Contents: An Wasserfluessen Babylon (Ein Laemmlein geht und traegt die Schuld); Herr Jesu Christ dich zu uns wend; Herr und Aeltster deiner Kreuzgemeinde; Herzlich lieb hab ich dich o Herr; Herzlich tut mich verlangen (O Haupt voll Blut und Wunden); Herzliebster Jesu was hast du verbrochen; Ich dank dir schon durch deinen Sohn; Ich will dich lieben meine Staerke; O Lamm Gottes unschuldig; O Welt ich muss dich lassen; Sollt ich meinem Gott nicht singen (Lasset uns mit Jesu ziehen)

Jean Sibelius' Pensees Lyriques Op. 40 for Piano.

Piano scores for mixed choir solo voice and piano. Cantata (Feast of the Reformation)

Johann Sebastian Bach's Cantata BWV 71 'God the Lord my King is' for SATB.

Piano Score for Solo: SATB & Choir: SATB.

Cool Through Styles and Centuries-Cool Cat Piano Goodies Whats that? To begin with watch as Ulrich Kallmeyer explores various pop idioms in cool pieces conceived for easy to medium difficulty and for contrasting harmonies and rhythms. Such a claim still doesnt do justice tothe Goodies however since references to the classical tradition shimmer through these pieces. Behind Second Loss is Schumanns Erster Verlust and the New Solo for Mr. Byrd reaches much farther yet into music history. Other works wereinfluenced by Baroque and Classical forms such as prelude chorale and rondo. The Goodies leap nimbly through eras and styles and have something to offer both beginning and proficient pianists. Cool Cat Piano Goodies - What's that? To begin with watch as Ulrich Kallmeyer explores various pop idioms in cool pieces conceived for easy to medium difficulty and for contrasting harmonies and rhythms. Such a claim still doesnt do justice to the Goodies however since references to the classical tradition shimmer through these pieces. Behind Second Loss is Schumanns Erster Verlust and the New Solo for Mr. Byrd reaches much farther yet into music history. Other works were influenced by Baroque and Classical forms such as prelude chorale and rondo. The Goodies leap nimbly through eras and styles and have something to offer both beginning and proficient pianists.

Edited by Immanuel Lucchesi-Etüden von Berbiguier Demerssemann Dávid G. Garibold Járdány Köhler PoppSoussmann Szervánszky Terschak

Klavierauszug fur Gesangssoli Gemischtchor und Klavier. Soli: SATB - Chor: SATB.

The piano version of the B flat major Quintet Op. 34 prepared by Carl Maria von Weber himself will no doubt cause some surprise among clarinetists as well. To this day few people know that the composer arranged his work for clarinet and piano as soon as he heard about the success of the original scoring. Weber himself a talented pianist transposed the string quartet sound to the piano in an effortless and very idiomatic manner. In Weber's version for clarinet and piano the Quintet proves to be just as suitable for concert performance as for the rehearsing of the original chamber setting. Ulrich Leisinger's source studies show that Weber very carefully followed thepublication of the first edition in 1816. Divergences from the quintet version (EB5830) are indicated in the new edition.

BWV972-979-Volume XI from J. S. Bach 's Complete Piano Works . This volume contains concertos after different Composers Nos. 1-8 BWV 972-979 edited by Bruno Mugellini.

Piano scores for mixed choir solo voice and piano. Soli: ATB – Choir: SATB

Soli: SATB - Choir: SATB.

Felix did not spare harsh words about her String Quartet in E flat major of 1834: 'I would advise you to pay greater heed to maintaining a certain form particularly in the modulations.' Fanny countered immediately: 'You lived and composed your way through this while I have remained stuck in it and without the strength with which delicacy can and should only exist. This is why I feel you either did not hit the nail on the head with me or could not express it.'In the meantime contemporary musical life has long solved the dispute between brother and sister and granted Fanny Hensel her 'craftsman's approval' posthumously for her String Quartet. Thanks to our carefullyprepared edition this impressive work should continue to create a stir.

Schöne Klavierstücke für alle Fälle-Carl Czerny (1791-1857) and William Gillock (1917-1993) unfortunately did not have the opportunity to meet each other personally. But in her witty comic strips Martina Schneider brings the two men together by means of a trans-Atlantic phone call.Both composers exchange brief comments about their masterpieces musically demanding little etudes and studies. Though they each speak their own language have no fear: it’s all translated! What the 27 Delightful Piano Pieces for All Occasionshave in common is that they are all ideal both for teaching and recital purposes. Contents: Czerny: op. 139 Nr. 24 Nr. 38 Nr. 40 Nr. 59 Nr. 72 Nr. 88 / op. 261 Nr. 69 / op. 481 Nr. 27 / op. 599 Nr. 56 Nr. 73 Nr. 86 / op. 718 Nr. 11 / op. 821 Nr. 88 Gillock: Capriccietto / Carnival in Rio / Castanets / Flamenco / Mission Bells / Mister Trumpet Man / Moonlight / Sarabande / Summertime Blues / Taking it easy / The Constant Bass / The Juggler / Yo-Yo Tricks This delightful book by Elisabeth Haas contains 27 pieces by two renowned composers from different centuries - Carl Czerny and William Gillock . Fun and rewarding to play the pieces in Hello Mr Gillock! Carl Czerny! are designed to stimulate the imagination make the fingers supple touch the emotions and train the mind. This book contains the pieces Summertime Blues Moonlight Yo-Yo Tricks (Gillock) Etude in G Op.139 No.24 Etude in F Op.139 No.40 Etude in D Op.481 No.27 (Czerny) and more and offers a great repertoire of pieces that are perfect forrecitals. Hello Mr Gillock! Carl Czerny! contains two pieces that are featured in the LCM Piano 2013-2017 grade exams - Gillock's Carnival In Rio (grade 3) and The Juggler (grade 4).

für Oboe Violine Tasteninstrument Cello ad lib.- Here is a publication that springs from the spirit of Baroque transcription practice at its best. In this case it also goes hand in hand with a reconstruction made with scholarly precision. As to the choice of the key editor Klaus Hofmann decided against C minor which the previous generation had preferred and turned instead to D minor that Max Schneider had chosen back in 1921. The fruit of Siegfried Petrenzs labor is an inspired transparent 'Clavier' reduction (EB 8662) that is amazingly faithful to Baroque practice. Musicians will undoubtedly welcome this arrangement which boldly transgresses the conventions of Piano scores and presents a 'new' work the 'TrioSonata' in D minor BWV 1060.

Easy piano pieces with the keyboard crocodile.

Mendelssohn: Caprices Nos 1-3 Op. 33 (Complete) Mendelssohn: Kinderstucke (6) Op. 72 'Christmas Pieces' Mendelssohn: Preludes & Fugues (6) for piano Op. 35 (complete) Mendelssohn: Variations in B flat major Op. 83 Mendelssohn: Variations in E flat major Op. 82 Mendelssohn: Variations sérieuses in D minor Op. 54

Max Reger composed the present work in 1899 for the 'Schonberger Orgelalbum' which served as a means of funding the new organ in Schonberg im Taunus. Other renowned organ composers of the time also contributed works to this project such as Guilmant Rheinberger and Widor. Reger referred to his piece as a 'little work' that is 'intentionally not difficult' - yet he succeeded in creating a highly skillful piece that was hailed as a confirmation of Reger's artistry at the organ and enjoyed great popularity from the very start.

Carl Reinecke (1824-1910) was a highly respected German pianist composer and conductor. During his lifetime he was known as the standard-setting performer of Mozart's Piano works and was also the earliest-born pianist to be recorded in any format having made recordings in 1904 at the age of 80. His 6 Miniatur-Sonatinen (6 Miniature Sonatinas Op. 136) were written in 1875. They form a collection of 6 exquisitely charming little pieces for solo Piano each comprising three or four movements. Any movement would make a suitable first performance piece for the beginner-intermediate pianist while each complete Sonatina could bethe perfect piece for a junior recital. Whatever they are used for these versatile and enjoyable miniatures are sure to meet with approval from both audience and performer alike.

The Piano runs through Jean Sibelius's oeuvre like a red thread. After some first student pieces he composed the Sonata op. 12 (EB 8142) in 1893 and his first cycle of Piano pieces the Six Impromptus op. 5. Here the Finnish composer self-assuredly takes up a great romantic genre significantly shaped by Schubert and Chopin. Sibelius draws inspiration from some of his own early works in this composition yet he also uses the last two pieces from opus 5 as the groundwork for an autonomous 'Impromptu' for string orchestra which he put together shortly after completing the Piano pieces. 'You must judge me on the basis of my orchestral works. The Piano does not interest me. Itcannot sing ' said Sibelius. Yet how seriously can we take this famous quote when considering how masterfully he crossed the boundaries with his Impromptus? Pianists such as Ralf Gothoni Glenn Gould and Olli Mustonen have not let themselves be deterred by the composer's harsh self-criticism and with their interpretations have provided compelling proof of the opposite.