Recent Publications of Keyboard Repertoire
Johann Sebastian Bach
15 Two-part Inventions BWV 772-786
15 Sinfonias BWV 787-801
French Suite No. 1 BWV 812
The Blankenheim / Rosar Edition is a performance (interpretative) edition of Bach's keyboard works. A preface provides an introduction and practical guide to the interpretation of these works. The score contains tempo suggestions, structure and phrasing markings, articulations, dynamics, fingerings, and detailed instructions to the interpretation of ornaments.
The latest interpretive edition of Bach's keyboard works, the ideas presented here are a summary of experience with these works that was gained through research, teaching, discussion and performance – results of a decades-long preoccupation with Bach’s works commenced by Walter Blankenheim, and continued by Inge Rosar.
A recording of this interpretation by Inge Rosar on the IPCJSB label is available on all online platforms (Amazon, iTunes, Spotify, etc.) and demonstrates the suggestions offered here in practice.
All proceeds from the sale of this edition go towards funding the International Piano Competition J. S. Bach Würzburg
email us at clearmusicaustralia@gmail.com for further info or to place an order
The latest interpretive edition of Bach's keyboard works, the ideas presented here are a summary of experience with these works that was gained through research, teaching, discussion and performance – results of a decades-long preoccupation with Bach’s works commenced by Walter Blankenheim, and continued by Inge Rosar.
A recording of this interpretation by Inge Rosar on the IPCJSB label is available on all online platforms (Amazon, iTunes, Spotify, etc.) and demonstrates the suggestions offered here in practice.
All proceeds from the sale of this edition go towards funding the International Piano Competition J. S. Bach Würzburg
email us at clearmusicaustralia@gmail.com for further info or to place an order
Johannes Brahms
Two Rhapsodies for Piano Op. 79
|
Bärenreiter Urtext
Edited by Christian Köhn Brahms’ vivacious “Rhapsodies” op. 79 of 1879 are among his most frequently played works. He had a hard time finding a suitable title for them, vacillating between “Piano Piece”, “Capriccio” (No. 1) and ”Caprices”. His hand was forced by the dedicatee Elisabeth von Herzogenberg, who welcomed the pieces with the salutation “Ye (to me) nameless ones in the nebulous garb of rhapsodies”. Performing Score on sale |
Camille Saint-Saëns
Piano Concerto No. 5 F major Op. 103 (Egyptian)
piano reduction
|
Henle Urtext
Edited by Peter Jost This was the last concerto that Saint-Saëns wrote for his own instrument, the piano. Its subtitle has a dual meaning. Firstly, it was composed quickly in Luxor and Cairo in early 1896; and secondly, the composer incorporated elements of Egyptian and oriental music within it. He even wrote later that “The second movement is a kind of journey to the Orient, which in the episode in F-sharp even reaches the Far East. The passage in G is a Nubian love song that I heard sung by boatmen on the Nile” Performing Score on sale 2 scores needed for performance |
Sergei Rachmaninoff
Piano Sonata No. 2 B flat minor op. 36
Versions 1913 and 1931
|
Henle Urtext
Edited by Dominik Rahmer Finally, Henle are able to offer one of Rachmaninoff’s most important, most substantial piano works in a meticulous Urtext edition that does justice to the work and to the editorial difficulties it raises. Rachmaninoff was unhappy with the dense textures and the length of his Piano Sonata in b-flat minor, so almost 20 years after its composition and publication he made numerous cuts and “streamlined” it – though this has been criticised by pianists down to the present day. For this reason, it is mostly the first version that is played today – or even a mixture of the two versions such as Vladimir Horowitz used to perform (albeit with the permission of the composer). This Henle Urtext edition contains both versions by Rachmaninoff in their entirety and also takes into account the autograph in the Moscow Glinka Museum Performing Score on sale |
Claude Debussy - Nocturne
|
G. Henle Urtext
Edited by Ernst-Günter Heinemann This piece is straightforward in its construction but highly advanced in its harmonies, and links up with the widely popular, 19th-century tradition of the “night piece” or “nocturne” for piano. Its themes and modulations are highly reminiscent of Gabriel Fauré, but in its chromatic voice-leading and unusual treatment of metre – such as in the 7/4 central section – Debussy makes a statement all of his own. Nothing is known about the history of its composition. Debussy’s 1892 contract with his publisher states merely that the composer had originally called it “Interlude”, but then decided upon the far more suitable title of “Nocturne”. One of Debussy’s most popular early piano works, it is now available in a Henle Urtext edition. Performing score on sale |
Wolfgang Amadeus Mozart - The Music Books of Mozart and His Sister for Piano
|
Until now the edition The Music Books of Mozart and His Sister has only been available as part of the boxed set of Mozart’s oeuvre for piano (BA 5749) which has gone out of print. Now, for the first time, it can be purchased separately. Based on the New Mozart Edition, this is the only publication to contain all the pieces, sketches and fragments found in the notebooks.
The Foreword by the great Mozart scholar Wolfgang Plath provides valuable information on the pieces themselves and on the question of their authorship; besides Mozart’s earliest juvenilia, some of which formed the basis of later compositions, the notebooks also contain works by Leopold Mozart and other composers. Facsimile illustrations from the autographs convey a lively picture of this collection of easy to moderately difficult keyboard pieces ideally suited for teaching purposes. Performing Score on sale |
Béla Bartók - Improvisations on Hungarian Peasant Songs Op. 20
|
G. Henle Urtext in collaboration with Editio Musica Budapest
Edited by László Somfai After his 15 Hungarian peasant songs (HN 1404), these Improvisations on Hungarian peasant songs are the second of Bartók’s works to feature the words “Hungarian peasant songs” in their title. The manner in which he confronts folk melodies with subtle, avant-garde sounds here was later described by Bartók himself as venturing to “the outermost limits”. He also breaks up the song structures so radically into their constituent motives that the title “improvisations” best conveys his approach to this folk music. The musical text of this Urtext edition, edited by Bartók expert László Somfai, is taken from the relevant volume of the Bartók Complete Edition. Comments at the close of this edition offer important hints on performance practice. Performing Score on sale |
Béla Bartók - Romanian Christmas Songs
|
G. Henle Urtext in collaboration with Editio Musica Budapest
Edited by László Somfai Bartók’s "Romanian Christmas Songs" are based on folk melodies that originated in a pagan celebration of the winter solstice, and which he felt gave “the impression of a fiery, war-like type of song, rather than a pious and religious one”. Nevertheless, he chose 20 melodies from this collection of “colinde” and published them under the title of “Christmas Songs”. In the first edition of 1918 they were conceived for children’s hands and so were published “without octaves”; but in his revised edition of 1936, which we present here, Bartók added an appendix featuring alternative “concert versions”, confirming that these miniatures are also perfectly suited for public performance. Henle's Urtext edition is based on that of the Bartók Complete Edition, and for the first time integrates these concert variants directly into the musical text. We also offer the original melodies and translations of the texts of these colinde to provide an insight into the origins of this rather different kind of Christmas music. |
Ludwig van Beethoven - Three Sonatas for Pianoforte in G major, D minor and E-flat major Op. 31
|
Bärenreiter Urtext
Edited by Jonathan Del Mar With his sonatas Op. 31 composed in 1802 Beethoven for the last time grouped together piano sonatas under one opus number. The centrepiece of the collection is undoubtedly the dramatic Sonata in D minor nicknamed "Tempest" which already fascinated his contemporaries. According to Anton Schindler, who asked the composer about the "key“ to this work as well as to the sonata Op. 57 (Appassionata), Beethoven advised him: “Just read Shakespeare’s Tempest”. Jonathan Del Mar, currently one of the most renowned Beethoven scholars, stands for a meticulously edited Urtext edition on the basis of an intensive study of all sources. Performers are presented with a musical text offering new readings and based on the latest research findings. The detailed Critical Commentary accounts for sources, readings and editorial emendations. Particularly enlightening is the chapter on period performance practice which sheds light on certain issues of Beethoven’s instruments and their range, the usage of the pedals, tempo, dynamics, articulation and ornaments. Performing Score on sale |
Claude Debussy - Danse (Tarantelle styrienne)
arranged for organ by Thierry Hirsch
|
Carus Verlag
Arranged by Thierry Hirsch Debussy’s "Danse" (Tarantelle styrienne), originally for piano and orchestrated by Ravel, is also extremely well suited to performance on the organ. This is shown in this arrangement which has been successfully performed in concerts in several countries by renowned organists. It is now being published in time for the Debussy anniversary year in 2018. The arrangement shows this powerful and spirited "Danse", with its typical syncopated rhythms, to its best advantage. The great range of colors offers performers plenty of opportunity for artistic display. The registration markings are intended as suggestions and can easily be adapted to suit different instruments. Performing Score on sale |
Franz Liszt - Overture to "Tannhäuser", Concert Paraphrase for Piano
|
Edited by Peter Jost
Henle Urtext Looking back in 1876, Liszt admitted candidly to the publisher Breitkopf & Härtel that his “Wagner transcriptions” had “only served as modest propaganda for Wagner’s noble genius, using the meagre possibilities of the piano”. In fact, in around 1850, Wagner’s operas Der fliegende Holländer, Tannhäuser and Lohengrin – which would later be so successful – were only being performed at the Weimar Court Theatre under Liszt’s baton. Liszt was inspired to compose his Tannhäuser Paraphrase by performances in Weimar of the overture in 1848 and of the whole opera in February 1849. Liszt’s piano arrangement of the overture is a technically brilliant piece of the highest order. It is a further milestone in Henle Publishers’ series of Liszt’s Wagner arrangements. Performing Score on sale |
Joseph Haydn - Late Piano Sonatas
|
Bärenreiter Urtext
Edited By Bernhard Moosbauer and Holger M. Stüwe Haydn’s late piano sonatas Hob. XVI:40–42 (1784) and Hob. XVI:48–52 (1788-95) reveal him to be a highly distinctive and consummate master in terms of form and expression. These technically brilliant works, the quintessence of his sonata output, were conceived for the hammerklavier and reflect the fresh inspiration Haydn received in London. In particular the London Sonatas will have been groundbreaking, not least for the young Beethoven. This Urtext edition presents these piano sonatas in a spacious and elegant engraving which is easy to read and offers practical page turns. Editorial changes are kept to a minimum and are documented, together with alternative readings, in the Critical Commentary. The early version of the second movement of the Sonata in C major, Hob. XVI:50, is reproduced in the appendix. The fingering takes into consideration important aspects of the performance practice in Haydn’s time as well as issues of performance on the modern grand piano. Rounding off this performing edition is detailed information on historical performance practice (mainly with regard to instruments, articulation/staccato, ornaments, and pedalling) by the renowned harpsichord and fortepiano player Rebecca Maurer. Last but not least, the edition, which is based on most recent musicological research, is enhanced by an informative Preface. Performing Score on sale |
|
Henle Urtext Edited by George S. Bozarth Johannes Brahms’s organ works in a sense “frame” his whole oeuvre. He wrote several preludes and fugues and the chorale prelude “O Traurigkeit, o Herzeleid” in the mid-1850s, at a time when he was making an intensive study of counterpoint. The Eleven Chorale Preludes op. 122, on the other hand, are Brahms’s final work, composed in 1896, immediately before and after the death of Clara Schumann. This revised Henle Urtext edition presents all of Brahms’s organ works in a single volume, following the musical text of the New Brahms Complete Edition, and with a preface and a commentary that reflect the latest scholarship. The early versions of two of these pieces are also given in an appendix. |
Ludwig van Beethoven - Three Sonatas for Pianoforte C minor, F major, D major Op. 10
|
Bärenreiter Urtext
Edited by Jonathan Del Mar The three popular sonatas Op. 10 were written between the end of 1795 and the beginning of 1798, only shortly after Beethoven had completed his first fully-fledged sonatas Op. 2. In the press they were announced as "3 very nice piano sonatas“ of a composer whose name would sufficiently guarantee "for the quality of his work to the audience.“ The three technically and musically demanding works, which reach their peak with the third sonata and its highly expressive “Largo e mesto”, have their firm place in advanced piano teaching. Performing Score on sale |
Carl Vine - Toccatissimo
Carl Vine - Piano Concerto No. 1
|
Carl Vine’s Piano Concerto No. 1 (1997) is one of three large-scale works composed with pianist Michael Kieran Harvey in mind – the others being his first two piano sonatas. Its composer describes it as ‘a conscious and continuous tribute to the Piano Concerto as a medium and historical entity’, a fact most apparent in the slow movement, with its long melodic lines evoking both Ravel and Bach.
This 25-minute concerto is cast in the familiar three-movement form, with fast outer movements framing a central slow movement. The outer movements share some material (particularly in some lively conversational interchanges between piano and trumpet), and also some typically pianistic glitter across the orchestra, with harp and glockenspiel ensuring that the piano is less of an outsider than might have otherwise been the case. Full Score, Solo Part and 2-piano Rehearsal Score on sale |
Alberto Ginastera- Piano Concerto No. 2, Op. 39
piano reduction for 2 pianos
Ludovico Einaudi - Solo Piano (Slipcase Edition)
|
This very special slipcase edition album features the very best of Ludovico Einaudi for solo piano. Beautifully packaged in a slipcase, hardbound and newly engraved, this unique collection includes a special foreword from Ludovico Einaudi himself. Includes 'Berlin Song', 'Eros', 'Nightbook', 'Una Mattina', 'Primavera', 'Dietro Casa', 'Oltremare' and many more.
There are a number of different publications of Einaudi's music available on sale. Contact us at clearmusicaustralia@gmail.com for the complete list. Performing Score on sale |
Ludwig van Beethoven - Grande Sonate for Pianoforte in C major Op. 53 "Waldstein"
|
Bärenreiter Urtext
Edited by Jonathan Del Mar Beethoven’s Grande Sonate in C major Op. 53 (1803-04) marks his turn towards large-scale symphonic influenced piano works. Since its first publication this highly virtuosic piece, dedicated to Beethoven’s friend and patron Ferdinand, Count Waldstein, has lost none of its magnetism. To this day it remains a pianistic challenge and a musical touchstone for every performer. Jonathan Del Mar, currently one of the most renowned Beethoven scholars, stands for a meticulously edited Urtext edition on the basis of an intensive study of all sources. Performers can look forward to a musical text which is based on the latest research findings and where the fine engraving as well as practical page turns will facilitate the study of this demanding work. This Urtext edition includes an informative Introduction and valuable notes on historical performance practice. Information regarding source discrepancies and editorial principles are presented in the detailed Critical Commentary which contains facsimile pages. Performing Score on sale |
Firestarters 2 - 7 New Recital Pieces for Piano
|
Promethean Editions
Firestarters 2 is a collection of seven recital pieces for piano by composers from Australia and New Zealand, suitable for performers of approximately Grade VIII to Diploma-level ability. With contributions from composers such as John Psathas, Stuart Greenbaum and Ross Harris, each piece has been annotated with suggestions for performance and interpretation, and all are ideal for student recital or professional performance. The volume is accompanied by a CD recording of the works for reference. Contents: Torrent by Penelope Axtens Ritual by Anthony Ritchie Waiting for the Lights to Change by James Ledger Equator Loops by Stuart Greenbaum Mechanically Speaking by Matthew Hindson Waiting for the Aeroplane by John Psathas Micro-Piece for Xenia by Ross Harris Performing Score on sale |
Gabriel Fauré - Dolly
For piano four-hands
|
Henle Urtext
Edited by Christiane Strucken-Paland The six pieces in this little suite were written between 1893 and 1896. They were inspired by Hélène Bardac, the daughter of a singer with whom he was friends. The girl was born in 1892 and called “Dolly” on account of her small, delicate figure. The pieces, composed mainly for her birthday or the New Year, reflect the world as experienced by the growing child, from a lullaby to a temperamental dance. But it was not meant to be taken too seriously, as shown by the subtle allusions to his own music and that of others. Despite their simple basic structure these pieces, which soon became popular, contain numerous harmonic and rhythmic subtleties typical of the French composer – “children’s music” that is also well suited to adults. Performing Score on sale |
Johann Sebastian Bach - Organ Works, Volume 6
Preludes, Toccatas, Fantasias and Fugues II / Early Versions and Variants to I (Volume 5) and II (Volume 6)
|
Any complete scholarly critical edition of the works of Johann Sebastian Bach must incorporate new research findings in the interest of scholars and performers alike. Now all of Bärenreiter’s new performing editions of Bach’s organ works are being revised to reflect the current state of scholarship and to convey maximum fidelity to the sources by being linked to “Bach digital”.
The present volume is an updated edition of Series IV, Volume 6 of the “New Bach Edition” (NBA), prepared by Dietrich Kilian in 1964. The discovery of new sources and a reassessment of existing handwritten copies have brought about changes to the contents of the volume, which now includes the “Fantasia in C minor” (BWV 1121), the “Fantasia in G major” (BWV 571), the “Fugue in G major” (BWV 577) and the C major version of the “Toccata and Fugue in E major” (BWV 566). On the other hand, the “Prelude in G major” (BWV 568) as well as the alternative versions of the “Fugue in C minor” (BWV 574a) and the “Prelude in A major” (BWV 536a) have been discarded as presumably spurious. Besides the new compilation and corrections of the musical text, the volume also contains a detailed Foreword by Peter Wollny with observations on each work and the extant sources. Page turns have been re-examined and improved. In collaboration with the Bach Archive Leipzig and its “Bach” digital database, links are provided to all the major sources. The website http://links.baerenreiter.com enables readers to access the relevant page in the source simply and conveniently via short URLs. The links stored there are examined for their validity on a regular basis. Contents: BWV 551, 563-566 (version in E major), 569-571, 573-575, 577-579 and 1121 / Early versions and variants to I (Vol. 5) and II (Vol. 6): BWV 532a, 533a, 535a, 543a, 545a, 549a, 566 (version in C major) and 574b Performing Score on sale |
Bohuslav Martinu - Easy Piano Pieces and Dances
|
Bärenreiter Urtext
Edited by Lucie Harasim Berná Though Bohuslav Martinu produced a lot of didactic material for the piano, not all of it has been published and many delightful works have remained unknown. In this Easy Piano Pieces and Dances album, Martinu’s four-part piano cycle Quarter and Eighth Notes, composed in Paris in 1937, appears for the first time. It is devoted to changes of metre and tempo. The work, previously known only from his correspondence, was long considered lost until a copyist’s manuscript of it resurfaced in Brno in 2011. The jazz piece One Step, composed in 1921, is also made accessible here for the first time. It hitherto only existed in the composer’s autograph. Along with these two “discoveries”, this album contains the dance pieces that Martinu composed in Policka in the 1920s as well as the three-part cycle Christmas, composed in Paris in 1927. These were previously available in Compositions for Policka. Performing Score on sale |
Ludwig van Beethoven - Two Sonatas for Pianoforte E major, G major Op. 14
|
Bärenreiter Urtext
Edited by Jonathan Del Mar Composed at about the same time as the “Grande Sonate pathétique” Op. 13 (BA 10851), the two Op. 14 sonatas are among the easiest Beethoven ever wrote and an indispensable part of piano lessons. Their lyrical, almost chamber-like textures and moderate difficulty make them an ideal introduction to the rich legacy of Beethoven’s sonatas. Jonathan Del Mar, a scholar second to none in his knowledge of Beethoven’s music, now presents these sonatas in a cutting-edge Urtext edition based on the latest research findings and an intensive study of the sources. Practical page turns and a fine engraving reflecting the character of the music ensure maximum enjoyment for every pianist. The informative Introduction describes the genesis of the works and is supplemented by valuable notes on performance practice. The Critical Commentary provides information on variants as well as editorial guidelines and contains facsimile pages. Performing Score on sale |
Franz Liszt - Complete Organ Works
Volume 2
|
Universal Edition
This edition offers an authoritative text of Franz Liszt's organ music and thus a basis for performing it free of distortions. The edition comprises nine volumes of music and one supplementary volume containing detailed notes on the genesis and the sources of individual works, essays on organs and organists in Liszt's time, illustrations, facsimile reproductions of the most important manuscripts, as well as an account of the editorial principles applied, a complete list of contents and critical notes on every work. The complete edition of Liszt's organ music comprises: the original compositions for organ solo; arrangements for organ of Liszt's own works made or revised by the composer; works for organ with one obbligato instrument; works for voice(s) and organ (harmonium); and Liszt's organ transcriptions of music by other composers. The Appendix of the sixth volume also contains Liszt's works for harmonium (or piano). Performing Score on sale |
Claude Debussy - La plus que lente - Valse
|
G. Henle Urtext
Edited By Ernst-Günter Heinemann Slow waltzes enjoyed a special vogue in Parisian salons of the early twentieth century, leading Debussy – with a twinkle in his eye – to produce his piano waltz “La plus que lente” (“The Slower-than-Slow”). Parisian publisher Durand brought Debussy’s piano waltz, issued in July 1910, to a wider public by publishing it that same year as a supplement to Le Figaro, as well as in arrangements (by others) for violin and piano and for piano, 4-hands. Debussy himself produced a version for orchestra, and in 1913 he even – at a rather faster tempo – recorded it on a piano roll for the Welte-Mignon company. This work, headed “molto rubato con morbidezza” (with much rubato, morbidly), is now available as a separate Henle Urtext. A preface, extended from those in the anthology volumes HN 1194 and HN 404, will stimulate curiosity about this charming miniature waltz. Performing Score on sale |
Edvard Grieg - Wedding Day at Troldhaugen Op. 65 No. 6
|
G. Henle Urtext
Edited By Ernst-Günter Heinemann and Einar Steen-Nøkleberg With his 66 Lyric Pieces Edvard Grieg created a multifaceted treasury of piano miniatures and character pieces. Many have become piano classics, none more so than The Wedding at Troldhaugen, which we offer here in a separate edition. In this boisterous piece Grieg recalls a glittering celebration at the Villa Troldhaugen on the occasion of his silver wedding, something which attracted hundreds of guests and well-wishers. The fingerings by Norwegian Grieg specialist Einar Steen-Nøkleberg will be of help in mastering the fairly high-level technical challenges of this piece. Performing Score on sale |
Chorale Preludes for Organ, Vol. 3
|
Carus Verlag
Edited Richard Mailänder Carus' series of chorale settings for organ continues with a volume of 35 compositions based on hymns which are used throughout the church year. The main feasts and themes represented in this collection include the celebration of Mass, the Holy Spirit, Trinity, Jesus Christ, Praise and Thanks, as well as trust and consolation. Distinguished composers from various European countries have contributed to the volume. Some works which are less well-known, from the Baroque to the 20th century, are also included. The collection contains several exciting new discoveries which will be useful in the liturgy of the Mass, in other services and in concerts. This third volume in the series follows on from the editions already published devoted to Christmas and Easter. Performing Score on sale |
Johann Nepomuk Hummel - Piano Concerto in A minor Op. 85
version for 2 pianos
|
Breitkopf Urtext
Edited by Andrew Brownell Hummel picks up where Dussek left off, and clearly seeks the vicinity of Beethoven, who by then had already written his fifth and last piano concerto. Yet Hummel also left his mark on Schumann and Chopin. The Polish composer’s E-minor Piano Concerto Op. 11 shows up glaring similarities with Hummel’s piece. Here the composer reveals his status as a wanderer along the interface of two eras, who succeeds in crossing borders in his A-minor Piano Concerto, thus putting him on a par with Weber and Schubert. Version for 2 pianos on sale. Performance Materials available on hire through Clear Music |
Frédéric Chopin - 24 Preludes
|
Bärenreiter Urtext
Edited by Christoph Flamm Hardly any cycle of piano pieces can match the magnetic attraction of Chopin’s “24 Préludes”, published in 1839. Schumann called them “sketches, beginnings of études, [...] ruins, stray eagle's pinions, all disorder and wild confusion”. Christoph Flamm has critically re-evaluated the sources, bringing to light new readings of this well-known musical text. Hardy Rittner, a hammerklavier specialist and two-time winner of the ECHO Classic prize, who has recorded Brahms’ piano music and all of Chopin’s “Études” on period pianofortes, has supplemented Chopin’s fingering from a historically informed perspective. He also provides valuable notes on performance practice, especially with regard to pedalling, rubato, latent polyphony, legato and Chopin’s perception of sound. An aesthetically presented engraving and practical page-turns make this current edition indispensable for today’s scholars and performers. Performing Score on sale |
Carl Czerny - Sonata No. 8 in E-flat Major
Béla Bartók - Mikrokosmos
|
First ever urtext edition of Bartók's Mikrokosmos
Béla Bartók's Mikrokosmos is one of the key works of 20th century piano music. The repertoire comprises educational pieces as well as concert literature, thus making this work an indispensable companion to piano lessons. The work is now available for the first time as urtext edition in three volumes, with each volume containing two of the six volumes of the original edition. The musical text was critically examined on the basis of the sources and was corrected in many details. Furthermore, the edition contains some previously unpublished pieces and early versions. Very revealing are the versions of several pieces which Bartók arranged specially for the lessons of his son Peter and which are printed in the appendix of the volumes. The edition is completed by notes on study and interpretation based on the sources and a glossary of unusual expression markings. Performing Score on sale |
Claude Debussy - La Fille aux cheveux de lin
|
Henle Verlag
Edited by Ernst-Günter Heinemann Debussy intentionally did not place titles at the top of his Préludes for piano (HN 383), published in 1910, but merely wrote them at the end and in parentheses – almost as a belated comment on the piece just played. Nevertheless, no. 8 in the collection, “La Fille aux cheveux de lin” (The girl with the flaxen hair), has become famous in its own right. This image perfectly fits the dreamy graceful music. And ever since, the prelude has been the object of numerous arrangements for other scorings. This single edition of this much-loved piece contains the Urtext musical text for piano and also includes a detailed preface. Performing Score on sale |
František Xaver Dušek - Complete Sonatas for Piano, Volume 1
|
Bärenreiter Urtext
Edited by Vojtech Spurný The Czech composer, František Xaver Dušek (1731-1799), was a leading figure in Prague’s music life in the latter half of the 18th century. He was an outstanding pianist, composer and piano teacher whose pupils included Leopold Koželuch. Now, all of Dušek’s 21 sonatas, many of which have until now been available only in old prints or manuscripts, are appearing in two volumes. The editor, Vojtech Spurný, has carefully collected and compared archival sources strewn throughout Europe. The sonatas, arranged in chronological order by date of publication, now appear for the first time in critical editions. They are easy to play, some most probably having been written for teaching purposes. Performing Score on sale |
Elena Kats-Chernin: Piano Village
|
Boosey and Hawkes
Edited by Tamara-Anna Cislowska Elena Kats-Chernin has been writing piano music since she was a little girl. In Piano Village, a mixed collection of pieces of up to five minutes, there are works from intermediate level to advanced and ranging in mood, theme and texture with the warmth, energy and vivacity that her fans will have come to expect. Some titles like Autumn, Blue Tears and Zerno are more reflective, Russian Toccata and Dance of the Paper Umbrellas verge on the virtuosic, then there are works like Black Tie, Slicked Back Tango and Cocktail Rag which are best described as party pieces. The collection also includes Eliza Aria and Russian Rag, two of Elena’s greatest hits. In compiling this book,editor Tamara-Anna Cislowska has paid close attention to the interpretations of the composer herself, and has tried to give a detailed guide to dynamics, phrasing and articulation. Tempos are suggestions only and often include a broad range to cater for taste and ability. As with all Kats-Chernin’s music, these piano pieces are marked with her distinct sense of rhythm and harmony, originality and fun. All are suitable for public performance and will repay careful study and practice. The book contains twenty-five different works guaranteed to entertain, disarm and amuse. Performing Score on sale |
Ludwig van Beethoven: Sonata for Pianoforte in A major Op. 101
|
Bärenreiter Urtext
Edited by Jonathan Del Mar Bärenreiter continues its Urtext edition of the complete Beethoven piano sonatas with three major works at once. They begin with the frequently played Op. 2 Sonatas (Nos. 1-3) (BA 10859) which stem from his early yet mature oeuvre when he was developing an independent style from the legacy of Mozart and Haydn. They then proceed to the lyrical D major Sonata Op. 28 from his middle period (nicknamed “Pastorale” by the publisher of the original edition) (BA 11814) and finally to the Sonata Op. 101, Beethoven’s first sonata specifically intended for the “hammerklavier” and the one that introduced his esoteric late style to the piano sonatas (BA 11811). The acclaimed Beethoven specialist Jonathan Del Mar has consulted every known source for these critical Urtext performing editions. In addition he has analysed various copies of the prints published during Beethoven’s lifetime. The results of his accurate research are presented in a meticulously edited musical text at the cutting edge of scholarship, together with a detailed Critical Commentary. All three volumes stand out in terms of their elegant and well-presented layout. Special emphasis has been placed on optimum page-turns and on the consideration of the flow of the music. The highly informative Introductions on the genesis and significance of the works are supplemented by valuable notes on historical performance practice. Performing Score on sale |
François Couperin - Piéces de clavecin
Premier livre
|
Bärenreiter Urtext
Edited by Denis Herlin The high point of French clavecin music The original edition of the first volume of Couperin’s “Pièces de clavecin” (1713), supervised by the composer himself, is noteworthy for its extraordinary notational precision. It contains exacting performance instructions, for which Couperin created his own symbols. This new Urtext edition in a modern engraving retains the essential features of the original print, such as the distinction between curved ties and straight legato slurs, thereby giving today’s players fascinating insights into the special sound of this music. The editor has, for the first time, closely analysed the various proofs of the original edition, some of which he discovered himself. He lists these alternative readings in the Critical Commentary. The edition also presents conflicting versions of several pieces as well as an anonymous work possibly attributable to Couperin. A detailed foreword, notes on period performance practice and facsimile illustrations round off this edition, making it indispensable to all admirers and performers of French clavecin music. Performing Score on sale |
Oxford Hymn Settings for Organists: Pentecost and Trinity
27 original pieces on hymns for Pentecost and Trinity
|
Oxford University Press
New settings for organ of all the major hymn tunes for the season These fresh, imaginative new pieces, written by a range of experienced organ composers based in the US and the UK display a great variety of styles and approaches. They are practical, concise settings for all parts of the church service - preludes, postludes, fanfares, communion settings and are suitable for busy church musicians at intermediate level working in all major denominations. Some pieces are also suitable for recital use. Suggestions for registration can readily be adapted to suit most instruments with pedals and there is a companion website featuring a cumulative index of hymn tunes and contributor biographies. Performing Score on sale |
Joseph Haas: 40 Chorale Fughettas
Isaac Albéniz: Sevilla
|
Henle Urtext Edition
Edited by Ullrich Scheideler When Albéniz’ work Sevilla was performed in Madrid in 1886, it not only brought the composer public recognition but also a commission to compose an eight-movement Suite espagnole for piano (HN 783). Although it took him a further 15 years to complete the latter, Sevilla was already published in a single edition in 1886. Most people are probably not familiar with the original version of this spirited miniature about the Spanish city and its native flamenco. This is because Albéniz captured the musical character so effectively that guitar players immediately claimed the piece for themselves. The Henle Urtext edition for piano now gives pianists the chance to reclaim flamenco for the piano. Performing Score on sale |
Robert Schumann: Album for the Young Op. 68
|
Bärenreiter Urtext Edition
Edited by Holger M. Stüwe In 1848, after finishing an album of little piano pieces for his daughter Marie, Schumann devised the plan of compiling a “children’s album”. Since then the resultant collection of 43 pieces has enjoyed unparalleled success. Schumann’s “Album for the Young” is now presented in an Urtext edition which meets the needs of performers. In addition to the famous “Advice to Young Musicians”(in German, English and a French translation by Liszt), other pieces related to this work but left unpublished during Schumann’s lifetime can be found in the appendix. For the first time this edition also includes Clara Schumann’s original pedal markings. Clara’s fingering served Ragna Schirmer as an important point of departure for her own thoughts on fingering. |
Charles-Marie Widor: Symphonie VI
|
for organ
Carus Verlag Edited by Georg Koch In his Sixth Organ Symphony, Charles-Marie Widor showed himself to be at the height of his compositional mastery. In the densely-worked monumental outer movements, the expressive slow movements and a dramatic, brilliant Intermezzo, Widor exploits the possibilities of the instrument to the full. The new Carus edition is based on the last edition of 1928/29, published during the composer’s lifetime, as the authoritative source. Corrections made subsequently by the composer have been taken into consideration. In addition, references are included to important variant readings in earlier editions. Editorial suggestions on the performance of individual passages complete the new edition. Performing Score on sale |
Edvard Greig: Peer Gynt Suites
|
for piano solo
G. Henle Verlag Urtext Edited by Einar Steen-Nøkleberg Grieg’s incidental music for Henrik Ibsen’s drama “Peer Gynt” contains some of his best-known compositions, such as “Morning mood” and “In the Hall of the Mountain King”. Grieg later extracted the most beautiful pieces to form two orchestral suites and arranged himself these versions for piano solo and piano four-hands. There was a surprise in store when Henle were preparing their Urtext edition. In the autograph and the first print run, the second suite contained another movement, the “Dance of the Mountain King’s Daughter”, which Grieg deleted shortly afterwards. This charming dance appears in the appendix to our edition – printed again for the first time in 120 years! The Norwegian pianist and Grieg expert Einar Steen-Nøkleberg was co-editor for Henle's edition and also provided the new fingerings. Performing Score on sale |
Erik Satie: Avant-dernières Pensées
|
Bärenreiter Urtext
Edited by Jens Rosteck The atmospheric cycle “Avant-dernières Pensées” (Next-to-last Thoughts) of 1915, with its underlaid words, likewise belongs to Satie’s ‘story pieces’. The curious performance instructions in these three miniatures, all based on ostinato figures, amusingly lampoon the ideal of Romantic expressiveness. This Urtext edition faithfully adheres to the sources and reflects the latest findings of Satie scholarship. It contains translations of all of Satie’s French texts, practical page-turns, notes on performance practice by Satie specialist Steffen Schleiermacher and an informative Foreword. The pieces range from easy to moderate level of difficulty and provide an ideal additional varied repertoire for teaching purposes. Performing Score on sale |
Maurice Ravel - Alborada del gracioso
|
G. Henle Urtext
Edited by Peter Jost In his “Autobiographical Sketch” Ravel looks back and stresses the importance of his “Miroirs” (HN 842), published in 1906, for his harmonic evolution. He said that they had “disconcerted even those musicians who had been most familiar with my compositional style up to then”. This is particularly true of the fourth piece in the collection, “Alborada del gracioso” (Morning song of the court jester), with its frequent employment of harsh dissonances. This both technically and musically charming genre scene, full of rousing ideas and rhythms, is one of the French composer’s best-known piano pieces today. Henle are now issuing it in a single Urtext edition. Performing Score on sale |
Johannes Brahms - Waltzes Op. 39
|
G. Henle Urtext
Edited by Katrin Eich Brahms’ Hungarian Dances count on brilliant and spirited virtuosity whereas his 16 Waltzes op. 39 are more modest and intimate. Yet they are just as haunting – who isn’t familiar with the gently rocking melody of no. 14 that is one of Brahms’ best-known musical ideas? His publisher must have had an inkling of the success of this collection, as shortly after its publication in its original version for piano four hands in 1866, he asked the composer for a version for piano solo. Henle are now publishing it in a revised edition, based on the musical text of the new Brahms Complete Edition. Performing Score on sale |
Hanns Eisler - Complete Edition Series IV, Volume 10: Piano Music I – Sonatas and Variations
|
Breitkopf
Edited by Johannes C. Gall and Christoph Keller The first volume of Hanns Eisler's piano works contains the three sonatas and a variation cycle. Surprisingly, it is precisely the rebel among the Schoenberg pupils who left behind a complex piano oeuvre. Among these works are two impressive works of exile, the Variations for Piano (1940) and the Sonata no. 3 (1943), which is considered as Eisler's most original and significant piano work. Since the first editions were quite unreliable, the Eisler Complete Edition presents the first authentic and correct musical text. CONTENTS: • Dritte Sonate für Klavier • Variationen für Klavier • Sonate für Klavier Op. 1 • Zweite Sonate für Klavier (in Form von Variationen) Op. 6 Performing Score on sale |
Nicholas Carleton, John Amner and John Tomkins - Keyboard Solos and Duets
|
Stainer and Bell
Edited by Alan Brown This is a unique collection of music by John Amner, Nicholas Carleton and John Tomkins that is the only surviving keyboard music by the respective composers. In addition to a pair of duets, in themselves an unusual feature from the period, there are two lengthy sets of variations, Amner's being a rare example of those on a metrical psalm or hymn-tune (possibly by Tallis in this case), John Tomkins's being more conventionally modelled on the variation sets of William Byrd. Nicholas Carleton's 'A verse of 4 parts' and 'Upon the sharp' include several examples of unusual chromatic notation and wide-ranging tonal schemes. CONTENTS Prelude (for two to play): Nicholas Carleton? A verse (In nomine) for two to play: Nicholas Carleton A verse of 4 parts: Nicholas Carleton Upon the sharp: Nicholas Carleton O Lord, in thee is all my trust: John Amner John come kiss me now: John Tomkins Performing Score on sale |
Jacobean Keyboard Music: An Anthology
|
Stainer and Bell
Edited by Alan Brown All eighteen pieces in this collection are reliably dated to the reign of James I, and whether by named composers or anonymous ones, appear in sources other than the notable virginal books preserved in the Fitzwilliam Museum, Cambridge. The contents demonstrate the variety of forms in the keyboard repertoire of this period, from plainsong-based compositions to dances by Orlando Gibbons. The 'Pretty ways for young beginners to look on', possibly by Thomas Tomkins, are a fascinating example of music contemporary to the time, written with the purpose of instructing musicians in the techniques of counterpoint. CONTENTS Prelude in d: Edward Gibbons Gaudent in caelis: Anon. Miserere: Anon. Upon a plainsong: Attrib. Orlando Gibbons Verse in G: Anon. Fantasia in a: John (or Thomas) Holmes Fantasia in G: Attrib. Orlando Gibbons Fantasia in G: Anon. Pavan in e: Anon. Galliard in C: Anon. Galliard in F: Anon. Fortune my foe: Anon. Alman in F: Thomas Tomkins Ballet in G: James Harding, arr. Anon. Coranto in C: Anon. Jig in G: Anon. Tomboy: Anon. Pretty ways for young beginners to look on: Anon. (Thomas Tomkins?) Performing Score on sale |
Johann Jacob Froberger - Volume VII of the Complete Works:
Works for Ensemble and Catalogue of the Complete Works
|
Bärenreiter Urtext
Edited by Siegbert Rampe Each volume in this bilingual edition of all the works by Johann Jacob Froberger (1617–1667) contains a Critical Commentary and a detailed Preface with sections on the edition’s scope and subdivisions, editorial method, and on performance practice, as well as discussions of contemporary instruments, ornamentation, and Froberger’s life. Volume VII now brings the complete edition to a close. It contains the two previously unpublished motets “Alleluja absorta est mors” (FbWV 701) and “Apparuerunt Apostolis” (FbWV 702), both for soprano, tenor, bass, two violins and continuo, as well as the “Capriccio in C” (FbWV 706) for four voices or four instruments. The appendix provides a catalogue of all Froberger works known to date (FbWV), including, as applicable, the incipit of each work and an entry on its instrumentation, date of composition, editions, and sources along with special comments. Another heading directs readers to the most important references in the secondary literature. Score and Set of Parts on sale (including catalogue of works) |
Frédéric Chopin - Berceuse D flat major op. 57
|
Henle Urtext
Edited by Norbert Müllemann Fingering by Hans-Martin Theopold Frédéric Chopin spent his fifth summer at George Sand’s country estate in Nohant in 1844. The time away from Paris gave the composer the necessary creative free space to produce the delicate Berceuse (lullaby) as well as the b minor sonata that year. The former is known for its dreamy, exquisite ambient sound – and yet it still numbers amongst Chopin’s most fabricated works. It was originally intended to have the somewhat sober title “Variantes”: a sketch shows how Chopin conceived these “Variantes”. The genesis and source situation are explored in Henle’s revised edition that reflects the latest scholarly findings. A classic with a new look in the Henle catalogue! Performing Score on sale |
Domenico Scarlatti - Selected Piano Sonatas, Volume IV
|
Henle Urtext Edited by Susanne Cox Eagerly awaited by countless pianists, a fourth Urtext volume with a selection of pieces from Domenico Scarlatti’s vast sonata output. Whereas in the three collections HN 395, 451 and 476 there is about an equal number of often played and rarely played pieces that were sure to reward the inquisitive, Volume IV is a compilation of “the best of Scarlatti”. In spite of the legendary fair copies from Venice and Parma that constitute the sources, the Scarlatti transmission remains complicated and rich in variants – a circumstance that we account for with a footnote apparatus. Even in these often played sonatas there are many surprising discoveries to be made. Scarlatti Volume IV – a treasure chest of Baroque keyboard gems! Performing Score on sale |
Georg Frideric Handel - Easy Handel Organ Album
|
Bärenreiter Urtext
Edited by Daniel Moult The “Easy Handel Organ Album” presents a wide overview of the composer’s sacred and secular works, forming an ideal basis for lessons and for introducing Baroque organ music. This selection comprises easy to moderately difficult Handel pieces for semi-professional church musicians and organists. All the pieces are also suitable for performance on smaller instruments. Contents From “Music for the Royal Fireworks”: Grave, Allegro, two minuets / From “the Water Music”: Air, Alla Hornpipe, Minuet, Coro / From “Berenice”: Minuet / From “Serse”: Largo / Further movements from “Judas Maccabaeus and Messiah” / “Movements from Organ Concerto” op. 4 no. 6 (arranged for solo organ by John Walsh) / From “Six Fugues” or “Voluntaries”: Fuga VI Performing Score on sale |
Erik Satie - Le fils des étoiles for Piano
|
Bärenreiter Urtext
Edited by Steffen Schleiermacher Satie’s progressive incidental music of 1891-92, though explicitly aimed against French “Wagnérisme”, is not intended as a parody. Commissioned by the Rosicrucian master and ardent Wagnerian Joséphin Péladan, this plain, purely instrumental music proceeds independently from the dramatic action. For the first time, this pioneering Urtext edition on Satie‘s incidental music evaluates a previously neglected autograph on the “Préludes”. In addition, the three popular “Préludes” are presented in both their versions. Notes on interpretation and a detailed foreword introduce this exciting, moderately difficult work, which formed the basis of Satie’s early reputation as a composer and which he considered one of his most important compositions. Performing Score on sale |
Antonín Dvorák - From the Bohemian Forest for Piano Duet
|
Bärenreiter Urtext
Edited by Antonín Cubr “From the Bohemian” Forest, a set of six character pieces for piano duet, was written at the turn of the year 1883-84 at the instigation of Dvorák’s publisher Fritz Simrock and appeared in print in the spring of 1884. After the “Slavonic Dances” and “Legends”, this was already his third cycle of piano duets to be inspired by much-loved locations. This edition presents the musical text from the “Complete Edition of the Works of Antonín Dvorák”, Series V/6. It includes a new Foreword by Ivana Rentsch and Hans-Joachim Hinrichsen assessing the latest findings in Dvorák scholarship. Contents 1. In the Spinning-Room (Na prástkách) 2. By the Black Lake (U Cerného jezera) 3. Walpurgis Night (Noc filipojakubská) 4. In Wait (Na cekání) 5. Silent Woods (Klid) 6. From Troublous Times (Z bourlivých dob) Performing Score on sale |
Erik Satie -Embryons desséchés for Piano
|
Bärenreiter Urtext
Edited by Jens Rosteck In the summer of 1913 Satie once more poked fun at himself and the world of music with a set of parodic piano pieces on various marine animals, giving it the grotesque title “Embryons desséchés” (Dessicated Embryos) (BA 10811). The notation without barlines, the ‘stories’ beneath the music and the spoofs of well-known pieces of music, most strikingly the Funeral March from Chopin’s Piano Sonata in B minor, make the work a barrel of musical fun. The atmospheric cycle “Avant-dernières Pensées” (Next-to-last Thoughts) (BA 10849) of 1915, with its underlaid words, likewise belongs to Satie’s ‘story pieces’. The curious performance instructions in these three miniatures, all based on ostinato figures, amusingly lampoon the ideal of Romantic expressiveness. These two Urtext editions faithfully adhere to the sources and reflect the latest findings of Satie scholarship. They contain translations of all of Satie’s French texts, practical page-turns, notes on performance practice by Satie specialist Steffen Schleiermacher and informative Forewords. The pieces range from an easy to moderate level of difficulty and provide an ideal additional varied repertoire for teaching purposes. Performing Score on Sale |
Johann Sebastian Bach - The Well-Tempered Clavier Book 1
|
Bärenreiter Facsimilie
Edited by the Bach-Archiv Leipzig The ‘Well-Tempered Clavier’ is the Old Testament, Beethoven's sonatas the New. We must believe in both - Hans von Bülow The preludes and fugues of “The Well-Tempered Clavier” embrace an entire cosmos of compositional devices and musical characters – the 'ne plus ultra' of ‘unity through diversity’. Here Bach not only presented the sum total of keyboard artistry in his day but foresaw its future evolution. His treatment of the keys marked a turning point in music history. The autograph score, originally a fair copy, contains later revisions and alterations reflecting the composer at work. This new facsimile edition presents the manuscript in high-quality four-colour reproduction. Bach authority Christoph Wolff provides a commentary to the work’s genesis and the characteristics of Bach’s handwriting. Martina Rebmann (Staatsbibliothek zu Berlin) describes the subsequent history of the autograph. Facsimile Score on sale |
Johannes Brahms: Klavierstücke Op. 119
|
Henle Urtext
Edited by Katrin Eich Johannes Brahms’ summer sojourn in 1893 in Bad Ischl was productive. Alongside the pieces Op. 118, he also wrote his last cycle of piano pieces, Op. 119. The composer wrote to Clara Schumann of the opening work, saying that it was teeming with dissonances and that: “every measure and every note must sound like a ritardando, as if one wanted to suck the melancholy out of each single one, with lust and pleasure out of the aforementioned dissonances!” Yet Op. 119 contains something for every mood: No. 3 surprises with its lively and light C major, and the cycle is completed with the defiant rhapsody in E flat major. Our revised edition, based on the Brahms Complete Edition, is an invitation to pianists to rediscover Brahms’ complex cosmos. Performing Score on sale |
Jean Sibelius: Piano Pieces
|
Urtext based on the Complete Edition "Jean Sibelius Works" (JSW)
Edited by Kari Kilpeläinen and Anna Pulkkis Jean Sibelius became acquainted with the piano in his early childhood. At first, he began on his own to pick out melodies and harmonies from the instrument, and soon he received his first piano lessons from his aunt. More than anything, the future composer liked to improvise on the piano, an activity that he would continue throughout his life. Sibelius composed for the instrument throughout his active career, conceiving more than one hundred and fifty original compositions for solo piano. The collection at hand includes a selection of eighteen compositions that stem from a period between 1887 and 1920. Sixteen of the compositions bear an opus number. In addition, this collection includes two works without opus number, Au crépuscule and Marche triste. The musical text of the present edition is based on the complete critical edition Jean Sibelius Works (JSW, Series V: Works for Piano). Sources and their evaluation are provided in the Critical Commentaries of the four volumes. Contact us at Clear Music for a complete contents list clearmusicaustralia@gmail.com Performing Score on sale |
Joseph Suk: Things Lived and Dreamt (for Piano)
|
Bärenreiter Urtext
Edited by Jarmila Gabrielová The cycle “Životem a snem” (Things Lived and Dreamt) by Josef Suk (1874–1935) is his magnum opus for the piano and has been called the “diary of an artist”. Although Suk’s musical language never exceeds the bounds of tonality, his wealth of resources, the flexible harmony, chords of stacked thirds and meticulous performance instructions were new to the Bohemia of his day. The autograph contains many cuts, overwritings and barely decipherable passages, yet it is carefully prepared and largely identical to the first edition of 1909. This first scholarly-critical edition takes all source variants into account for the first time. Performing Score on sale |
Franz Schubert: Sonata for Piano in c minor D 958
|
Bärenreiter Urtext
Edited by Walburga Litschauer Schubert’s great C minor Sonata D 958 was composed in 1828 just a few months before his death, along with the late sonatas in A major (D 959) and B-flat major (D 960). Conceived as a triptych, they constitute his musical testament to the piano sonata genre. This scholarly-critical edition by Walburga Litschauer is based on the “New Schubert Edition” and presents this masterpiece in a spacious new engraving. Notes on performance practice, especially on pedalling, and Schubert’s distinctive manner of writing accents, form a Foreword to the work. Rounding off the edition is a Critical Commentary which presents alternative readings of interest to performers. Schubert’s drafts for all four movements of the sonata can be accessed on Bärenreiter’s website. Performing Score on sale |
Ludwig van Beethoven: Sonata for Pianoforte in E flat major Op. 27 No. 1 and Sonata for Pianoforte in c sharp minor Op. 27 No. 2 "Moonlight Sonata"
|
Bärenreiter Urtext
Edited by Jonathan Del Mar At the dawn of the 19th Century Beethoven struck out on new paths with his two opus 27 sonatas, each of which he called a “sonata quasi una fantasia”. Both of them, in particular Sonata no. 2 which was later nicknamed the “Moonlight Sonata”, were destined for immortality. Jonathan Del Mar, second to none in his knowledge of Beethoven’s music, has obtained new readings in this fastidious scholarly-critical edition of these well-known pieces. One detail that is special to this edition is the notation of the pedal. The release of the pedal is notated exactly under the note where the pedal should be released. This is exactly the same notation as used by Beethoven. Spacious engraving and practical page turns ensure optimum pleasure for every pianist. A meticulously compiled Critical Commentary provides information on alternative readings and editorial decisions. Performing Score on sale |
Piano Duets: American Composers: Compiled and Edited by Michael Aston
|
Oxford University Press
This volume includes arrangements of celebrated chamber and orchestral works alongside original duets, in a survey of prominent composers and styles from the USA. It reflects the indigenous influences of jazz, ragtime, and folk music, and of European styles and genres. Authoritative and expertly edited, the collection is designed for intermediate pianists (Grades 5-7) and includes an historical and technical commentary on every piece. Performing Score on sale |
Alexandr Skrjabin: Complete Piano Sonatas Volume IV
|
Bärenreiter Urtext Edited by Christoph Flamm Volume IV of Skrjabin’s “Complete Piano Sonatas” unites Sonata No. 9 op. 68 (nicknamed “Black Mass” – but not by Skrjabin) and Sonata No. 10 op. 70. These two works originated virtually at the same time, in 1911-13 and 1912-13, respectively. Christoph Flamm has given both sonatas a fundamentally fresh look in this new Urtext edition. Exploiting all the autograph sources, including Skrjabin’s sketches and drafts, he has arrived at surprising new readings. His foreword sheds informative light on the genesis and significance of these pieces; the many variants are documented in detail in the Critical Commentary. The high editorial standards are complemented by spacious engraving and practical page-turns. Performing Score on sale |
Erik Satie: Nocturnes
|
G. Henle Verlag Urtext
Edited by Ulrich Krämer With the five Nocturnes composed in 1919, Satie concluded the series of cyclically organized piano pieces which, in a way, constitute the backbone of his oeuvre. As his models, he chose the eponymous pieces by John Field and Frédéric Chopin, borrowing not only the romantic, elegiac inflections, but also the tripartite form and rocking movement. Totally original, in turn, is the harmony which he devised according to his own system. Commenting on his Nocturnes, Satie once said: “This is a different expression of myself”. Indeed, the pieces, which are not difficult to play, seem unusually serious and far removed from the nonsense, parody and cabaret atmosphere that colour such a large part of his oeuvre. Performing score on sale |
Franz Schubert: Sonata for Piano in A major, D 959
|
Bärenreiter Urtext Edited by Walburga Litschauer Schubert composed his great Piano Sonata in A major just a few months before his untimely death in 1828. The balance this work strikes between lyrical melody, emotional intimacy and pianistic brilliance makes it a highlight among his sonatas, not least because of its poetic “Andantino”. This scholarly-critical edition by Walburga Litschauer is based on the Urtext of the “New Schubert Edition” and uses the autograph manuscript as the prime source. The edition is rounded off by a new foreword, valuable notes on performance practice as well as a Critical Commentary with information on performance-relevant alternative readings and Schubert’s notation of accents. Schubert’s drafts of the A major Sonata can be accessed on Bärenreiter’s website. Performing score on sale |
Erwin Schulhoff: Sonatas for Piano Nos. 1-3
|
Bärenreiter Urtext
Edited by Michael Kube With his works of the 1920s – an original blend of traditional genres, rhythms inspired by jazz and dance music and judiciously expanded tonality – the German-Czech composer Erwin Schulhoff captured the flavour of the times. This edition presents the piano sonatas that originated between 1924 and 1927. Michael Kube has edited this first ever scholarly-critical edition on the basis of the prints published in Schulhoff’s lifetime and compared these with the surviving handwritten sources. Not only have errors been corrected but peculiarities of Schulhoff’s notation have also been reconstructed. The principal source for Sonata No. 3 was the composer’s autograph fair copy. Performing score on sale |
Bärenreiter Piano Album. From Handel to Ravel for Piano
|
39 easy originals Edited by Michael Töpel lThis collection contains 39 easy-to-play piano pieces from the Baroque to the Early Modern period and presents an ideal repertoire for music schools and private music-making. Conceived as a current supplement to Bärenreiter’s popular anthology “Easy Classics for Piano” (BA 8758), it offers a wide-ranging repertoire which includes popular classical pieces but also small gems such as Chopin’s “Contredanse” in G-flat major as well as Satie’s “Berceuse” and “Méditation”. Tried and tested fingering by the experienced pianist and piano teacher Annette Töpel help players to learn the pieces more quickly. |
Isaac Albeniz: Suite Espagnole Op.47 and España 6 and Deux Danses espagnoles op. 164 & 165
|
Suite espagnole Op.47
Granada (Serenata F-Dur) Cataluña (Curranda g-Moll) Sevilla (Sevillanas G-Dur) Cadiz (Saeta Des-Dur) Asturias (Leyenda g-Moll) Aragon (Fantasia F-Dur) Castilla (Seguidillas Fis-Dur) Cuba (Notturno Es-Dur) Performance Score España 6 and Deux Danses espagnoles op. 164 & 165 España (6 Feuilles d'album pour piano): No. 1 Prélude No. 2 Tango No. 3 Malgueña No. 4 Serenata No. 5 Capricho Catalan No. 6 Zortzico Deux Danses espagnoles: No. 1 Jota aragonesa No. 2 Tango Performance Score |
Franz Schubert: Fantasies for Piano
|
Early evidence of Schubert's interest in music of the past can be found in his 'Fantasy in C minor' of 1811 (D 2 E), with its echoes of Mozart's fantasy in the same key. A recurring motivic snippet in the virtuosic 'Graz Fantasy' in C major (D 605 A), probably composed between 1818 and 1821, already foreshadows the monumental 'Wanderer Fantasy' of 1822 (op. 15 - D 760). Printed with spacious new engraving, BA 10862 unites Schubert's great fantasies for solo piano in a single volume and presents the early work 'Fantasy in C minor' for the first time in a scholarly-critical Urtext edition. It offers advanced pupils, students and professional pianists a richly varied, musically and technically thrilling addition to their repertoire. The edition features notes on performance practice, an informative preface, practical page turns and an elegant engraving.
The most famous of the fantasies, the 'Wanderer Fantasy', now appears in a separate edition (BA 10870). This is the first scholarly-critical performing edition of the Fantasy in C minor (D 2 E). While Schubert was playing the Wanderer Fantasy for a circle of friends, he faltered and exclaimed impatiently: The Devil should play this stuff!" Yet it wasn't the Devil but Liszt – like Schumann a great admirer of the piece – who later arranged the Wanderer Fantasy for piano and orchestra and again for two pianos. It was also Liszt who gave the work the nickname it has retained to the present day. Performance Score: |
Claude Debussy: Préludes for Piano
|
Debussy links the 12 Préludes in his first book not by a tonal scheme, but by means of a chain of associative mottos or titles which appear at the end of each piece and which may give a hint of the overall poetic content.
The musicologist Thomas Kabisch who specialises in Debussy's piano music has edited this Urtext edition based on the latest research findings, resulting in an authoritative publication. The edition has a clear layout, practical page-turns and fingering by the experienced teacher Martin Widmaier, professor of piano at the Robert Schumann University, Düsseldorf. This fingering traces musical lines and supports sensitive sound production. There are also special fingering exercises to assist in the learning of the chordal structures. Thus, this edition provides the necessary prerequisites for studying these works. Performance Score |
J. S. Bach/Feruccio Busoni: Chaconne from Partita no.2 in D minor arranged for Piano
|
Who isn't familiar with Johann Sebastian Bach's Chaconne, the final movement in his Partita in D minor for Violin solo? Time and again composers have been inspired to make this exceptional piece accessible for other instruments. Perhaps the best-known arrangement is by Ferruccio Busoni. Without distancing himself too greatly from Bach's original, he endeavours to transpose the virtuosity of the string writing onto the piano. Thus Busoni wrote for the piano in a way that congenially makes the most of the capabilities of the modern piano. This Urtext edition not only takes into account the traditional sources but also meticulously analyses in great depth a piano roll on which Busoni himself can be heard. The fingerings were provided by none other than Marc-André Hamelin.
Performance Score |
Johannes Brahms: Variations and Fugue on a Theme by Handel Op.24 for Piano
|
Edited by Christian Köhn
Christian Köhn is a pianist with a deep understanding of Brahms' piano music. Now he has edited a new Urtext edition of Brahms' variations (1861) on an eight-bar theme from Handel's "Keyboard Suite No.1" ("Suite de pièces de Clavecin", Vol.2). Köhn has drawn on every available source and incorporated the most recent musicological discoveries. With his fingering, a well-presented layout and optimum page turns, the volume meets all the demands of a practical performing edition. A detailed foreword illuminates the work's genesis and sources while presenting valuable information on contemporary performance practice. This scholarly-critical edition of the "Handel Variations" adds a central work to Bärenreiter's comprehensive series of Brahms' piano music in Urtext editions. Performance Score |
Bedrich Smetana: Vltava for Piano 4-Hands
|
Edited by Hugh Macdonald
"Vltava" (The Moldau) is Smetana's most famous and frequently performed tone poem. It was written between 20 November and 8 December 1874, but only in 1879-1880 with the completion of the entire cycle "Má vlast", did the full score and his version for piano duet appear in print. In addition to the orchestral version, Hugh Macdonald's new Urtext edition also includes the composer's own version for piano duet.
|
Dmitri Shostakovich: Symphony No. 10 (Arranged for Piano 4-Hands)
|
"Shostakovich's Tenth Symphony is 48 minutes of tragedy, despair, terror, and violence and two minutes of triumph. Since the end of the 1970s, the most widely accepted interpretation of the work has seen it as a deiction of the Stalin years in Russia, when between eight and 20 million people died as a direct or indirect result of Stalin's regime and when those who didn't lived in constant fear. Shostakovich certainly felt the capriciousness of Stalin's rule first-hand – he was publicly denounced, his works proscribed, and his status reduced to that of a "non-person." Friends and colleagues disappeared, many of them never to return. The horror of these years – and the collective sigh of relief that doubtlessly followed when Stalin died on March 5, 1953 – certainly make a plausible program for Shostakovich's Tenth."
- First Los Angeles Philharmonic performance on the 9th of November 1961 Clothbound Piano Reduction (4-Hands) Clothbound Full Score (Full Orchestral) |
Dmitri Shostakovich: Dances of the Dolls for Piano
|
Dmitri Shostakovich was already earning money as a pianist at a young age, as an accompanist for silent movies, for example. Up until the 1960s, he appeared in public as a pianist, usually playing his own works. Like Maurice Ravel, Shostakovich also made orchestral versions of his own piano pieces. The movements of the six-part suite of Dances of the Dolls, on the other hand, composed in 1952 for young piano pupils, initially existed as orchestral works from film, stage and ballet music of the 1930s. The Lyric Waltz is the fifth number from the Third Ballet Suite, which, in turn, is taken from the third act of the 1935 ballet “The Limpid Stream”, Op. 39. The Romance and Polka are also taken from this ballet. The Gavotte, on the other hand, is from the Third Ballet Suite. The First Ballet Suite is the source of the Waltz-Scherzo that bears the subtitle “The Little Ballerina”. The final dance is the only original composition of this distinctive suite.
Contents Lyrischer Walzer | Gavotte | Romanze Polka | Walzer-Scherzo | Drehorgel | Tanz Performance Score |
Erik Satie: 3 Morceaux en forme de Poire for Piano Duet (Piano 4-Hands)
|
In 1903, Satie composed his famous cycle for piano duet with the provocative and ambiguous title "3 Morceaux en forme de Poire". (In French, "poire" means "pear" but also "dimwit"). It is a detached and ironic commentary on the constraints of musical form. Now this cycle is being published in a scholarly-critical Urtext edition for the first time. Convenient page turns, a score format, translations of the French expression and tempo markings, Satie's enigmatic introduction, performance suggestions by the Satie specialist Steffen Schleiermacher and a detailed foreword by the renowned musicologist Jens Rosteck make the study and performance of these pieces a true pleasure.
• First scholarly-critical Urtext edition • Of an easy to moderate level of difficulty • Includes translations of all expression and tempo markings (Fr/Ger/Eng) • Detailed foreword (Ger/Eng) and Critical Commentary (Eng) Performance Score |
Johann Sebastian Bach: Goldberg Variations BWV 988
|
Bach’s “Goldberg Variations” have remained a challenge for every harpsichord player and pianist to the present day. One special problem with performances on a modern piano is that Bach wrote this work for a two-manual harpsichord.
Ragna Schirmer’s fingering offers the most convenient solutions for the many crossings of the hands necessary on the piano. She also took the engraving of the original print of 1741 as an important guide for dividing the parts between the hands. • Scholarly-critical Urtext performing edition based on the “New Bach Edition” • With fingering for performance on modern pianos as well as a commentary regarding the fingering • Division of parts between the hands based on Bach’s original print Performance Score |
Edward Elgar: Salut d'Amour Op.12 for Piano Solo
|
Edward Elgar’s Salut d’amour is one of those pieces by the British composer that has a particularly haunting melody. Composed in 1888 for his future wife Caroline Alice Roberts, the work became an enormous success early on. Notes in the surviving autographs for the versions for Violin and Piano (HN 1188), Violoncello and Piano (HN 1189) and Piano solo show that Elgar had intended making arrangements for numerous scorings – but only the three named versions were authorised through original manuscripts. Amongst these the piano version has a special significance: Caroline Alice Roberts was a piano pupil of Elgar’s and thus the composer might have rewritten the original for violin and piano for his fiancée and later wife. Alongside the first print, this edition also incorporated evaluations of Elgar’s autograph engraver’s copy for the first time.
Performance Score |
Franz Liszt: Sonata in B minor for Piano Solo
|
Liszt's "Sonata in B minor", which appeared in 1854, is of outstanding significance within the piano sonata genre. Bärenreiter presents this work – still a musical challenge for every pianist – in a scholarly-critical Urtext edition by Michael Kube. The musical text remains faithful to the sources and the latest in musicological research has been incorporated. A clearly structured musical layout and practical page turns offer the best possible prerequisites for studying and understanding this unique work.
Performance Score |
Wolfgang Amadeus Mozart: Works for Piano Duet
|
Mozart’s works for piano duet are amongst the most important contributions to this repertoire. This scholarly-critical edition based on the “New Mozart Edition” makes these works available in a revised form and includes a new foreword. This publication also contains an appendix with the fragments K. 497a
(Fr 1787i) and K. 500a (Fr 1791a) which are completed by Michael Töpel, as well as individual pieces for organ, mechanical organ and musical clock in transcriptions for piano duet. Informative forewords to the main part and the appendix together with explanatory notes on the evaluation of the sources complete this volume, which will be indispensable for both teachers and performers.
|
Modest Mussorgsky: Pictures at an Exhibition for Solo Piano
|
The catalyst for the piano cycle "Pictures at an Exhibition", composed in 1874, was a memorial exhibition held that year for the artist and architect Viktor Hartmann. He was a friend of Mussorgsky and had died in 1873. It is not only Mussorgsky's most important contribution to the piano repertoire, but through its relationship to Hartmann's pictures and the translation of this idea into a composition, the cycle holds a unique place in 19th century piano repertoire.
Performance Score |
Franz Schubert: Works for Piano Duet Vol. 3 for Piano Duet (Piano 4-Hands)
|
This edition marks the beginning of Bärenreiter's publication of Schubert's complete works for piano duet in scholarly-critical Urtext editions. It includes Schubert's late works, composed between 1826 and 1828 which are amongst the most important works in the piano duet repertoire.
Suggestions on performance practice by Mario Aschauer and a selection of passages on practical performing aspects from the critical commentary of the "New Schubert Edition" complete the edition, which presents the compositions in a clear score format. Contents: Variations on a Theme from L.J. Ferdinand Hérolds opera "Marie" Op.82, 1 (D908) Fantasy in f minor Op.103 (D940) Allegro in a minor Op.Post.144 (D947) Rondo in A Major Op.Post.107 (D951) Fugue in e minor Op.Post.152 (D952) Performance Score |
Gabriel Faure: Barcarolles and Valses-Caprices
|
Fauré's 13 "Barcarolles", composed over a period of almost four decades (1882–1921) are highly representative of his output for piano and are regarded as his most characteristic works. They reflect his breaking free from the Romantic idiom, particularly that of Chopin and Mendelssohn, developing an independent musical language in which he combined tradition and the emerging modernism.
Barcarolles - Performance Score Fauré's four "Valses-Caprices" (1882/83–1894) demonstrate various forms of his treatment of the waltz in combination with the free form of the caprice. The composer drew his inspiration for his "Valses-Caprices" in the first place from works such as Liszt's "Valse-Impromptu" and his "Valse à capriccio" and the famous "Valse-Caprice" by Anton Rubinstein.
These important groups of works are now made available in scholarly-critical Urtext editions based on the "Œuvres complètes de Gabriel Fauré" and reflect the latest state of research. Detailed forewords offer information on the genesis and significance of the compositions as well as valuable suggestions on historical interpretation. Valses-Caprices - Performance Score These two publications are:
|
Sergei Rachmaninoff: Corelli Variations Op.42
|
Rachmaninov wrote his well-known piano cycle in 1931, at a time when his great works for piano solo and the piano concertos had already made him very famous. Yet it is by no means the "work of an old man". The composer's variations on the theme "La folia" (taken from a sonata by Corelli) are like a series of fireworks on the piano. He once drily said to a friend, "All this mad running about is necessary in order to efface the theme".
Performance Score |
Sergei Rachmaninoff: Preludes Op.3 No.2, Op.23 and Op.32
|
Based on the Prélude in c sharp minor Op.3 No.2 written in 1892 that quickly became world-famous, Rachmaninov composed a further two collections of Préludes in the years up to 1910. These were also published as a complete volume in 1911. Based on the corresponding models by Chopin, Scriabin and their great forerunner J.S. Bach they comprise a cycle of 24 Préludes in all major and minor keys, but unlike the other ones are not organized systematically according to keys. A final highlight of late Romantic piano music.
Performance Score |
Sergei Rachmaninoff: Etudes-Tableaux Op.33, Op.39 and op.post.
|
With his Études-Tableaux Rachmaninov continued down the path that Chopin and Liszt had already set out on with their concert etudes: the most demanding technical tasks are presented in the form of expressive character pieces. Rachmaninov composed two cycles, each originally with nine Études-Tableaux. However, shortly before Opus 33 went to print, he removed three of the pieces. Several posthumous editions later reversed this decision. However, in our edition we follow the exact structure with six pieces as laid out by Rachmaninov for publication. The two surviving etudes that were not originally published are reprinted in an appendix to this Urtext edition.
Performance Score |
Antonin Dvorak: Slavonic Dances Op.46 and Op.72 for Piano Duet (Piano 4-Hands)
|
It was the "Slavonic Dances for Piano Duet" op. 46 which brought Antonín Dvorák unexpected international fame. An unerring business instinct led Fritz Simrock, at the beginning of 1878, to ask the Czech composer for some works for piano duet into which Dvorák incorporated musical themes from where he grew up.
Following in the footsteps of Brahms' Hungarian Dances, Dvorák refrained from a literal portrayal of individual kinds of dance. As a result, he created unique masterpieces of European music for domestic use and concert performance. This edition of both series of the "Slavonic Dances" is based on the "Complete Edition of the Works of Antonín Dvorák". The main sources are the first editions published by Simrock.
|
Claude Debussy: Images Books 1 and 2
|
Debussy confidently wrote to his publisher Jacques Durand in August 1905: "I believe – without unwarranted vanity – that these three pieces will prove to be good and that they will take a prominent place in the literature of piano music … to the left of Schumann or to the right of Chopin … as you like it".
Debussy's "Images", already popular during Debussy's lifetime, delight with their iridescent tone colour and dazzling harmonies "which reflect the newest discoveries in harmonic chemistry". The virtuosic second series is notated throughout on three staves. This Urtext edition of these pieces reflects the most recent scholarship and source analysis. Clear presentation, fingering by Tamara Stefanovich and valuable information on performance practice all offer optimal conditions for the study of the work. |
Erik Satie: 4 Ogives and 3 Gymnopedies
|
Satie's Ogives und Gymnopédies are milestones in the history of modern music. The four metrically free Ogives (meaning pointed arches) reflect the influence of the French New Gothic or Neo-Gregorian movement in architecture with their clear lines and echo effects. The three Gymnopédies proceed with a swaying, chordal momentum, and Satie's radically sparse writing makes ironic reference to the dance of young warriors in ancient Sparta during gymnopaedia rituals.
The pieces are easy to play and are ideal for teaching purposes. Information on performance practice by Satie specialist Steffen Schleiermacher offers insight into Satie's music aesthetics. |
