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Rachmaninoff's compositions for piano and orchestra won him an important position among modern composers. The works that made his reputation include these three piano concertos, reprinted from authoritative full-score Russian editions.
A practical way to learn and rehearse, these concertos are arranged for two pianos: the first features the original solo piano part; the second, a skillful reduction of original orchestra parts.
Alexander Peskanov Piano Concerto No. 7, published by Classical Video Concepts, Inc. was inspired by the 50th Wedding Anniversary of composer's friends, Judith and Murray Siegel. The first movement has a vibrant spirit that reflects the dynamic life of these two people. The second movement is lyrical and tells about the passion of love and the strength that makes a great marriage. The third movement is based on a motif from an old Jewish song that the composer's grandfather, David used to sing during family gatherings. The movement has a strong influence of harmonic colors, and engaging rhythms found in klezmer and Hassidic music.
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.
A duet, for Piano, composed by Wolfgang Amadeus Mozart for two pianos and four hands.
(Piano Collection). For advanced players, this is Rachmaninoff Complete Preludes, Op. 3, 23 and 32.
This volume contains two of Beethoven's most loved and widely performed piano concertos, printed in the traditional format for two pianos: Piano I is the solo part; Piano II, a piano reduction of the orchestral score. Concerto No. 4 in G Major, Op. 58, composed in 1805 06, is one of the great masterpieces of the form, perfectly designed, profoundly poetic. From its striking opening for the solo instrument a true innovation for the concerto concept through the slow movement's literal "conversation" between solo and orchestra, the work broke new ground as it reshaped the form. The powerful Concerto No. 5 in E-flat Major, Op. 73, called the "Emperor" for its grandeur, was Beethoven's last piano concerto. Composed in 1809, when the composer was 39, it is counted among the most popular concertos in the repertoire. "Grove" considers it one of the strongest works conceived by Beethoven, and by far the most "symphonic," from the "thunderous cadential celebration" of the very first bars to the brilliant rondo-finale. Both works are presented here in authoritative two-piano playing editions edited by Franz Kullak, one of the nineteenth century's leading piano editors and teachers of pianists. His classic format for two keyboards is the universal standard, for students and professionals alike, for learning and rehearsing all piano concertos. It gives the pianist the most accessible form and practical means to prepare a work for performance. To this practicality, Dover adds the convenience and economy of joining two major concertos within a single volume. "
The three piano concertos contained in this volume were all composed in 1785, when Mozart was 29. High points of one of the most amazingly productive and creatively brilliant periods in the composer's life, yet they are masterworks of very different character: No. 20 (K466 in D Minor), a work of intensity, passion, and spiritual conflict; No. 21 (K467 in C Major), with its luminous, world-famous "Andante, " a work of calm and majesty; and No. 22 (K482 in E-flat Major), music of grace and maturity, said to have "realized the century's ideal whilst yet casting aside the shackles of fashion." These three works are presented here in authoritative two-piano playing editions edited by Franz Kullak and Hans Bischoff, two of the nineteenth century's leading piano editors and teachers of pianists. Their classic format for two keyboards is the universal standard, for students and professionals alike, for learning and rehearsing all piano concertos. It gives the pianist the most accessible form and practical means to prepare a work for performance. To this practicality Dover adds the convenience and economy of compiling three major concertos within a single volume.
Lindeman, a musicologist, traces and defines the historical development of the concerto form as it passed from Mozart to succeeding generations. He then assesses Beethoven's contributions, and examines the classical model of the form in the early 19th century by overviewing several early romantic composers' works. Subsequent chapters analyze and assess the responses of five precursers of Schumann, whose work offers a synthesis of radical experiments and traditional tenets. He concludes by suggesting that concertos of Lizst offer a road into further developments of the genre in the second half of the century. Illustrated with bandw portraits of composers and excerpts from musical scores. Annotation copyrighted by Book News, Inc., Portland, OR
A practical way for pianists to learn, practice, and rehearse, this volume features a pair of brilliant concertos arranged for two pianos. The first piano part is the original solo piano part; the second, a skillful reduction of the original orchestra parts. This edition has been reproduced from the acclaimed Joseffy edition.