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Central to the repertoire of Western art music since the 18th century, the symphony has come to be regarded as one of the ultimate compositional challenges. Surprisingly, heretofore there has been no truly extensive, broad-based treatment of the genre, and the best of the existing studies are now several decades old. In this five-volume series, A. Peter Brown explores the symphony from its 18th-century beginnings to the end of the 20th century. Synthesizing the enormous scholarly literature, Brown presents up-to-date overviews of the status of research, discusses any important former or remaining problems of attribution, illuminates the style of specific works and their contexts, and samples early writings on their reception. The Symphonic Repertoire provides an unmatched compendium of knowledge for the student, teacher, performer, and sophisticated amateur. The series is being launched with two volumes on the Viennese symphony. Volume IV The Second Golden Age of the Viennese Symphony Brahms, Bruckner, Dvorák, Mahler, and Selected Contemporaries Although during the mid-19th century the geographic center of the symphony in the Germanic territories moved west and north from Vienna to Leipzig, during the last third of the century it returned to the old Austrian lands with the works of Brahms, Bruckner, Dvorák, and Mahler. After nearly a half century in hibernation, the sleeping Viennese giant awoke to what some viewed as a reincarnation of Beethoven with the first hearing of Brahms's Symphony No. 1, which was premiered at Vienna in December 1876. Even though Bruckner had composed some gigantic symphonies prior to Brahms's first contribution, their full impact was not felt until the composer's complete texts became available after World War II. Although Dvorák was often viewed as a nationalist composer, in his symphonic writing his primary influences were Beethoven, Schubert, and Brahms. For both Bruckner and Mahler, the symphony constituted the heart of their output; for Brahms and Dvorák, it occupied a less central place. Yet for all of them, the key figure of the past remained Beethoven. The symphonies of these four composers, together with the works of Goldmark, Zemlinsky, Schoenberg, Berg, Smetana, Fibich, Janácek, and others are treated in Volume IV, The Second Golden Age of the Viennese Symphony, covering the period from roughly 1860 to 1930.
This volume gathers together five of Mozart's most beloved symphonies in their entireties, specially arranged for piano duets and Mozart enthusiasts alike. Reproduced from an authoritative source, the contents include: Symphony No. 35, "Haffner" in D Major, K. 385 Symphony No. 36, "Linz" in C Major, K. 425 Symphony No. 38, "Prague" in D Major, K. 504 Symphony No. 40 in G Minor, K. 550 Symphony No. 41, "Jupiter" in C Major, K. 551
Suites composed specifically for piano four hands include "Petite Suite" and "Six Epigraphes Antiques, " plus composer's transcriptions of "Prelude a l'apres-midi d'un faune" (two pianos) and "Printemps "(piano four hands). Authoritative editions.
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."