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The Errollyn Wallen Songbook showcases 12 of the most celebrated songs by a composer who has been called the 'renaissance woman of contemporary British music' (The Observer). These songs span the widest range of emotions - from the exuberance of What's up Doc? to the essential truths of Guru and the earth-shattering Daedalus. The songs in this book appeal to all singers, whether pop, jazz or classically trained. Stripped to the essentials - voice and piano - these songs are a treasure chest for anyone interested in the art of song. 'All these songs were written from my heart and in a state of grace. At last they have made the journey from my battered manuscript sketchbook where they were often feverishly scribbled down. I am very pleased to be able to share them in this book. Improvisation is an important characteristic of my performances. In some songs in this book I have retained elements of my own style of improvisation, particularly in the piano solos and in some vocal lines. In others I have given a bare skeleton, designed to act as a springboard for flights of fancy. I encourage the performer, whether from a pop, classical, folk or jazz background, to feel free to imbue their performances of this music with their own creative spirit.' Errollyn Wallen'...a genuine creative figure - a real composer - someone who is not afraid to take risks in her music - I don't know of any other composer around today with anything like the same outlook as Wallen...' International Record Review

This edition, based on the one in "The Art of French Song", presents Faure's arguably most famous song Aprés un rêve, prepared by the French music expert Roger Nichols, in an extremely practical publication: in three alternative keys for high, medium and low voices, C minor (the original key), D minor and Bb minor. As documented in the preface, recordings made by singers who worked with Faure define a more ardent, urgent tempo and mood than we may be used from later performances.Faures wohl berühmtestes Lied Aprés un rêve erscheint hier mit drei  Stimmlagen in einem Heft: für hohe, mittlere und tiefe Stimme in den Tonarten c-Moll (original), d-Moll und b-Moll. Die Noten basieren auf der Urtext-Ausgabe "The Art of French Song", herausgegeben von Roger Nichols. Aus dem Vorwort wird ersichtlich, dass die Sänger, die mit Fauré persönlich zusammengearbeitet hatten, das Werk durchaus in schnellerem Tempo und mit mehr Temperament aufführten als heute üblich. Mit französischem und dem toskanischen Originaltext.

Gaspard de la nuit by Ravel 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.Ravels Gaspard de la nuit für Klavier. Bei der Vorbereitung dieser Urtextausgabe 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.

Salut d'amour Op. 12, arranged for piano solo by Edward Elgar. This Urtext edition is edited by Donald Burrows.Salut d'amour was a considerable success in Elgar's lifetime. Originally composed for violin and piano, he subsequently incorporated the violin melody into this piano arrangment, resulting in a technically challenging but satisfying piece that requires some dexterity from the player. Salut d'amour (Liebesgruß, op. 12), bearbeitet für Klavier solo von Edward Elgar. Diese Ausgabe wurde von Donald Burrows herausgegeben.Salut d'amour war zu Elgars Lebzeiten ein beachtlicher Erfolg. Ursprünglich für Violine und Klavier komponiert, hat er die Violinmelodie später in dieses Klavierarrangement übernommen. Das Ergebnis ist ein technisch anspruchsvolles, aber befriedigendes Stück, das dem Spieler einiges an Geschicklichkeit abverlangt.

Miroirs by Ravel 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.Miroirs von Ravel. Bei der Vorbereitung dieser Urtextausgabe 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.

French Operatic Arias for Tenor. Complete with translations and guidance on pronunciation. 'As every singer and lover of French opera knows, editions of even the best-known French operatic arias are difficult - and sometimes expensive - to obtain. Roger Nichols' scrupulously balanced selection of 19th-century French arias provides the perfect starting point for wider exploration. Nichols, who has championed French music in his writings, talks and radiobroadcasts over three decades with eloquence and scholarship, is the ideal guide to this repertoire. Französische Opernarien, für Tenor. Wie jeder Sänger und Liebhaber der französischen Oper weiß, sind Ausgaben selbst der bekanntesten französischen Opernarien nur schwer - und manchmal teuer - zu bekommen. Roger Nichols' akribisch ausgewogene Auswahl französischer Arien aus dem 19. Jahrhundert bietet den perfekten Ausgangspunkt für weitere Erkundungen. Nichols, der sich in seinen Schriften, Vorträgen und Radiosendungen seit drei Jahrzehnten mit Eloquenz und Gelehrsamkeit für die französische Musik einsetzt, ist der ideale Führer zu diesem Repertoire. Mit Übersetzungen und Aussprachehinweisen.

Mahler's Adagietto from Symphony No. 5, arranged for solo piano by Ian Flint. The arrangement attempts to adhere as closely as possible, in all respects, to Mahler's original score.   Gustav Mahlers Adagietto aus seiner 5. Sinfonie, herausgegeben für Klavier von Ian Flint. Die Bearbeitung strebt eine möglichste Nähe zu Mahlers Originalpartitur an.

Grieg's Wedding Day at Troldhaugen (Op. 65, No. 6), arranged for piano duet by Adolf Ruthardt. The piece is is part of Grieg's 8th book of Lyric Pieces.Adolf Ruthardt arrangierte Edvard Griegs "Hochzeitstag auf Troldhaugen" op. 65, Nr. 6 für Klavier zu vier Händen.

Schumann's Cello Concerto Rediscovered.In 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 Jagiellöska in Kraków. It is presented in a beautifully printed edition for cello with Schumann's original piano reduction. Matching orchestral material is also available from the publisher. Only modern Urtext edition based on Schumann's original 1850 manuscript Many new corrections and clarifications, especially to the cello part Scholarly preface detailing history of the work and this edition by editor Josephine Knight, Piatti Professor of Cello at the Royal Academy of Music London Cello Part contains Josephine Knight's fingering and bowing suggestions Critical Commentary Matching orchestral material available separately from Edition Peters Recording 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 Jagiellöska 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. It is presented in a beautifully printed edition for cello, with Schumann's original piano reduction. Matching orchestral material is also available from the publisher.'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.'

Valentine by Fred Hersch for piano solo.

The second volume of J. S. Bach's Partitas for solo piano. Contains No. 4-6 (BWV 828-830), edited by Kurt Soldan and fingering by Carl Adolf Martienessen. The six Partitas, also known as German Suites, are among the few works that were printed during Bach's lifetime. Der zweite Band von J. S. Bachs sechs Partiten für Klavier solo enthält die Partiten 4-6 (BWV 828-830), herausgegeben von Kurt Soldan, mit einem Fingersatz von Carl Adolf Martienessen. Die sechs Partiten, auch als "Deutsche Suiten" bekannt, gehören zu den wenigen Werken, die zu Bachs Lebzeiten im Druck erschienen.

One of 3 surviving Violin Concertos by Haydn, the Concerto in C was composed for Luigi Tomasini who became the leader of the orchestra at Esterhazy. Piano Score reduction of the orchestral accompaniment and separate Violin Part and candenzas by Carl Flesch.

For all its apparent simplicity John Cage's seminal 4'33'' ('Four, Thirty-Three') continues to stimulate, provoke, enrage and delight audiences nearly 70 years after it was composed. The premiere of the three-movement 4'33'' was given by David Tudor on August 29, 1952, at Woodstock, New York as part of a recital of contemporary piano music. The audience saw him sit at the piano and, to mark the beginning of the piece, close the keyboard lid. Some time later he opened it briefly, to mark the end of the first movement. This process was repeated for the second and third movements. The piece had passed without a note being played--in fact without Tudor (or anyone else) having made any deliberate sound as part of the piece. Tudor timed the three movements with a stopwatch while turning the pages of the score."They missed the point. There's no such thing as silence. What they thought was silence, because they didn't know how to listen, was full of accidental sounds. You could hear the wind stirring outside during the first movement. During the second, raindrops began patterning the roof, and during the third the people themselves made all kinds of interesting sounds as they talked or walked out." John Cage speaking about the premiere of 4'33".Several versions of the score for 4'33" exist, including: The Kremen manuscript (1953): graphic, space-time notation, dedicated to Irwin Kremen The movements of the piece are rendered as space between long vertical lines; a tempo indication is provided (60), and at the end of each movement the time is indicated in minutes and seconds EP No. 6777a.The so-called First Tacet Edition: a typewritten score, lists the three movements using Roman numbers, with the word "TACET" underneath each. A note by Cage describes the first performance and mentions that "the work may be performed by (any) instrumentalist or combination of instrumentalists and last any length of time."This present edition is the so-called Second Tacet Edition: this is the same as the First Tacet Edition, except that it is printed in Cage's calligraphy, and the explanatory note mentions the Kremen manuscript. 4'33'' (Tacet-Fassung): Für jede beliebige Besetzung

Magnificat in C major by Charles Theodore Pachelbel, for double chorus (SSAATTBB) and continuo, edited by Hans T. David. Vocal Score.Dieses Magnificat in C-Dur von Karl Theodor Pachelbel für 8-stimmigen gemischten Chor (SSAATTBB) und Continuo wurde herausgegeben von Hans T. David.

Premiered in 1875, one month before the first performance of Georges Bizet's opera 'Carmen', Édouard Lalo's violin concerto in all but name 'Symphonie espagnole' reflected the current enthusiasm for all things Spanish. It has become one of the most popular of all works for violin and orchestra. This classic edition presents the work arranged for piano and violin with the solo part edited by Yehudi Menuhin. Contains a piano score and separate violin part.

Volume 1 of the classic Edition Peters series of Mozart String Quartets contains the instrumental parts for two famous groups of quartets: the 6 quartets Mozart dedicated to his friend Haydn and the 3 'Prussian' Quartets, as well as the 'Hoffmeister' Quartet.Die Kammermusik spielte immer eine eher mittelgroße Rolle in Mozarts Schaffen, doch trotzdem komponierte er mehr als 20 Streichquartette, die von Andreas Moser und Hugo Becker zusammengetragen und in zwei Bänden herausgegeben wurden. Der erste Band beinhaltet zwei Gruppierungen, die drei Preußischen Quartette und die bekannten sechs Haydn-Quartette. Während er die letzteren nach dem Vorbild Joseph Haydns, schrieb Mozart die Preußischen Quartette in seinen letzten Lebensjahren auf einer Reise nach Berlin.

This Urtext edition, prepared by Klaus Burmeister, of one of the most famous of piano concertos, is based on the first two printed editions (as no autograph score of the solo part survives). It includes a historical preface and a critical commentary.Felix Mendelssohn Bartholdys Konzert für Klavier und Orchester Nr. 1 in g-Moll (op. 25; MWV O 7) ist eines der bekanntesten Konzerte des klassischen Klavierrepertoires, Es liegt hier in einer Urtext-Ausgabe für zwei Klaviere von Klaus Burmeister vor und basiert auf den ersten beiden gedruckten Ausgaben des Werkes, da sich keine autographe Partitur des Soloparts erhalten hat, ergänzt durch ein umfassendes Vorwort und einen Revisionsbericht.

Max Bruch wrote this concerto at the age of 73 for his son Max Felix, a gifted clarinettist. It is in the style of his extremely popular Violin Concerto in G minor, composed more than 40 years earlier. This concerto is also available in a version for Solo Violin and Solo Viola. Max Bruch schrieb dieses Doppelkonzert e-Moll op. 88 für Klarinette, Viola und Orchester im Alter von 73 Jahren für seinen Sohn Max Felix, einen begabten Klarinettisten. Es lehnt sich an sein mehr als 40 Jahre zuvor komponiertes, äußerst populäres Violinkonzert in g-Moll an, das auch in einer Fassung für Solovioline und Solobratsche erhältlich ist.

Alexander Scriabin composed sets of Études throughout his life in all periods of his compositional development. The Op. 8 set was completed in 1894 and an insight into their emotional content can be found in a poem Scriabin wrote alongside the set: Whoever you may be, you who laughed at me, who plunged me into dark depths . . . I am alive. I love life. I love people. I love them all the more because through you they have suffered. ... This edition of the Études has been prepared by Günter Philipp. It contains an authorative text of the notation, preface in German and English, and a critical commentary.12 Études op. 8 für KlavierAlexander Skrjabin komponierte sein Leben lang Etüdensammlungen in allen Phasen seiner kompositorischen Entwicklung. Die Operation. Die 8. Folge wurde 1894 fertiggestellt und einen Einblick in ihren emotionalen Inhalt findet sich in einem Gedicht, das Skrjabin neben der Folge schrieb: Wer auch immer du sein magst, du, der du mich ausgelacht hast, der mich in dunkle Tiefen gestürzt hat. . . Ich bin am Leben. Ich liebe das Leben. Ich liebe Menschen. Ich liebe sie umso mehr, weil sie durch dich gelitten haben. ... Diese Ausgabe der Etüden wurde von Günter Philipp erstellt. Es enthält einen maßgeblichen Text der Notation, ein Vorwort in Deutsch und Englisch sowie einen kritischen Kommentar.

Piano Concerto in F# minor, Op.20 was Scriabin's first completed orchestral work, and is a classic of the Russian piano concerto repertoire. Includes critical commentary and afterword by the editor, plus a translated glossary of expression marks and notes used by the composer in the score.Skrjabins einziges Klavierkonzert in fis-Moll, Op.20¿ wird hier in einer neu revidierten Urtextausgabe vorgelegt, herausgegeben von dem Skrjabin-Spezialisten Günter Philipp.

Hans-Joachim Schultze's classic edition of the D Minor Harpsichord Concerto BWV 1052. Edition for 2 keyboards, containing original solo part and secondo keyboard reduction of the orchestral accompaniment (2 copies required for performance).Dieses gilt als das Bekannteste von Bachs insgesamt sieben Konzerten für Cembalo und Orchester. Trotzdem wurde immer wieder angezweifelt, dass Bach das Konzert selbst geschrieben hat. Albert Schweitzer soll schließlich gesagt haben: Wer außer Bach könnte ein solches Werk schreiben? Vom leidenschaftlichen Beginn des Konzertes über das schwermütige Adagio bis zum brillanten Schlusssatz hat das Konzert bis heute nichts von seiner Faszination verloren.

Concerto in E major for Double Bass and Orchestra written by Classical composer, Karl Ditters von Dittersdorf, and edited and arranged for Double Bass and Piano by Franz Tischer-Zeitz. Das Konzert in E-Dur für Kontrabass und Orchester des klassischen Komponisten Carl Ditters von Dittersdorf wurde von Franz Tischer-Zeitz herausgegeben und für Kontrabass und Klavier arrangiert .

Gabriel Fauré's Piano Works Vol.1 for solo piano, edited by Eberhardt Klemm. Contains Préludes (Op. 103), and Impromptus (Op. 25, 31, 34, 91, 102 and 86bis).Gabriel Faurés Klavierwerke Band 1 für Klavier solo, herausgegeben von Eberhardt Klemm, enthält die Préludes (op. 103) und die Impromptus (op. 25, 31, 34, 91, 102 und 86bis).

Mozart's Clarinet Concerto in A (K.622), his only concerto for clarinet. This edition is for clarinet and piano, edited by Klaus Burmeister. Wolfgang Amadeus Mozarts Konzert A-Dur KV 622 für Klarinette und Orchester ist sein einziges Konzert für Klarinette. Diese Ausgabe ist für Klarinette und Klavier wurde von Klaus Burmeister herausgegeben.

French Romantic Composer, Claude Debussy's Sonata for Violin and Piano. This three movement work, makes up part of his Six Sonatas for Various Instruments, which Debussy dedicated to his wife. Die dreisätzige Sonate für Violine und Klavier des französischen Romantikkomponisten Claude Debussy ist Teil seiner sechs Sonaten für verschiedene Instrumente, die Debussy seiner Frau Emma Bardac widmete.

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 is volume 4 of his Selected Piano Works, including Mazurkas (Op. 3, 25 and 40) which have been prepared by Günter Philipp. It contains an authoritative text of the notation, preface in German and English, and a critical commentary. Alexander Skrjabins Klavierwerke stoßen oft an die technischen Grenzen des Klavierspiels und eröffnen neue musikalische Horizonte und poetische Perspektiven. Die vorliegende Ausgabe ist der vierte von sechs Bänden seiner Ausgewählten Klavierwerke und enthält die Mazurken (op. 3, 25 und 40), die von Günter Philipp herausgegeben wurden. Die Ausgabe besticht durch ihren verlässlichen Notentext, ein Vorwort in deutscher und englischer Sprache sowie einen Kritischen Bericht.

Bach's Fantasias & Fugues for solo piano, edited by Hermann Keller. Includes the Chromatic Fantasia and Fugue in D minor (BWV 903), and Fantasia and Fugues (BWV 894, 904, 906 and 944).

Mozart's Concerto No. 22 in E flat K482, with Cadenzas by Zacharias, edited by Christoph Wolff and Christian Zacharias, and piano II (orchestra) by Roland Erben. The work was completed in Vienna on 16.12.7185. The solo piano part is identical in all respects to the text of the original sources. The piano reduction of the orchestral accompaniment (Piano II) had been made as consistent as possible with the original score as regards dynamics and articulation.Mozarts Klavierkonzert Nr. 22 in Es-Dur KV 482, mit Kadenzen von Zacharias, herausgegeben von Christoph Wolff und Christian Zacharias, Klavier II (Orchester) von Roland Erben. Das Werk wurde am 16.12.1785 in Wien vollendet. Der Soloklavierpart ist in jeder Hinsicht mit dem Text der Originalquellen identisch. Der Klavierauszug der Orchesterbegleitung (Klavier II) wurde in Bezug auf Dynamik und Artikulation so weit wie möglich an die Originalpartitur angeglichen.