Contains a variety of solos originally written for the Renaissance lute and vihuela. All of these beautiful transcriptions are based on the original tablature. The pieces range in difficulty to provide appropriate challenges for players of both modest and advanced levels. Historical information and performance instructions accompany each piece, and helpful fingering suggestions are also included. Each piece is written in both standard classical guitar notation and modern TAB.

Mozart's orchestral-inspired Sonata in D Major, K. 311 contains elaborate pianistic treatment and an exciting sonata-rondo finale with a cadenza worthy of one of Mozart's concertos. The flashy third movement is full of many contrasts involving dynamics, mood and texture. Throughout the sonata, the left hand becomes a true partner in all aspects of the composition, and thematic material is spread over different registers of the keyboard.

One of the most loved of all early-intermediate teaching pieces ever written, the ascending scale patterns and upbeat syncopations lend unforgettable strength and character to this effective piano solo. "Spinning Song" will forever be a piece that EVERY PIANO STUDENT will want to play.

Works by 36 composers are included in this 248-page comprehensive survey of piano music written between 1820 and 1910. The pieces in this collection range in difficulty from intermediate through early-advanced levels and cover the widest range of styles and idioms of the Romantic period. The comb binding creates a lay-flat book that is perfect for study and performance. Historical and biographical background and performance notes are provided by Dr. Hinson.

Beethoven wrote 32 sonatas for piano. The final installment, Volume 4, edited by Stewart Gordon, contains Sonatas 25--32, written between 1809 and 1822 and published shortly thereafter. Of the eight sonatas in this volume, autographs exist in whole or in part for all but Op. 106, missing since World War II. This edition is based on the existing autographs and the first editions. Dr. Gordon discusses a variety of topics including Beethoven's life; the pianos of his time and their limitations; Beethoven's use of articulation, ornamentation, tempi; and the age-old challenge of attempting to determine the definitive interpretation of Beethoven's music. Valuable performance recommendations, helpful fingering suggestions and ornament realizations are offered in this comprehensive critical body of Beethoven's sonatas. Where performance options are open to interpretation, other editors' conclusions are noted, enabling students and teachers to make informed performance decisions. Titles: Op. 79 ("Sonatine"); Op. 81a; Op. 90; Op. 101; Op. 106 ("Hammer-Klavier"); Op. 109; Op. 110; and Op. 111. 264 pages.

This edition of the "Six Sonatinas, Op. 36" is based on the first printing, published by Clementi himself. In addition to Clementi's own articulations, fingerings and ornaments presented in dark print, additional performance suggestions by Dr. Palmer appear in light gray print. These guidelines were drawn from Clementi's companion work, "Introduction to the Art of Playing on the Pianoforte," first published in 1801. The Alfred Masterwork Library CD Editions conveniently combine each exceptional volume with a professionally recorded CD that is sure to inspire artistic performances.
Pianist Kim O'Reilly Newman holds a Master of Music degree from the University of Illinois. She has performed throughout North America and Europe with the Hambro Quartet of Pianos and was an editor and recording pianist for Alfred Publishing. Kim is a brain tumor survivor and now specializes in performing music for the left hand.

The Flute Concerto No. 1 in G major (K. 313) was written in 1778 by Mozart as a commissioned work for flute soloist and orchestra. This score presents the orchestral portion as a piano reduction. The separate flute score is included.

A masterly account of a fraught relationship between Schoenberg (the teacher) and Wellesz (his pupil), set against the intellectual and musical currents of the day. Egon Wellesz studied music only briefly with Arnold Schoenberg but remained forever captivated by his personality. Yet, unlike Alban Berg or Anton Webern, he never wholly succumbed to his master but developed his own style: in the1920s he emerged as a distinctive opera composer, and after emigrating to Britain in 1938 became a prolific symphonist who also produced sensitive settings of English poetry. Schoenberg resented this lack of loyalty, and not onlyrefused to acknowledge Wellesz as a pupil but rather directed at him some intemperate outbursts. Moreover, Schoenberg's general mistrust of musicologists extended to Wellesz, who had trained at Vienna University with Guido Adlerand later helped to shape the study of music in British universities. Yet, as the first biographer, Wellesz did much to promote Schoenberg's cause, especially in France and England. Bojan Bujic weaves these strands together in a masterly and meticulously researched account of a fraught relationship that brings into focus the outstanding intellectual and musical currents of the day in both Austria and Britain.

A progressive repertoire series designed to motivate students while allowing them to progress evenly and smoothly from the earliest classics toward intermediate literature. These pieces are from the standard classical literature, chosen to appeal both to teacher and student. Each volume comes with a corresponding CD.
PIanist Kim O'Reilly Newman holds a Master of Music degree from the University of Illinois. She has performed throughout North America and Europe with the Hambro Quartet of Pianos and was an editor and recording pianist for Alfred Publishing. Kim is a brain tumor survivor and now specializes in performing music for the left hand.

Robert Schultz provides a collection of 13 world-famous pieces for piano. These upper-intermediate original pieces and transcriptions will delight every advancing pianist. Included are such favorites as Canon in D -- Nessum Dorma -- O Mio Babbino Caro -- Moonlight Sonata -- Clair de Lune -- Fur Elise and seven others.

The Symphonic Dances, Op. 45, was originally written by Sergei Rachmaninoff as an orchestral work, but was also later arranged for piano duo (Two Pianos, Four Hands) by the composer. This historic reference edition contains the three symphonic dances from Op. 45 plus a CD recording by the famed piano duo Bego?a Uriarte and Karl-Hermann Mrongovius. A Federation Festivals 2014-2016 selection.

The International Who's Who in Classical Music 2019 is a vast source of biographical and contact information for singers, instrumentalists, composers, conductors, managers and more. Each entrant has been given the opportunity to update his or her information for the new improved 2019 edition. Each biographical entry comprises personal information, principal career details, repertoire, recordings and compositions, and full contact details where available. Appendices provide contact details for national orchestras, opera companies, music festivals, music organizations and major competitions and awards. International Who's Who in Classical Music includes individuals involved in all aspects of the world of classical music: composers, instrumentalists, singers, arrangers, writers, musicologists, conductors, directors and managers. Key Features: - over 8,000 detailed biographical entries - covers the classical and light classical fields - includes both up-and-coming musicians and well-established names. This book will prove valuable for anyone in need of reliable, up-to-date information on the individuals and organizations involved in classical music.

Total 371, Nos. 1-198 in this volume. Volume 1 of Bach's historic settings of chorales. C. P. E. Bach said of these chorales: "Those connoisseurs of the art of harmonizing and composing settings will likewise not withhold their praise when they observe with appropriate attentiveness the very unusual manner my father uses to set up harmony in these settings, the natural flow of the inner voices as well as the bass, factors which set these chorale settings apart from any others."

Juxtaposing artistic and musical representations of the emotions with medical, philosophical and scientific texts in Western culture between the Renaissance and the twentieth century, the essays collected in this volume explore the ways in which emotions have been variously conceived, configured, represented and harnessed in relation to broader discourses of control, excess and refinement. Since the essays explore the interstices between disciplines (e.g. music and medicine, history of art and philosophy) and thereby disrupt established frameworks within the histories of art, music and medicine, traditional narrative accounts are challenged. Here larger historical forces come into perspective, as these papers suggest how both artistic and scientific representations of the emotions have been put to use in political, social and religious struggles, at a variety of different levels.

Regina Mingotti was the first female impresario to run London's opera house. Born in Naples in 1722, she was the daughter of an Austrian diplomat, and had worked at Dresden under Hasse from 1747. Mingotti left Germany in 1752, and travelled to Madrid to sing at the Spanish court, where the opera was directed by the great castrato, Farinelli. It is not known quite how Francesco Vanneschi, the opera promoter, came to hire Mingotti, but in 1754 (travelling to England via Paris), she was announced as being engaged for the opera in London 'having been admired at Naples and other parts of Italy, by all the Connoisseurs, as much for the elegance of her voice as that of her features'. Michael Burden offers the first considered survey of Mingotti's London years, including material on Mingotti's publication activities, and the identification of the characters in the key satirical print 'The Idol'. Burden makes a significant contribution to the knowledge and understanding of eighteenth-century singers' careers and status, and discusses the management, the finance, the choice of repertory, and the pasticcio practice at The King's Theatre, Haymarket during the middle of the eighteenth century. Burden also argues that Mingotti's years with Farinelli influenced her understanding of drama, fed her appreciation of Metastasio, and were partly responsible for London labelling her a 'female Garrick'. The book includes the important publication of the complete texts of both of Mingotti's Appeals to the Publick, accounts of the squabble between Mingotti and Vanneschi, which shed light on the role a singer could play in the replacement of arias.

Artur Schnabel was one of the world's greatest interpreters of Beethoven. Schnabel collated every Beethoven manuscript and first edition he could find and then went to work to supply a guide to interpretation that is a monumental achievement. This newly engraved edition is based on that scrupulous scholarship and attention to detail. Included are Schnabel's footnotes in English, Spanish, Italian, German, and French. This edition will prove indispensable for study and concert or recital preparation.