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Etudes for Piano makes up the fourth volume of Liszt's Piano Works. Edited by Emil von Sauer, this edition contains a set of 11 compositons for solo piano.

The wind parts of Brahms' Ein deutches Requiem (Op. 45). The premiere of the German Requiem in 1867 was a breakthrough for Johannes Brahms, then in his mid-thirties. The piece, which lasts around 90 minutes, is the composer's first major work, with a particular focus on the choir. Die Harmoniestimmen von Brahms' Ein deutsches Requiem op. 45. Die Uraufführung dieses Werkes im Jahr 1867 brachte für Johannes Brahms, damals Mitte dreißig, einen Durchbruch. Das rund 90-minütige Stück ist das erste große Werk des Komponisten, in dem der Chor eine besondere Rolle spielt.

The viola part of Brahms' Ein deutches Requiem (Op. 45). The premiere of the German Requiem in 1867 was a breakthrough for Johannes Brahms, then in his mid-thirties. The piece, which lasts around 90 minutes, is the composer's first major work, with a particular focus on the choir. Die Bratschenstimme von Brahms' Ein deutsches Requiem op. 45. Die Uraufführung dieses Werkes im Jahr 1867 brachte für Johannes Brahms, damals Mitte dreißig, einen Durchbruch. Das rund 90-minütige Stück ist das erste große Werk des Komponisten, in dem der Chor eine besondere Rolle spielt.

Bach's 15 Tenor Arias from Cantatas, with piano reduction accompaniment, selected by Karl Straube, edited by Max Schneider.Bachs 15 Tenor-Arien aus Kantaten, mit Klavierbegleitung, ausgewählt von Karl Straube, herausgegeben von Max Schneider.

A selection of 12 Haydn Symphonies, volume 1, arranged for piano duet (1 piano, 4 hands) by Hugo Ulrich. This volume contains Symphonies No. 93, 94, 99, 101, 103 and 104.Eine Auswahl von 12 Haydn-Sinfonien, Band 1, arrangiert für Klavierduo (1 Klavier, 4 Hände) von Hugo Ulrich. Dieser Band enthält die Sinfonien Nr. 93, 94, 99, 101, 103 und 104.

Piano accompaniments by Robert Schumann to Johann Sebastian Bach's 6 Sonatas for Solo Violin BWV 1004-1006. Volume 2, Edited by Hellmesberger.

Combining the classical traditional style and rock and roll, this piece for solo violin and orchestra will dazzle the concert hall. Vivaldi Rocks by Mark Wood is an exciting piece that works great with strings alone, but it also includes a piano part. Other rhythm section parts can be improvised. (2:30)

Featured on Mark Wood's album Turbow, LuminoCity" is an emotional ride from the calm and mysterious opening to the searing and electrifying ending. Combined with the included accompaniment track, this will get your string orchestra fully charged! (4:35)"

Fireball was originally composed for the television broadcast of the bike race, Tour de France, for CBS Sports. The footage that inspired me featured dozens of bike racers at top speed racing down a mountain road. The stress and competition forces the riders into extremely dangerous situations reflected in the music. Thank you to Lynne Latham for the great ending idea. (2:25)

The composer, Mark Wood, writes: Come Fly with Me comes from my personal visualization of flying while improvising music. In writing a work which combines classical and American rock styles, I have created a vehicle for musicians to spread their wings and truly learn the beautiful art of composing their own music on the spot in the improvisation section. (4:00)

Here presented in three keys for high, medium and low voices, is a favourite Mozart aria for many."Voi, che sapete" is sung by Cherubino, an aristocratic page to Count Almaviva, in whose palace the drama takes place. During Act II, Cherubino visits his godmother, the Countess, and her maid Susanna. Knowing his adolescent infatuation with all women, Susanna encourages him to sing a love song he has written (a veiled confession of his love for the Countess), while she accompanies him on the guitar.The part of Cherubino is played by a woman - as it is in the Beaumarchais play on which the opera is based. In its immediacy, the aria perfectly depicts the mind-set of a bewildered young man in love. He's naturally rather proud of his 'song' and the outer sections convey a studious formality in the polite words about love, conventional harmony and attractive tune. However, as he describes his symptoms, the language and harmony grow more colourful, the phrases shorten, and his true feelings emerge. The possibilities for a personal interpretation of the aria are wide; you do not have to perform it in the character of a teenage boy. After all, self-contemplation when in love is part of the regular diet of singers and you might prefer to choose an alternative emotional background. Gordon StewartDrei Stimmlagen in einem HeftAusgaben 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. Mit der Reihe 3-keys-in-one ist das Problem gelöst: Die beliebtesten Sololieder und Opernarien sind nun jeweils in drei verschiedenen Stimmlagen in einem Band erhältlich:Von Sängern, Lehrern und Liedbegleitern mit großem Erfolg verwendet!Voi, che sapete (Sagt, holde Frauen) ist eine der beliebtesten Mozart-Arien für den Gesangsunterricht oder Solo-Vortrag, herausgegeben von dem Gesangsexperten Gordon Stewart.Eine phonetische Umschrift des italienischen Originals, Englische, deutsche und französische Prosa-Übersetzungen sowie ein aufschlussreiches Vorwort in vier Sprachen erleichtern das Einstudieren und liefern nützlich Zusatzinformationen. Um die erforderliche Leichtigkeit und Grazie dieser wunderbaren Arie zu erhalten, haben wir den Entschluss gefasst, auch eine höhere als die Originaltonart anzubieten. (G. Stewart)

Chopin Piano Concerto No. 2 in F minor (Op. 21), for piano and orchestra. Edited for 2 pianos with the second piano part reduced from the orchestra by John Rink. This work is in the The Complete Chopin: A New Critical Edition, with series editors including John Rink, Jim Samson, Jean-Jacques Eigeldinger & Christophe Grabowski.Chopin Klavierkonzert Nr. 2 in f-Moll (op. 21), für Klavier und Orchester. Herausgegeben für 2 Klaviere mit der vom Orchester gekürzten zweiten Klavierstimme von John Rink. Dieses Werk ist aus der Reihe The Complete Chopin: A New Critical Edition, mit Herausgebern wie John Rink, Jim Samson, Jean-Jacques Eigeldinger und Christophe Grabowski.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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).

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.

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 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.

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.