Contents: Symphonic Etudes - Versions 1837 and 1852 op. 13; Sonata with Early Version: Concert sans Orchestre f minor op. 14; Scenes from Childhood op. 15; Kreisleriana op. 16.
Category: Piano Composer Folios Item: 081826 Grade: Price: $62.95 Availability: Ships in 6 to 9 Days
Contents: Fantasy C major op. 17; Arabesque C major op. 18; Flower Piece (Blumenstck) op. 19; Humoresque B flat major op. 20; Novelettes op. 21; Sonata g minor op. 22; Night Pieces op. 23.
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Contents: Carnival of Vienna op. 26; Romances op. 28; Scherzo, Gigue, Romance and Fughetta op. 32; Album for the Young op. 68; Four Fugues op. 72; Four Marches op. 76; Forest Scenes op. 82.
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Contents: Coloured Leaves (Bunte Bltter) op. 99; Drei Fantasiestcke op. 111; Three Piano Sonatas for the Young op. 118; Album Leaves op. 124; Seven Piano Pieces in Fughetta Form op. 126; Gesnge der Frhe op. 133; Exercises [Beethoven Studies] Anh. F25; Variations on a Theme in E flat major ["Ghost" Variations] E flat major Anh. F39.
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G. Henle URTEXT edition. Newly revised 2007 edition. Edited by Ernst Hettrich. Fingering by Hans-Martin Theopold. 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 "Davidstanze" under the pseudonym "Florestan and Eusebius" - the two characters that represented con...
G. Henle URTEXT edition. Following Schumann's move to the Rhine, where he had become the musical director of the Dsseldorf Music Society, times became hard for him. Despite several initial successes, he increasingly encountered resistance from notabilities, musicians and the public. He thus worked all the more intensively at home on his new works. "R. has composed three piano pieces of a very serious, passionate character, which greatly please me", Clara Schumann wrote in her diary in September ...
G. Henle URTEXT edition. Revised 2004. "With humor, "slow and tender, "extremely brisk": the very expression marks of the op. 12 "Fantasy Pieces" illuminate their musical universe, a kaleidoscope of ideas and moods. Our revised new edition presents not only the eight original pieces, but also an appendix containing a ninth piece that Schumann excised during the final stages of publication. Several of the composer's friends, including the work's dedicatee Robena Ann Laidlaw, played some of op. 12 ...
Romantic. Robert Schumann's "Fruehlingsnacht" ("Spring night") was one of his most popular songs even in the 19th century. Franz Liszt made a piano arrangement of it that in the space of under 70 measures emerges as a veritable concert piece. It makes high demands on the pianist's stamina, especially in its triplet chords. But this did not hinder its wide popularity. The first edition was published in 1872 and enjoyed many reprints during Liszt's lifetime. In 1895, this piece was also republished...
G. Henle urtext edition. Edited by Ernst Herttrich. Fingering by Klaus Schilde. "Even for me it is a strange and wonderful fact that almost every motif which forms within me bears the characteristics for multiple contrapuntal combinations", Schumann wrote to Mendelssohn. 1845 was the year in which Schumann discovered his passion for composing fugues - a passion which he shared with his wife Clara. In joint creative sessions, Schumann composed his works for the pedal piano and his four piano fugue...
G. Henle URTEXT edition. Newly revised 2007 edition. Edited by Ernst Hettrich. Fingering by Hans-Martin Theopold. Encouraged by the success of his "Papillons," Schumann composed his "Intermezzi" op 4, also known as "longer Papillons," in 1832. Despite the at-times improvisatory style, Schumann worked very carefully on this composition, "The Intermezzi are going to be something special - each note is going to be weighed up carefully." The fact that Schumann was preoccupied with counterpoint at the...
Romantic. In his virtuosic piano arrangement of Schumann's "Widmung" ("Du meine Seele, du mein Herz"), Franz Liszt transformed this intimate song into a dramtic declaration that reaches its powerful climax at the phrase "Mein guter Geist, mein bess'res Ich," using chords to be played con somma passione. In Liszt's autograph the melody is overlaid by the song text, but he changes the title to "Liebeslied." The first edition, published in Leipzig in 1848, retained this heading, and thus the song is...
G. Henle urtext edition. As he was interested in politics, Schumann took an active interest in the democratically motivated unrest in spring 1848. The following year he directly witnessed the May uprising in Dresden, after which he had to flee the country with his family. These circumstances influenced his music. As early as June, Schumann sent four out of originally five marches for piano to his publisher, requesting him to publish them immediately. "I did not know of a better way in which to gi...
G. Henle urtext edition. In response to failures, Schumann once again turned more to composing during his time in Duesseldorf. He wrote many new works - also ones for the piano for which he had only written a few pieces after his first years of composing. Bach's music played an important role in the Schumanns' house at the time; this is mirrored in the fact that Schumann turned to baroque forms again. However, he wanted his fugues to be understood as "character pieces, just in a stricter form".Th...
G. Henle URTEXT edition. "...as your bride, you must indeed dedicate something further to me, and I know of nothing more tender than these 3 Romances, in particular the middle one, which is the most beautiful love duet." It was with these words that Clara Schumann laid claim to the dedication of the Romances which Robert had given her as a Christmas present in 1839. Robert did not, however, consider them to be "good or worthy enough" of her. Even so, he later counted the Romances amongst his most...
G. Henle URTEXT edition, revised summer 2007. Edited by Ernst Herttrich. Fingerings by Walther Lampe. German title is Kinderszenen. "As far as the Scenes from Childhood are concerned, I owe them one of the liveliest pleasures of my life." These words were uttered by none other than Franz Liszt. In the evenings he often enjoyed playing part of them, not only for his little daughter Blandine-Rachel but also for his own pleasure. Even today, the Scenes from Childhood still raise the question as to ...
These pieces are fruits of Schumann's engagement with Bach and Mozart. They combine the contrapuntal tradition with the "light muse," radiating levity and merriment. Edited by Wiltrud Haug-Frauenstein. Fingering by Leif Ove Andsnes.
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17 Well-Known Original Pieces in Progressive Order of Difficulty. Contents: Little Lullaby from Album Leaves, Op. 124, No. 6 , No. 9 Echo, No. 25 A Tale of Distant Lands from Scenes from Childhood, Op. 15, No. 1 Curious Story from Scenes from Childhood, Op. 15, No. 2 Reverie from Scenes from Childhood, Op. 15, No. 7 . Albumleaf 1 from Colored Leaves, Op.99, No. 4 Intermezzo in A minor, Op. 4, No. 3 Intermezzo in C Major, Op. 4, No. Romance in G minor from, No. 4 In the Evening from...
G. Henle URTEXT edition. Subtitled "Concerto without Orchestra." Includes early and late versions. Edited by Ernst Herttrich. Fingering by Hans-Martin Theopold.
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Romantic. In 1891, the year before his final exam at the music conservatory, Alexander Scriabin injured his right hand due to his ambitious practising. This seriously jeopardized his career as a pianist and the young musician plunged into a crisis. Yet Scriabin still managed to complete his piano studies in 1892, gaining a gold medal. His first published Piano Sonata op. 6 is, however, irrevocably linked to this time of crisis. The dark work reaches its climax at the end of the 3rd movement with ...
Romantic. Scriabin's two movement Piano Sonata no. 2 in g sharp minor was composed over a relatively lengthy period of time. He first began work on it in 1892, but in the summer of 1896, after Scriabin had performed the sonata several times in public in Paris, he dispiritedly told the publisher and patron Beljajev, with whome he was friends: "I have admittedly finished the sonata, yet I am completely dissatisfied with it, even though it has been revised seven times." The composer was only happy w...
Romantic (1897). Scriabin's third piano sonata is an early composition that was still fully written in the romantic tradition. For a long time it has been part of the core piano literature - and rightly so. In addition to the surviving sketches and the first edition (published in 1898), our edition of the sonata also takes into account a recording that Scriabin made of his work on a mechanical piano. The Russian Scriabin expert Valentina Rubcova knowledgeably sheds light on this unusual source si...
20th Century. Scriabin's ten complete piano sonatas offer a fascinating insight into the Russian composer's stylistic development. While his first works still fully reflect the late-romantic tradition, the late works keep bursting the bounds of tonality.The boldly outlined, two-movement Fourth Sonata marks a turning point, for it evokes the world of the "Pome de l'extase" with its mystical atmosphere hovering between ethereal rapture and ecstatic flight. The publication of opus 30 means that all...
20th Century. "A great poem for the piano" was how Scriabin described his fifth piano sonata. It was indeed composed at the same time as his great poem for orchestra "Le Pome de l'extase," and both works are based on the same literary program. Scriabin spent a long time honing the text, which represents his philosophic idea of the development of the world in poetic form, until its publication in a separate volume in 1906. About a year later Scriabin announced that he had completed his fifth sona...
G. Henle URTEXT edition. A work of transcendent beauty and rich programmatic allusions, Scriabin's single-movement sixth Piano Sonata is a highly expressive product of the composer's final outburst of piano music. This edition, by the renowned Scriabin scholar Valentina Rubcova (Moscow), is based on the early printed editions and the composer's virtually complete autograph manuscript. -the publisher
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G. Henle urtext edition. Skrjabin called his seventh sonata "White Mass," drawing attention to the mystical basis that is stamped on all his late works, including this one. He attempts here to translate into sound his ideal of a "mystery" - a "Gesamtkunstwerk" of artistic, theological and philosophical ideas. Its aim, as stated in his own words, is the raising up of the human spirit. No longer is the formal scaffolding of the work based principally around that of sonata form, but around the idea ...