Wieniawski wrote only two polonaises. The first one, op. 4 in D minor, is one of his youthful works; the other, op. 21 in A major, is one of the last works he composed. Moreover, H. Wieniawski is the co-author of another polonaise, op. 8, for violin and piano, which he wrote with his brother Józef Wieniawski, a pianist. The latter polonaise, like the Polonaise in D minor op. 4, is also a youthful composition (1852). The polonaise as a genre, therefore, does not occupy much space in Wieniawskis heritage. Nonetheless, both polonaises, in D minor and A major, constitute an essential part of his artistic inheritance. Likewise, both polonaises had been composed in two versions: for violin and orchestra, and for violin and piano. The Polonaise in A major was completed in 1870. It is not known precisely which of the versions, the one with the piano, or the one with the orchestra first came into being. It was the version with orchestra that the composer performed for the first time on 17 March 1870, in the Grand Theatre in St. Petersburg. But merely two months later he performed the Polonaise in Warsaw, accompanied by his brother Józef at the piano. It is quite possible that Wieniawski had already performed this version of the Polonaise. It is certain, nonetheless, that both versions either appeared simultaneously, or one was composed shortly after the other. From its first public performance until the end of his concert career, Wieniawski often included this Polonaise in his concert repertoire, playing one version or another, the choice depending on the needs and circumstances. Just to mention one occasion, he played the orchestral version during a concert tour of Sweden in 1870, when he dedicated and presented a manuscript of this piece to King Charles XV of Sweden. The dedication, however, was changed in print, and both versions were eventually dedicated to François van Hal. Both versions were published simultaneously, by Schott Publishers in Mainz, with the same plate number, though the orchestral version appeared only in parts, which was a common practice in those days. The piece was most probably not published earlier than 18751. The Polonaise was praised by the critics. The reviews reported that it was a magnificent piece2, and this opinion was shared by later critical reviews, both Russian and West European. The Polonaise remained popular after the composer had died, which is evident from the number of later editions of the piece (more than ten) issued by different publishers, mostly German, and prepared by different editors. In Poland, the Polonaise was published twice after the Second World War. All the editions introduced some more or less significant changes into the text, mostly concerning performance indications, but in a sense blurring the composers intentions. All those changes were pertinent to the violin and piano version, and it was mostly in this form that the piece appeared in concert and teaching repertoires. The performances with an orchestra were much more seldom which was, among other factors, due to limited availability of the orchestral version, as it had never been published again after the first edition, until now. The Polonaise in A major was composed approximately at the same time as the Violin Concerto No. 2 in D minor3. This convergence in time had influenced a certain similarity with regard to both composition and technical means, and also to the themes. In particular, the similarity becomes quite obvious in the second theme of the Allegro in the Concerto, and in the theme of the Polonaise. The Polonaise in A major is also in a certain way similar to the first Polonaise (in D minor), the motifs of the themes in both polonaises are alike. However, both pieces differ in style. The Polonaise in D minor shows the composers fascination with technical writing. Wieniawski makes the most of double-stops, chords, and all other sophisticated virtuoso techniques. The Polonaise in A major, written 18 years later, is much more mature. Although it is a virtuosic piece as well, the techniques used are somewhat more limited and subordinated to the expression. The virtuoso character of this piece is more fragile, much closer to the brillant style. At the same time, the Polonaise is typical of Wieniawskis violin playing technique. Here the composer uses the means regarded by his contemporaries to be typical of him, e.g., long staccato fragments played with one bow. The Polonaise is a concert piece in one movement extended form with a considerably abbreviated return of the first section at the end. The middle section is contrasting in character, due to the modulation to F major, change of tempo (meno mosso) and the reduction in the number of instruments (in the orchestral version). All the sections show thematic similarity. The first section, too, consists of three subsections, including a contrasting middle subsection (in E major). Zofia Chechlińska Footnotes 1. See The Critical Commentary, p. ? and onward. 2. See V. Grigoriev, Henryk Wieniawski. Życie i twórczość. [Life and Work] Warszawa - Poznań 1986, p. 184. 3. The first version of the Concerto No. 2 in D minor was completed in 1862, but in 1870, i.e., not until the Polonaise in A major was completed, Wieniawski had been working on the Concerto and implemented quite a few changes. Publisher: PWM/Towarzystwo Muzyczne im. Henryka Wieniawskiego w Poznaniu Series: Henryk Wieniawski - Complete Works Cover: softback Nr ISMN: 979-0-2740-0753-9 Number of pages: 34+8 Format: N4 stoj. 235x305 Language version of text: pol., Eng.

for Piano and Orchestra-Mozart perfected the form of the modern piano concerto which from about 1750 begins to show its affinity with sonata form in his 21 concertos for solo piano and orchestra. The D minor piano concerto K.466 is one of the few concertos which remained in concert repertoire in the years following Mozart’s death. After the resuscitation of the other concertos it remained the most popular of all Mozart’s works in this genre and there can scarcely be a pianist who has not studied it or played it in a concert.Urtext of the New Mozart EditionFull score performance material (BA4873) two-piano reduction (BA4873-90) and study score format 22.5 x 16.5cm (TP147)available for sale

When The Spring Comes Round?(original title in French: Quand nos bourgeons se rouvriront) is a song for solo Soprano Voice part of a staged recitation with orchestra ?Une voix dans ledésert? (A Voice in the Desert) written by the English composer?Edward Elgar?in 1915. The words are by the Belgian poet Émile Cammaerts and were translated into English by his wife Tita Brand.?In this Novello edition the orchestra part has been transcribed into a Piano accompaniment.Many of Sir Edward Elgar?s works have entered the British and international classicalconcert repertoire. Among his best-known compositions are orchestral works including the Enigma Variations the Pomp and Circumstance Marches concertos for Violin and Cello and two symphonies. He was appointed Master of the King's Musick in 1924.