Böcker i Edition Peters-serien

Roy Howat's solo piano arrangement of Fauré's 'Dolly' (Op. 56), based on his Urtext revision of the original duet version, sits firmly within the French tradition of transcription, with its focus on elegance and clarity of texture. When appropriate, less essential notes are indicated by smaller note heads. Roy Howats Arrangement für Klavier solo von Gabriel Faurés "Dolly" op. 56 basiert auf seiner Urtext-Bearbeitung der ursprünglichen Duettfassung. Sie steht fest in der französischen Tradition der Transkription, die sich auf Eleganz und Klarheit der Textur konzentriert. Wo es angebracht ist, werden weniger wichtige Noten durch kleinere Notenköpfe gekennzeichnet.

The full collection of Bach's 6 English Suites (BWV 806-811), edited by Alfred Kreutz. The title "English Suites" is generally considered to derive from the fact that they are supposed to have been written by Bach for an English nobleman. This information is backed solely by the remark "Fait pour les Anglois" on the title page of the A major Suite on of the sources.However, if Bach had really composed the suites 'to order' more details of the commission would probably have survived - as in the case of the Goldberg Variations. It is in fact more probable that amongst Bach's pupils and friends the Suites became known as "English" to differentiate them from the shorter French Suites and perhaps because they vaguely followed some musical styles from England. Indeed their design does show a resemblance to Handel's Suites, published in London.Furthermore, E. Dannenreuther, author of Musical Ornamentation Vol. 1 (1893) indicated just how much the "English Suites" resemble those of Six Suites de Clevcin by Ch, Dieupart - who was active in London from 1707 to his death. In fact, Bach knew the Suites of Dieupart, and actually copied them with his own hand.Diese Ausgabe von Bachs 6 Englischen Suiten (BWV 806-811) wurde herausgegeben von Alfred Kreutz. Der Titel "Englische Suiten" wird im Allgemeinen auf die Tatsache zurückgeführt, dass sie von Bach für einen englischen Adligen geschrieben worden sein sollen. Diese Information wird allein durch den Vermerk "Fait pour les Anglois" auf dem Titelblatt der A-Dur-Suite gestützt, doch wenn Bach die Suiten wirklich "auf Bestellung" komponiert hätte, wären wahrscheinlich mehr Details des Auftrags erhalten geblieben - wie im Fall der Goldberg-Variationen. Es ist wahrscheinlicher, dass die Suiten unter Bachs Schülern und Freunden als "englisch" bekannt wurden, um sie von den kürzeren französischen Suiten zu unterscheiden, und vielleicht auch, weil sie vage einige musikalische Stile aus England aufgriffen. E. Dannenreuther, Autor von "Musical Ornamentation Vol. 1" (1893), wies darauf hin, wie sehr die "Englischen Suiten" denen der Six Suites de Clevcin von Ch. Dieupart ähneln, der von 1707 bis zu seinem Tod in London tätig war. Tatsächlich kannte Bach die Suiten von Dieupart und hat sie sogar eigenhändig abgeschrieben.

Jonathan Rathbone's arrangement of Three Folksongs, The Oak and the Ash, Swing Low, Sweet Chariot, and Nine Hundred Miles, for unaccompanied SATB choir. This work is part of the Kikapust choral series. Jonathan Rathbones Bearbeitung von Three Folksongs, The Oak and the Ash, Swing Low, Sweet Chariot, und Nine Hundred Miles, für Chor a cappella, SATB. Dieses Werk ist Teil der Chorserie Kikapust.

Il barbiere di Sivglia is a comic opera by Gioachino Rossini in two acts, with a libretto by Cesare Sterbini , based on the French comedy of the same name by Pierre Beaumarchais from 1775.Il barbiere di Sivglia ist eine komische Oper in zwei Akten von Gioachino Rossini mit einem Libretto von Cesare Sterbini nach der gleichnamigen französischen Komödie von Pierre Beaumarchais aus dem Jahr 1775.

A wonderful arrangement for choir SSAATTBB by Jonathan Rathbone (formerly Musical Director of the Swingle Singers) of the ever-popular Largo from Dvorak's New World Symphony.

A wonderful arrangement for choir SSAATTBB by Ben Parry of the ever-popular Mozart's Magic Flute Overture.Ein wunderbares Arrangement für Chor SSAATTBB von Ben Parry der allseits beliebten Zauberflöten-Ouvertüre von Mozart.

Jonathan Rathbone composed his carol 'The Oxen' in 1991 for the Swingle Singers. Its profoundly beautiful setting of Thomas Hardy's text captures the profundity and hopefulness of the Christmas Season. Vocal Score.Jonathan Rathbone komponierte sein Weihnachtslied "The Oxen" im Jahr 1991 für die Swingle Singers. Die wunderschöne Vertonung des Textes von Thomas Hardy fängt die Tiefgründigkeit und Hoffnung der Weihnachtszeit ein. Chorpartitur.

O Come, O Come, Emmanuel, part of the Kikapust Choral Series, arranged for SSAATTBB choir by Jonathon Rathbone. As recorded by the Swingle Singers on The Story of Christmas.O Come, O Come, Emmanuel, Teil der Kikapust Choral Series, arrangiert für SSAATTBB Chor von Jonathon Rathbone. Eingespielt von den Swingle Singers auf The Story of Christmas.

This is the first ever complete critical edition of Duparc's songs. Edited by Roger Nichols, the elegantly presented music is supported by a fully comprehensive Critical Commentary which illuminates as never before the compositional stages of these beautiful songs. Roger Nichols' international reputation as a leading authority on French music makes this edition essential for all singers who perform, study or teach these melodies.'This new Peters Edition of Duparc songs is most welcome. In beautiful clear print, it contains not only a great deal of useful information but also a pronunciation guide for the French and best of all, translations, something the young singer or student will find invaluable. I could not recommend it more highly.' Dame Janet Baker

This complete edition of the Mozart Sonatas for Keyboard and Violin has been researched and prepared by Cliff Eisen, one of the most distinguished Mozart scholars of our time. Professor Eisen recognises that many of the apparent inconsistencies and idiosyncrasies of Mozart's notation are perfectly deliberate, and that the attempts in many other editions to impose uniformity upon similar phrases or musical paragraphs can be misguided. As he writes in the preface: 'the notion that the classical style represents a model of symmetry, balance and clarity is for the most part a 19th-century fiction. . .it has little to do with Mozart's actual practice, which is based primarily on variety of both content and articulation. So in this new edition, alternative readings found in parallel passages are preserved, rather than being sterilised by a spurious quest for conformity. Naturally all such instances are noted within the Critical Commentary. The highly individual beaming within Mozart's autographs is also respected in the new edition, as this often contributes to our aural perceptions of phrase structure and accent. Professor Eisen is conscious that there is no single 'Urtext' for this music. On the contrary he believes that 'there is compelling evidence that Mozart's later performances of his works were characterised by changes - sometimes substantial changes - in the musical text'. It is the achievement of this edition to indicate how far this freedom of musical expression can extend, and as such it is likely to take pride of place in the collections of all those involved in the study and performance of these masterpieces.Mozarts Violinsonaten Band 3. Die drei neuen Ausgaben beruhen auf allen verfügbaren authentischen Quellen, Manuskripten und Editionen, die sich direkt auf Mozart zurückführen lassen. Dazu gehören die autographen Niederschriften des Komponisten sowie die Erstausgabe der zu seinen Lebzeiten erschienenen Violinsonaten. Bei den Sonaten KV 301306 berücksichtigt die vorliegende Urtextausgabe  in stärkerem Maß als andere moderne Editionen  den Notentext des Erstdrucks, da dieser vermutlich auf Autographkopien zurückging, in die von Mozart autorisierte Lesart-Änderungen eingeflossen sind.

Sight-reading is one of the most important yet neglected skills for any musician, and an important component of Associated Board and other music exams. Right@Sight for Cello contains 80 pieces designed to help students master the art of sight-reading. The pieces are carefully graded to help student's progression from one grade to the next. Guidance notes using the mnemonic TRaK (Time, Rhythm and Key) help students develop a disciplined approach. Duet parts for teachers to play along with their students during lessons encourage confident playing. The CD accompaniment to the solos has been provided to enable students to practice sight-reading between lessons. Each accompaniment on the CD is played twice, separated by metronome clicks which maintain the pulse.

Mozart's Violin Sonatas Volume 2. This complete edition of the Mozart Sonatas for Keyboard and Violin has been researched and prepared by Cliff Eisen, one of the most distinguished Mozart scholars of our time. Professor Eisen recognises that many of the apparent inconsistencies and idiosyncrasies of Mozart's notation are perfectly deliberate, and that the attempts in many other editions to impose uniformity upon similar phrases or musical paragraphs can be misguided. As he writes in the preface: 'the notion that the classical style represents a model of symmetry, balance and clarity is for the most part a 19th-century fiction. . .it has little to do with Mozart's actual practice, which is based primarily on variety of both content and articulation. So in this new edition, alternative readings found in parallel passages are preserved, rather than being sterilised by a spurious quest for conformity. Naturally all such instances are noted within the Critical Commentary. The highly individual beaming within Mozart's autographs is also respected in the new edition, as this often contributes to our aural perceptions of phrase structure and accent. Professor Eisen is conscious that there is no single 'Urtext' for this music. On the contrary he believes that 'there is compelling evidence that Mozart's later performances of his works were characterised by changes - sometimes substantial changes - in the musical text'. It is the achievement of this edition to indicate how far this freedom of musical expression can extend, and as such it is likely to take pride of place in the collections of all those involved in the study and performance of these masterpieces.Mozarts Violinsonaten Band 2. Die drei neuen Ausgaben beruhen auf allen verfügbaren authentischen Quellen, Manuskripten und Editionen, die sich direkt auf Mozart zurückführen lassen. Dazu gehören die autographen Niederschriften des Komponisten sowie die Erstausgabe der zu seinen Lebzeiten erschienenen Violinsonaten. Bei den Sonaten KV 301306 berücksichtigt die vorliegende Urtextausgabe  in stärkerem Maß als andere moderne Editionen  den Notentext des Erstdrucks, da dieser vermutlich auf Autographkopien zurückging, in die von Mozart autorisierte Lesart-Änderungen eingeflossen sind.

Aram Khachaturian's Sonatina in C Major for Piano, written in 1958/59. **ABRSM selected piece (Piano 2019-2020): Allegro (1st movt from Sonatina in C, Op. 60 No. 3).

3 Sonatas for Two Violins Op. 3, No. 2, 4, 6 by French Baroque composer and violinist Jean-Marie Leclair. Edited by Carl Herrmann. Includes 2 separate violin parts. Die Ausgabe der drei Sonaten für zwei Violinen op. 3, Nr. 2, 4 und 6 des französischen Barockkomponisten und Geigers Jean-Marie Leclair, herausgegeben von Carl Herrmann, enthält zwei separate Violinstimmen.

Sight-reading is one of the most important yet neglected skills for any musician, and an important component of Associated Board and other music exams. Right@Sight for violin contains a carefully graded sequence of around 60 pieces, helping students master the art of sight-reading. The mnemonic TRaK (Time-signature, Rhythm and Key) system and student/teacher duets encourage a disciplined approach and confident playing. Right@Sight contains everything a violinist needs to develop sight-reading skills both during and between lessons.

Bach's Brandenburg Concerto No. 3 in G (BWV 1048), arranged for solo piano by Thomas A. Johnson. (the original concerto is scored for 3 violins, 3 violas, 3 violoncelli, and basso continuo).Bachs Brandenburgisches Konzert Nr. 3 in G-Dur (BWV 1048) für Streichorchester, in der vorliegenden Ausgabe bearbeitet für Klavier solo von Thomas Arnold Johnson.

Organ Voluntaries, Vol. 2, Op. 6, by John Stanley is a collection 10 organ voluntaries and the second of 3 volumes. The complete work, The Thirty Organ Voluntaries provide examples of several well defined forms of composition. These are as follows: cornet voluntary, trumpet voluntary, echo voluntary and full voluntary, Ten Organ Voluntaries op. 6, Band 2, von John Stanley ist eine Sammlung von 10 Orgelvoluntaries und der erste von drei Bänden. Das Gesamtwerk "The Thirty Organ Voluntaries" bietet Beispiele für verschiedene Kompositionsformen wie Cornet Voluntary, Trumpet Voluntary, Echo Voluntary und Full Voluntary.

Centenary Song Album introductory notes by Beryl Foster and foreword by the curator of the Grieg Museum, Troldhaugen. The publication includes a CD which contains: spoken lyrics, recorded by native speakers, to help singers with pronunciation study versions of the songs, with both melody and simplified accompaniments played on the piano.Anlässlich des 100. Todesjahres von Edvard Grieg erscheint in der Edition Peters die vorliegende Sonderausgabe mit Griegs beliebtesten Liedern. Als Ergänzung der Standardeditionen (mit deutscher und englischer Übersetzung der Liedtexte) enthält das Jubiläums-Liederalbum die norwegischen bzw. deutschen Original-Liedtexte auch in Lautschrift; geboten wird außerdem noch eine wortgenaue Übersetzung ins Deutsche und Englische. Zur Ausgabe gehört eine CD, die das Einstudieren der Lieder erleichtert.

Saint-Saëns' Danse macabre has long been available in the composer's own sizzling transcription for two pianos. By contrast, the standard piano duet arrangement of the piece (by Ernest Guiraud) appears to have been derived from the orchestral score and is often disappointingly thin. An obvious solution was to make the present new duet arrangement, following the composer's two-piano version as closely as possible. As a symphonic poem Danse macabre was elaborated (in 1874) from Saint-Saëns' earlier song-setting of a poem by Henri Cazalis - a sort of French Tom O'Shanter without the chase, in which the devil, playing a mistuned fiddle, conjures skeletons from their graves at midnight into a macabre dance (Cazalis' profession as a doctor doubtless fed his imagination). Saint-Saëns' orchestral version was the first orchestral score to use a xylophone, in a tune that he later recycled for "Fossils" in Carnaval des animaux.Saint-Saens selbst hatte seine sinfonische Dichtung Danse macabre für zwei Klaviere bearbeitet. In dieser klangvollen Version war das Werk lange erhältlich. Standard wurde allerdings eine von der Orchesterpartitur abgeleitete und oft enttäuschend dünne Bearbeitung von Ernest Guiraud. Die vorliegende Ausgabe führt wieder zu Saint-Saens Bearbeitung zurück, in dem sie sich so genau wie möglich an dessen Version hält.

Two Episodes from Lenau's Faust: The Procession by Night and The Dance in the Village Inn: First Mephisto Waltz, transcribed for piano solo by Franz Liszt. Critical edition by Leslie Howard including a preface detailing the history, sources used, editor's notes; and Lenau's original texts.

One of his largest keyboard works, Faure's Theme and Variations dates from between his Sixth and Seventh Nocturnes, whose moods and (sounding) keys it shares. In September 1895 Faure wrote to his writer friend Eugene d'Eichtal, "I'm at grips with the final variation, the conclusion of a 'theme varie' for piano. I don't know if the piece is good but I'm sure I'm not surprising you by saying it's very difficult!" Only in late 1896, though, did Faure have the Theme et variations ready for performance and publication. The present edition, based on a wide range of sources, addresses many editorial issues, in particular some problems of tempo that have long affected the work's overall structure and continuity. Gabriel Faurés Théme et variations op. 73, eines seiner größten Klavierwerke, entstand zwischen seinem Sechsten und Siebten Nocturnes, deren Stimmungen und (klingende) Tonarten es teilt. Im September 1895 schrieb Fauré an seinen Schriftstellerfreund Eugene d'Eichtal: "Ich bin mit der letzten Variation, dem Schluss einer 'Theme varie' für Klavier, beschäftigt. Ich weiß nicht, ob das Stück gut ist, aber ich bin sicher, dass ich dich nicht überrasche, wenn ich sage, dass es sehr schwierig ist!" Doch erst Ende 1896 hatte Fauré das Théme et variations aufführungs- und veröffentlichungsreif. Die vorliegende Ausgabe, die sich auf eine Vielzahl von Quellen stützt, befasst sich mit zahlreichen redaktionellen Fragen, insbesondere mit einigen Problemen des Tempos, die lange Zeit die Gesamtstruktur und Kontinuität des Werks beeinträchtigt haben.

Italian songs and arias of the 17th and 18th century have for many years been essential repertoire for anyone learning to sing. But this music is principally known in romantic adaptations which the original composers would barely recognize.This new collection of 30 songs and arias (based on the "standard" 24, together with other pieces in the Italian style) recreates the clearer and cleaner-and easier to play accompaniment style of the 17th and 18th centuries. In addition to authentic editions of the music, the book contains invaluable information which will help singers interpret and perform this repertoire:word-by-word translations (Italian-English) of the English singing translationsIPA transliterations of the Italian texthistorical notes about each songA CD containing recordings of the piano accompaniments is included with the book.Italienische Lieder und Arien des 17. und 18. Jahrhunderts gehören zum grundlegenden Repertoire für jeden Sänger. Oft liegt diese Musik aber nur in romantischen Bearbeitungen vor. Diese Sammlung rekonstruiert den klareren, reineren und oft auch leichter spielbaren Begleitstil der Epoche.

Three keys in one version. Schubert's text for Ave Maria is not the Latin prayer to the Virgin but the heartfelt words of Ellen Douglas in Sir Walter Scott's verse-novel, The Lady of the Lake, set in the early part of the sixteenth century. Ellen is going with her father to Stirling, where he intends to give himself up to the King to prevent a bloody war. They take refuge for the night in a wild and rocky place, reputedly haunted by "fays and satyrs". Her "melting voice attends the strings" of the harp of their faithful minstrel, Allan-bane. Notes by Gordon Stewart.Drei Stimmlagen in einem Heft. Ausgaben für Singstimme und KlavierWelche Tonart brauche ich heute? Mit dieser Frage beschäftigen sich seit jeher Sänger und ganz besonders Gesangslehrer. Solosänger wollen ein Stück vielleicht in einer anderen Tonart aufführen; Gesangslehrer benötigen meist verschiedene Stimmlagen für ihre Schüler.

Sonatas Volume 1 (Nos. 1 to 3 in E minor, G minor and G major) by Handel for flute and piano. Sonaten Band 1 (Nr. 1 bis 3 in e-Moll, g-Moll und G-Dur) von Händel für Flöte und Klavier.

Debussy Etudes, Books 1 & 2, complete in one volume for solo piano, edited by Hans Swarsenski. Claude Debussys Etüden, Hefte 1 und 2, hier komplett in einem Band für Klavier solo, herausgegeben von Hans Swarsenski.

Beethoven's Horn Sonata in F (Op. 17) for horn and piano. Also includes alternate versions for Violoncello/Violin and Piano. Diese Ausgabe von Ludwig van Beethovens Sonate F-Dur op. 17 für Horn und Klavier enthält auch eine alternative Version für Violoncello oder Violine und Klavier, bearbeitet von Friedrich Hermann, herausgegeben von Friedrich Grützmacher.

Volume 4 of the celebrated 113 exercises for Violoncello by Justus Johann Friedrich Dotzauer contains exercises Nos. 86-113. Selected, progressively arranged and fingered by Johanns Klingenberg.Band 4 der berühmten 113 Übungen für Violoncello von Justus Johann Friedrich Dotzauer enthält die Übungen Nr. 86-113. Ausgewählt, fortlaufend bearbeitet und mit Fingersätzen versehen von Johanns Klingenberg.

Pierre Rode's Concerto No. 7 in A Minor arranged for violin and piano, edited by Walther Davisson. Das Konzert Nr. 7 in a-Moll op. 9  für Violine und Orchester von Pierre Rode liegt hier in einer Bearbeitung für Violine und Klavier vor, Herausgeber ist Walther Davisson.

Schumann's Piano Concerto in A minor (Op.54). Schumann wrote his only piano concerto for his wife Clara. Originally it was conceived as a single movement fantasy. Unlike many virtuoso concertos of its day, which see the virtuoso pianist contrasting with the orchestra, the soloist is treated here as a member of the orchestra and integrated into the overall sonority.Schumanns Klavierkonzert in a-Moll op.54. Robert Schumann schrieb sein einziges Klavierkonzert für seine Frau Clara. Ursprünglich war es als einsätzige Phantasie angelegt. Im Gegensatz zu den zahlreichen Klavierkonzerten der Zeit, in denen der Solist mit pianistischer Virtuosität im Vordergrund steht, wurde der Solopart in Schumanns Klavierkonzert eher sinfonisch behandelt und in den Orchesterklang integriert.