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Liszt's Concerto No. 2 in A major for piano and orchestra. This edition for 2 pianos is edited with an orchestral reduction for accompanying piano by Emil von Sauer.Liszts Konzert Nr. 2 in A-Dur für Klavier und Orchester. Klavierauszug von Emil von Sauer.

The first of 2 volumes of Hungarian Rhapsodies which makes up the first volume of Liszt's Piano Works. Edited by Emil von Sauer, this edition contains Rhapsodies 1-8.

Carl Maria von Weber's Grand Duo Concertante Op. 48 for clarinet or violin and piano.Grand Duo concertant Es-Dur op. 48 für Klarinette (Violine) und KlavierCarl Maria von Webers Grand Duo Concertante Op. 48 für Klarinette oder Violine und Klavier.

29 studies selected from Gradus ad Parnassum by Clementi, edited by Carl Tausig.

Composed in 1851, these 'Märchenbilder' ('Fairy Tale Pictures') for viola or violin and piano are wonderful examples of Schumann's dreamlike fantasy world. Includes piano score and separate viola and violin parts.Diese 1851 komponierten "Märchenbilder" für Viola oder Violine und Klavier sind wunderbare Beispiele für Schumanns träumerische Fantasiewelt. Klavierauszug mit separaten Stimmen für Viola und Violine.

Holberg Suite written by Grieg for piano solo. This piece was composed in 1884, commissioned for the 200th anniversary of Ludwig Holberg's birth. It was originally for piano, and later was arranged for string orchestra, which is the more well-known work.

Grieg's Sonata in E minor Op.7, for solo piano. Grieg's Sonata in e-Moll Op.7, für Klavier.

The complete collection of Frederic Chopin's Mazurkas for Solo Piano, edited by Herrmann Scholtz and Bronislaw von Pozniak.Mazurkas für KlavierDie vollständige Sammlung von Frederic Chopins Mazurkas für Klavier, herausgegeben von Herrmann Scholtz und Bronislaw von Pozniak.

6 duos for 2 violins by Ignaz Pleyel, Opus 24. Edited by Carl Herrmann. Suitable for intermediate violinists. Includes 2 separate violin parts.  6 Duos für 2 Violinen von Ignaz Pleyel, Opus 24. Herausgegeben von Carl Herrmann. Geeignet für fortgeschrittene Geiger. Enthält 2 separate Violinstimmen.

John Field is credited as the true 'inventor' of the Nocturne. After experimenting with other names such as Pastorale, Serenade, and Romance, he settled on Nocturne" when his first one was published in 1812. Field's Nocturnes follow no known form, nor do they develop a given theme. Instead, they set up a mood and atmosphere of tenderness and dreaminess combined with a continuous flow of beautiful melody that appeals directly to the listener's willingness to share an emotion, mostly of consoled sadness. It was Field's Nocturnes that greatly influenced Chopin, who absorbed the emotional characteristics of the Nocturne style and used them to create his own unique expressive compositions. "

The 16 concertos, arrangements of various instrumental concertos by Vivaldi, Marcello, Telemann, Duke Joh. Ernst of Saxe-Weimar and others, were first published in print at 1850-1860. The cause and purpose of the transcriptions are not, as originally assumed, Bach's exercises in the then new Italian concerto style, but rather to be found in the practice of the time, which could not enjoy the new concerto style enough and sought to create the pleasurable interplay of solo and tutti itself on the harpsichord, especially as the registration possibilities here allowed the two bodies of sound to be emphasised sharply.

Composed in 1875, and premiered by Hans von Bulow as solo pianist in Boston, USA, Tchaikovsky's First Piano Concerto has maintained its place at the top of the most popular piano concertos ever since. This classic edition, edited by Robert Teichmuller, is the practical performer's choice - beautifully bound and printed on cream paper with weight, opacity and grain direction optimal for music publications. Contains a secondo piano reduction of the orchestral accompaniment (two copies required for performance).Klavierkonzert Nr. 1 b-Moll op. 23 (Ausgabe für 2 Klaviere)Peter Tschaikowskys erstes Klavierkonzert in b-Moll verwebt erfolgreich und äußerst komplex bis ins Detail ausgearbeitete, rhythmische Läufe mit Zitaten aus osteuropäischen Volksliedern. Deshalb verwundert es, dass das Konzert bei seiner Uraufführung nur wenig gefallen hat. Denn als Tschaikowsky es seinem Freund und Lehrer Nikolai Rubinstein das erste Mal vorspielte, war dieser wenig begeistert und kritisierte es als "bruchstückhaft, unzusammenhängend und armselig komponiert". Erst mit Hans von Bülow, an den Tschaikowsky es anschließend schickte, hatte es den ersten Verehrer und bald großen Erfolg auf der Bühne gefunden. Bis heute ist es eines der meistgespielten Klavierkonzerte, und das zu Recht, vereint es doch immense Wucht mit zarten, lyrischen Melodien und einer atemberaubend schwierigen Klavierstimme.

In preparing this Urtext edition of Ravel's piano music, Roger Nichols consulted no fewer than 14 sources - including sound recordings by Ravel himself and other pianists with whom the composer worked. As a result he is uniquely qualified to evaluate the complexity of the sources and, with this edition, has provided today's pianists with the tools to make their own well-informed performance choices about this infinitely-rewarding repertoire. Prefatory text in English, French and German.Bei der Vorbereitung dieser Urtextausgabe von Ravels Klaviermusik hat Roger Nichols nicht weniger als 14 Quellen konsultiert - darunter Tonaufnahmen von Ravel selbst und anderen Pianisten, mit denen der Komponist zusammengearbeitet hat. Dadurch ist er in einzigartiger Weise qualifiziert, die Komplexität der Quellen zu bewerten, und mit dieser Ausgabe hat er den Pianistinnen und Pianisten von heute das Handwerkszeug an die Hand gegeben, um ihre eigenen, gut informierten Aufführungsentscheidungen für dieses unendlich lohnende Repertoire zu treffen. Einleitender Text in Deutsch, Englisch und Französisch.

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.

Version for Cello and Piano of Schumann's Fantasy Pieces (Op. 73), originally for clarinet and piano but sanctioned by Schumann for performance on viola or cello. Contains Piano Score and separate Cello Part.Diese Version von Robert Schumanns Fantasiestücken op. 73 für Klarinette und Klavier wurde von Friedrich Grützmacher für Violoncello und Klavier bearbeitet. Schumann hatte bereits Aufführungen auf der Bratsche oder dem Cello genehmigt. Diese Ausgabe enthält den Klavierauszug und eine separate Cellostimme.

Mozart's Violin Sonatas Volume 1. 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 1. 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.

1849 was a highly productive year for Schumann. It was also during this period that he wrote this Adagio and Allegro, in which he explored the tonal possibilities of the recently invented valve horn.1849 war für Schumann ein höchst produktivstes Jahr. In diesem Zeitraum schrieb er auch das vorliegende Adagio und Allegro, in dem er sich mit den klanglichen Möglichkeiten des erst kürzlich erfundenen Ventilhorns beschäftigte.

Jonathan Dove's Treasures in Heaven is a 6.5 minute work for organ and SATB choir which sets Matthew 6:19-21 from the Bible, a text that exhorts the reader to gather treasures in heaven rather than on earth since where the treasure is, there will also be our hearts. The energetic piece is driven from the organ part with the choir singing in rhythmic but homophonic blocks.It was commissioned by Lord Crewe's Charity on the occasion of its tercentenary, in memory of the life and charitable foundation of Nathanial, Lord Crewe and premiered by the Choir of Durham Cathedral on 18 September 2021.This edition (EP 73595) is the choral leaflet, which includes the organ part.

Pavane pour une Infante défunte for solo piano. In preparing this Urtext edition of Ravel's piano music, Roger Nichols consulted no fewer than 14 sources - including sound recordings by Ravel himself and other pianists with whom the composer worked. As a result he is uniquely qualified to evaluate the complexity of the sources and, with this edition, has provided today's pianists with the tools to make their own well-informed performance choices about this infinitely-rewarding repertoire.Pavane pour une Infante défunte. Bei der Vorbereitung dieser Urtextausgabe von Ravels Klaviermusik hat Roger Nichols nicht weniger als 14 Quellen herangezogen - darunter Tonaufnahmen von Ravel selbst und anderen Pianisten, mit denen der Komponist zusammenarbeitete. Dadurch ist er in einzigartiger Weise in der Lage, die Komplexität der Quellen zu bewerten, und mit dieser Ausgabe hat er den Pianisten von heute das Handwerkszeug an die Hand gegeben, um ihre eigenen, fundierten Aufführungsentscheidungen für dieses unendlich lohnende Repertoire zu treffen.

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

Daníel Bjarnason's Brothers is an opera in three acts. The 100-minute work, with a libretto by Kerstin Perski, is based on the screenplay of the same name by Susanne Bier and Anders Thomas Jensen. Commissioned by the Danish National Opera / Den Jyske Opera, the opera follows a miliary officer after he returns home from the war in Afghanistan, finding that his relationship with his family has changed forever. The first performance took place on 16 August 2017 at Musikhuset Aarhus. This Edition Peters product is the opera vocal score. The full score and parts are available to hire.

Composed in 1877, 'O Heiland, reiss die Himmel auf' was dedicated, like its companion work, to the Bach scholar Philpp Spitta and thus acknowledges the influence of Brahms's great forebear on this composition. Vocal Score in English and German, Choir SATB. Score has piano reduction for rehearsal.Johannes Brahms schrieb "O Heiland, reiss die Himmel auf" op. 74 Nr. 2 1877 und widmete diese Motette wie deren Pendent "Warum ist das Licht gegeben den Mühseligen", dem Bach-Gelehrten Philpp Spitta. Damit anerkennt Brahms den Einfluss von Bach auf diese Komposition. Die Noten sind in Englisch und Deutsch für vierstimmigen gemischten Chor.

Urtext Edition by Johannes Fischer Go and read Shakespeare's Tempest." That was the advice Beethoven gave to his biographer, Anton Schindler, when asked about this work. Whether the nickname "Tempest" is justified or not, the outside movements are unquestionably propelled by a driving momentum."

While working on his final piano sonatas Beethoven was commissioned to write a large number of folk song arrangements, most of them to English melodies (Ye Shepherds; Faithfu' Johnnie; The Soldier; The Chase of the Wolf; etc.).  A selection of these appears in this revised edition. The 15 pieces are grouped into trios, duets and solo songs for every register and make a welcome addition to every Lieder. The separate vocal score makes the pieces easier for singers to perform as all stanzas are placed directly beneath the lines of the music.Während der Arbeit an seinen letzten Klaviersonaten erhielt Beethoven den Auftrag, eine große Anzahl von Volksliedbearbeitungen zu schreiben, die meisten davon zu englischen Melodien (Ye Shepherds; Faithfu' Johnie; The Soldier; The Chase of the Wolf; usw.). Eine Auswahl davon erscheint in dieser überarbeiteten Ausgabe für Gesang, Geige, Violoncello und Klavier. Die 15 Stücke sind in Terzette, Duette und Sololieder für jede Stimmlage geordnet und stellen eine willkommene Ergänzung zum Liedrepertoire dar. Die separate Vokalpartitur (EP11251a) erleichtert den Sängerinnen und Sängern die Aufführung der Stücke, da darin alle Strophen direkt unter die Notenzeilen gesetzt erscheinen. Enthält Einzelstimmen für Geige und Violoncello.

The viola part for Bruckner's Te Deum (1884) for solo, choir, orchestra and organ, edited from the sources by Christiane a Campo. Regarded by Anton Bruckner himself as the 'pride of my life' and 'my best work'.Die erste Bratschenstimme zu Bruckners Te Deum (1884) für Soli, Chor, Orchester und Orgel, herausgegeben von Christiane a Campo nach den Quellen. Von Anton Bruckner selbst als der "Stolz meines Lebens" und "mein bestes Werk" bezeichnet.

Hans-Joachim Schultze's classic edition of the F Minor Harpsichord Concerto BWV 1056. Edition for 2 keyboards, containing original solo part and secondo keyboard reduction of the orchestral accompaniment (2 copies required for performance).Urtextausgabe von Bachs f-Moll Cembalokonzert BWV 1056, herausgegeben von Hans-Joachim Schultze. Dieser Klavierauszug ist so konzipiert, dass die erste Stimme (Klavier 1) die Bearbeitung der Solostimme ist, während die zweite Stimme (Klavier 2) die Orchesterbegleitung übernimmt. (zur Aufführung 2 Exemplare erforderlich).

The Davidsbund" - a group of artists who had joined forces in a revolutionary struggle against the backward structures in the artistic world, amongst whose members he counted both real and imaginary people - only existed in Schumann's imagination. He published the first edition of his "Davidstänze" under the pseudonym "Florestan and Eusebius" - the two characters that represented contrasting (impetuous and gentle) aspects of his own self. Clara Wieck, to whom he unsuccessfully proposed several times whilst writing it, is also represented; "more than anything" he dedicated these dances to her. These short, extremely diverse tone pictures afford us an intimate insight into Schumann's emotional state at the time. This Urtext edition for piano solo has been edited from sources by Hans Joachim Köhler."

Robert Schumann's Carnaval is much more than a set of character pieces and musical portraits, it is in fact also a work of ingenious orthographies. Schumann realized that the name of his fiancée's hometown, 'Asch', could betranslated into notes according to the German reckoning of pitch names: 'A'. This Urtext edition for piano solo has been edited from sources by Hans Joachim Köhler.

Alexander Scriabin composed sets of Études throughout his life in all periods of his compositional development. These pieces push the technical limits while finding new musical and poetic vistas. This edition of the sets of Études Opp. 8, 42 and 65 has been prepared by Günter Philipp. It contains an authorative text of the notation, preface in German and English, and a critical commentary.