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The classic vocal score for high voice of 51 of Hugo Wolf's greatest songs. Contains German sung text.
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.
Asked to look back to celebrate a great Norwegian poet, Grieg produced a suite of dances, recalling the great Baroque suites but expressing a resurgent national pride. Classic Edition Peters volume of the Holberg Suite, from Grieg's original and lifelong publisher.
A classic Edition Peters edition of Chopin's Mazurkas edited by Bronislaw von Pozniak and Herrmann Scholtz.
The Irish composer/pianist John Field is best known as the inventor of the Nocturne, and was a big influence on Romantic composers including, most significantly, Chopin. This classic Edition Peters volume contains Field's complete set of 18 Nocturnes for solo piano.
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.
Version for Cello and Piano of Schumann's Fantasiestucke (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.
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, balanceand 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, andas such it is likely to take pride of place in the collections of all those involved in the study and performance of these masterpieces.
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