Intermediate and advanced pianists will savor these 42 carefully chosen works. Features include Beethoven's 8 Variations on a Theme by Count Waldstein, and the Sonata in D, Op. 6; Debussy's Prelude to The Afternoon of a Faun; Rachmaninoff's Barcarolle, Op. 11; Tchaikovsky's Waltz from "The Sleeping Beauty," Op. 66; Ravel's Rapsodie Espagnole; and many others.
Mozart's four sonatas for one piano, four hands, are the first important works in the piano duet literature. This carefully researched edition contains historical information, in-depth notes on performing Mozart's piano music, editorial fingering and metronome marks, as well as realizations of many ornaments. Titles: * Sonata in D Major, K. 381 (123a) * Sonata in B-flat Major, K. 358 (186c) * Sonata in F Major, K. 497 * Sonata in C Major, K. 521
This Rachmaninoff urtext edition can be ordered through any Alfred retailer using the item number 27003. Although this Belwin edition is permanently out of print, it has been re-issued by Alfred with a new cover, yet the interior is identical to the original Belwin publication. Baracarolle, Op. 11, No. 1 and Scherzo, Op. 11, No. 2 are Federation Festivals 2014-2016 selections.
Franz Schubert's piano pieces for four hands are among the most varied and significant works in the entire repertoire. Schubert wrote more of these works than any other major composer, and generations of teachers, students, and concert musicians have enjoyed their enduring beauty and vitality. Included in this volume are 15 of Schubert's best and most popular titles, taken from the definitive Breitkopf and Hartel "Schubert-Gesammtausgabe." Composed between 1818 and 1828, they include the tremendously popular Military Marches, Op. 51 (of which the D Major is a striking and familiar melody); the famed "Grand Duo" Sonata in C Major, Op. 140; the Fantasia in F Minor, Op. 103 (written only a few months before Schubert's death, it is one of the most famous and elegantly expressive works in the genre); Variations in A-flat Major on an Original Theme, Op. 35; Andantino Varie in B Minor on French Motifs, Op. 84, No. 1; Fugue in E Minor, Op. 152; and a delightful array of landler, polonaises, and variations. The 23 separate pieces have been selected so that pianists of virtually any level can find works to match their needs. They range in difficulty from beautifully sculpted marches that beginners can play, to works requiring maturity and great technical skill. This volume has been specially designed as a playing edition. The noteheads are large and easily readable at the piano, and wide margins allow plenty of room for written notes, fingerings, analysis, etc. Of special importance is the addition of measure numbers, placed on alternate staves, which allow the pianists to find their place quickly while rehearsing. For playing, study, or simply listening along with records, this volume will be an admirable addition to your music library."
The thrill of making music with a friend or teacher is captured in this new series of duets. Written for pianists at the intermediate level, the pieces in this collection are designed to help students progress technically and musically. A variety of keys, styles, meters, and tempos are featured. Both primo and secondo parts are equal in difficulty. Titles: * Dramatic Dance * Lakeside Dreams * Pelican Rag * Sea Voyage * Song of Autumn * Too Cool * A Winter Tale. "This book is a 'must have' if you incorporate ensemble music in your studio! Excellent recital music!" - Progressions magazine "These are pieces to appeal to all ages. The complete series contains a wealth of collaborative musical experience and could well provide colorful material for an entire recital on its own." --Clavier Companion
The brilliant pianism at the heart of Debussy's musical imagery and his affinity for the unexpected abound in these two four-hand works: Marche Ecossaise and La Mer. Reprinted from authoritative French editions.
(Educational Piano Library). Eight fantastic duet arrangements of classic and current pop hits! Titles: Can't Feel My Face (The Weeknd) * Hallelujah, I Love Her So (Ray Charles) * Halo (Beyonce) * I Got You (I Feel Good) (James Brown) * I Want You Back (Jackson 5) * Isn't She Lovely (Stevie Wonder) * Just the Way You Are (Bruno Mars) * Respect (Aretha Franklin).
In the course of the nineteenth century, four-hand piano playing emerged across Europe as a popular pastime of the well-heeled classes and of those looking to join them. Nary a canonic work of classical music that was not set for piano duo, nary a house that could afford not to invest in them. Duets echoed from the student bedsit to Buckingham Palace, resounded in schools and in hundreds of thousands of bourgeois parlors. Like no other musical phenomenon, it could cross national, social, and economic boundaries, bringing together poor students with the daughters of the bourgeoisie, crowned heads with penniless virtuosi, and the nineteenth century often regarded it with extreme suspicion for that very reason. Four-hand piano playing was often understood as a socially acceptable way of flirting, a flurry of hands that made touching, often of men and women, not just acceptable but necessary. But it also became something far more serious than that, a central institution of the home, mediating between inside and outside, family and society, labor and leisure, nature and nurture. And writers, composers, musicians, philosophers, journalists, pamphleteers and painters took note: in the art, literature, and philosophy of the age, four-hand playing emerged as a common motif, something that allowed them to interrogate the very nature of the self, the family, the community and the state. In the four hands rushing up and down the same keyboard the nineteenth century espied, or thought to espy, an astonishing array of things. Four-Handed Monsters tells not only the story of that practice, but also the story of the astonishing array of things the nineteenth century read into it.
