32 pièces faciles pour piano avec conseils d'exercice- With works by Clementi Czerny and Cramer Urtext Primo 6 contains easy piano music by three composers who all stood out as piano teachers publishing piano methods and study literature. Not only is there a selection of popular sonatinas by Muzio Clementi there are also selected pieces by Carl Czerny and repertoire by Johann Baptist Cramer (known from the studies of Cramer-Bulow) which will liven up any piano lesson.

Johann Sebastian Bach 's The Well Tempered Clavier BWV 870-893 - Book 2 for solo Piano.

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Hammerklavier-Sonate

The Wiener Urtext Edition presents the first critical edition of Franz Schubert's piano sonatas arranged in chronological order. The newly revised text is based on the sources and is accompanied by a description of genesis and history information on Schubert's instruments and his piano writing plus notes on authentic performance practice. The editorial approach is documented in a critical report. In order to enable a complete performance the movements only extant in fragmentary form have been carefully reconstructed in accordance with up-to-date research. The Wiener Urtext Edition presents the first critical edition of Franz Schubert 's Piano Sonatas arranged in chronological order. The newly revised text is based on the sources and is accompanied by a description of genesis and history information on Schubert's instruments and his Piano writing plus notes on authentic performance practice. The editorial approach is documented in a critical report. In order to enable a complete performance the movements only extant in fragmentary form have been carefully reconstructed in accordance with up-to-date research.

Joseph Haydn 's Andante Con Variazioni in F minor Hob. XVII:6.

Violoncello and Piano-Originally Beethoven wrote Sonata Op. 17 for horn and piano. This composition was intended for the famous horn virtuoso Johann Wenzel Stich who called himself Giovanni Punto. Punto had greatly expanded the playing techniques on the natural horn. Accordingly Beethoven tailored the solo part completely to the unique playing skills of this virtuoso musician. Punto performed the work several times; to other hornists however it remained unaccessible at that time because of its difficulties. That probably was the reason why this work was published in a version for horn or violoncello one year after the world premiere already. It is deemed to be fairly certain that thisarrangement goes back to Beethoven himself. Carl Czerny already ranked this sonata among Beethoven's original cello sonatas and listed it chronologically as No. 3. Like the 1801 edition of the Viennese publisher Tranquillo Mollo the Wiener Urtext Edition publishes the sonata for horn or violoncello and piano. Whereas the horn sonata was very difficult to play at the time of creation the arrangement for violoncello curiously enough is one of the easiest among Beethoven's cello sonatas. For this reason the composition is increasingly popular among cellists as an accessible approach to Beethoven's oeuvre for violoncello and piano. Consequently the work is now available in the Wiener Urtext Edition series as separate edition as well. Originally Beethoven wrote Sonata Op. 17 for Horn and Piano. This composition was intended for the famous Horn virtuoso Johann Wenzel Stich who called himself Giovanni Punto. Punto had greatly expanded the playing techniques on the natural Horn. Accordingly Beethoven tailored the solo part completely to the unique playing skills of this virtuoso musician. Punto performed the work several times; to other hornists however it remained unaccessible at that time because of its difficulties. That probably was the reason why this work was published in a version for Horn or Violoncello one year after the world premiere already. It isdeemed to be fairly certain that this arrangement goes back to Beethoven himself. Carl Czerny already ranked this sonata among Beethoven 's original Cello sonatas and listed it chronologically as No. 3. Like the 1801 edition of the Viennese publisher Tranquillo Mollo the Wiener Urtext Edition publishes the sonata for Horn or Violoncello and Piano. Whereas the Horn sonata was very difficult to play at the time of creation the arrangement for Violoncello curiously enough is one of the easiest among Beethoven 's Cello sonatas. For this reason the composition is increasingly popular among cellists as an accessible approach to Beethoven's oeuvre for violoncello and piano. Consequently the work is now available in the Wiener Urtext Edition series as separate edition as well.

Johannes Brahms ' Sonata Op.108 D Minor .

Claude Debussy 's Suite Bergamasque .

Claude Debussy 's Golliwogg's Cake Walk from 'Children's Corner'.

Johannes Brahms ' Piano Pieces Op. 118 .

für Klavier vierhändig- Johannes Brahms ' Waltzes Op. 39 .

From ca. 1828 until the last years of his life Frédéric Chopin devoted himself again and again to the nocturne genre emerging at the beginning of the 19th century. As Romantic character pieces evoking in particular evening and night moods they actually count among Chopin's most poetic piano works. Their popularity is correspondingly large - that is reason enough to compile a selection of the most popular and at the same time technically somewhat easier pieces. The present pieces are ideal for pupils but also for piano-playing music lovers to immerse in the charming sound poems and as already realized by Jan Kleczynski in 1866 to obtain a key 'to reveal the secrets of theother even greater works of the master'. From ca. 1828 until the last years of his life Frédéric Chopin devoted himself again and again to the nocturne genre emerging at the beginning of the 19th century. As Romantic character pieces evoking in particular evening and night moods they actually count among Chopin 's most poetic Piano works. Their popularity is correspondingly large - that is reason enough to compile a selection of the most popular and at the same time technically somewhat easier pieces. The present pieces are ideal for pupils but also for piano-playing music lovers to immerse in the charming sound poems and as already realized by Jan Kleczynski in 1866 toobtain a key 'to reveal the secrets of the other even greater works of the master'.

Johannes Brahms ' Fantasies Op. 116 .

César Franck 's Complete Organ Works Volume 4 - 3 Chorals For Grand Organ contains Choral No. 1 E-Major Choral No. 2 B-Minor and Choral No. 3 A-Minor .

Johannes Brahms ' 2 Rhapsodies Op. 79 .

César Franck 's Complete Organ Works Volume 3 - 3 Pieces For Grand Organ . Includes notes on the Edition of César Franck's Organ Music notes on interpretation critical notes and a glossary.

Easy Piano Pieces with Practising Tips-With the new Urtext Primo series the Wiener Urtext Edition wants to close the gap arising at the point of transition to additional lessons after having studied a piano method. Beginning with a performance level which is outlined by pieces such as Bach's Minuet in G (BWV Anh. 116) Mozart's Minuet in F (KV 5) or Schumann's Wilder Reiter (Op. 68/8) each volume contains works by three different composers with the aim of offering piano pupils (or even adults who want to resume piano playing) a wide range of repertoire pieces on the basis of which they can enhance their technical and musical skills. In contrast to conventional piano anthologies the pieces' range of levels ofdifficulty is relatively narrow so that the volume can be used continuously over a period of about two years. The selected repertoire takes into account not only pieces of the classic canon of lessons but also lesser known works which are in no way of less importance for piano lessons. The explanations included at the end of each volume shall help to deepen the knowledge of musical styles music history and piano playing. A repertoire chart at the end of each volume gives a rough overview of the levels of difficulty of the selected pieces.After Vol. 1 with works by Bach Handel and Scarlatti and Vol. 2 with compositions by Haydn Mozart and Cimarosa Vol. 3 contains pieces by Beethoven Schubert und Hummel including popular pieces such as Beethoven's 'Für Elise' and lesser known yet stimulating settings by Johann Nepomuk Hummel. With the new Urtext Primo series Wiener Urtext Edition intends to bridge the gap between studying a Piano method and taking additional lessons. Beginning with a performance level which is outlined by pieces such as Bach's Minuet in G (BWV Anh. 116) Mozart's Minuet in F (KV 5) or Schumann's Wilder Reiter (Op. 68/8) works by three different composers are selected for each volume in the series with the aim of offering Piano pupils (or even adults who want to resume Piano playing) a wide range of repertoire pieces on the basis of which they can enhance their technical and musical skills. The pieces' range of levels of difficulty is relativelynarrow so that the volume can be used continuously over a period of about two years. This is what distinguishes the Urtext Primo approach from almost all common anthologies. The selected repertoire takes into account not only pieces of the classic canon of lessons but also lesser known works which are in no way of less importance for Piano lessons. The Urtext Primo volumes are published in the internationally recognised standard of the Wiener Urtext editions. The explanations included in each volume shall help to deepen the knowledge of musical styles music history and piano playing. A repertoire chart at the end of each volume gives a rough overview of the levels of difficulty of the selected pieces. Volume 1 contains b

The genesis of Chopin's Polonaise brillante Op. 22 leads back to his youth in Warsaw and the years of his first trips as a virtuoso. Designed as a concert piece with orchestra it takes up a special position among the polonaise compositions of Chopin. However by tradition the work has always been performed as an extremely effective solo piece. Since no autograph has survived the various first prints are used as sources. Comparisons show that the English first edition must have been based on the autograph manuscript of Chopin. The present new edition therefore rates this English edition more highly than usual. Thus numerous discrepancies and omissions in the Frenchdefinitive edition which generally is regarded as the most important source can be clarified and complemented. The notes on interpretation not only explain the relatively rare term 'spianato' but also provide information on Chopin's way of playing trills and appoggiaturas as well as on Chopin's tempo rubato. For that sources from the vicinity of the composer such as messages from his pupil Karol Mikuli are evaluated. The genesis of Chopin 's Polonaise Brillante Op. 22 leads back to his youth in Warsaw and the years of his first trips as a virtuoso. Designed as a concert piece with Orchestra it takes up a special position among the polonaise compositions of Chopin . However by tradition the work has always been performed as an extremely effective solo piece. Since no autograph has survived the various first prints are used as sources. Comparisons show that the English first edition must have been based on the autograph manuscript of Chopin . The present new edition therefore rates this English edition more highly than usual.Thus numerous discrepancies and omissions in the French definitive edition which generally is regarded as the most important source can be clarified and complemented. The notes on interpretation not only explain the relatively rare term 'spianato' but also provide information on Chopin 's way of playing trills and appoggiaturas as well as on Chopin 's tempo rubato. For that sources from the vicinity of the composer such as messages from his pupil Karol Mikuli are evaluated.

With the new Urtext Primo series Wiener Urtext Edition intends to bridge the gap between studying a piano method and taking additional lessons. Beginning with a performance level which is outlined by pieces such as Bach's Minuet in G (BWV Anh. 116) Mozart's Minuet in F (KV 5) or Schumann's Wilder Reiter (Op. 68/8) works by three different composers are selected for each volume in the series with the aim of offering piano pupils (or even adults who want to resume piano playing) a wide range of repertoire pieces on the basis of which they can enhance their technical and musical skills. The pieces' range of levels of difficulty is relatively narrow so that the volume can be usedcontinuously over a period of about two years. This is what distinguishes the Urtext Primo approach from almost all common anthologies. The selected repertoire takes into account not only pieces of the classic canon of lessons but also lesser known works which are in no way of less importance for piano lessons. The Urtext Primo volumes are published in the internationally recognised standard of the Wiener Urtext editions. The explanations included in each volume shall help to deepen the knowledge of musical styles music history and piano playing. A repertoire chart at the end of each volume gives a rough overview of the levels of difficulty of the selected pieces.Volume 1 contains both frequently played educational works by Bach and lesser known pieces by Handel and Scarlatti Volume 2 compositions by Haydn and Mozart as well as musically and educationally attractive pieces by Cimarosa. Volume 3 (scheduled for publication in summer 2013) contains pieces by Beethoven Schubert and Hummel Volume 4 (scheduled for publication in early 2014) works by Schumann Brahms and Theodor Kirchner. Further volumes are being planned. With the new Urtext Primo series Wiener Urtext Edition intends to bridge the gap between studying a Piano method and taking additional lessons. Beginning with a performance level which is outlined by pieces such as Bach's Minuet in G (BWV Anh. 116) Mozart's Minuet in F (KV 5) or Schumann's Wilder Reiter (Op. 68/8) works by three different composers are selected for each volume in the series with the aim of offering Piano pupils (or even adults who want to resume Piano playing) a wide range of repertoire pieces on the basis of which they can enhance their technical and musical skills. The pieces' range of levels of difficulty is relativelynarrow so that the volume can be used continuously over a period of about two years. This is what distinguishes the Urtext Primo approach from almost all common anthologies. The selected repertoire takes into account not only pieces of the classic canon of lessons but also lesser known works which are in no way of less importance for Piano lessons. The Urtext Primo volumes are published in the internationally recognised standard of the Wiener Urtext editions. The explan