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Toll in Moll piano Breitkopf und Härtel BRK8600
21,00 € 21,00 € 21.0 EUR
Finer in Minor
24 Original Pieces for Piano edited by Elisabeth Haas, Martina Schneider, Karin Strebl, Rosemarie Trzeja and Veronika Weinhandl Illustration: Martina Schneider [pno]


The editors of the “Keyboard Crocodile” have delved into music history's treasure chest of piano literature and come up with some gems in the “minor” mode that offer “major” enjoyment.
MP3 audiofiles, performed by Aki Sakae, are to be found in the download section or on YouTube.
Three Paganini Caprices Pw10946 Karol Szymanowski Op. 40 Violin And Piano From ''Karol Szymanowski - Works'' Ed. By T.Chylińska B9 Prepared By B.Konarskafrom
25,70 € 25,70 € 25.7 EUR
https://youtu.be/GLkY2fW_mBo
Three Paganini Caprices op. 40 were written in the winter and spring of 1918 in Elisavetgrad, at the time of the centenary of the publication of these compositions by the Italian virtuoso in Milan. The Paganini cycle had inspired many composers; one need only mention the bravura piano works by Liszt, Brahms and – closer to our times – Lutosławski. Szymanowski’s aspirations were more modest: he needed a repertoire for the concerts he gave with the violinists who were his friends. Thus he wrote a free paraphrase of three caprices: No. 20 in D minor, No. 21 in A minor, and the most famous one in the cycle, the theme with variations No. 24 in A minor. The presence of the piano provided Paganini’s works with harmonisation, which obviously changed the character of the music. This is most clearly perceptible in Caprice No. 1 which was transformed into a romantic miniature. The first two works are dedicated to Paweł Kochański, the third to Józef Ozimiński. The Caprices were first performed by Wiktor Goldfeld, together with the composer, on 25 April 1918 in Elisavetgrad.
Third Book Pw8421 Andrzej Krzanowski Concert Accordion (With A Bass Melodic M Pw
26,70 € 26,70 € 26.7 EUR
Table of contents:

Krzanowski Andrzej
Chorale

Krzanowski Andrzej
Four Bagatelles

Krzanowski Andrzej
Canon

Krzanowski Andrzej
Cathedral

Krzanowski Andrzej
Nocturne and Scherzo

Krzanowski Andrzej
Ode

Krzanowski Andrzej
Sonata di concerto

Krzanowski Andrzej
Sonatina

Krzanowski Andrzej
Dance

Krzanowski Andrzej
Triptych

Krzanowski Andrzej
Three Meditations
The Fiddler Playalong Collec... - Parti. - Violon - Piano Bh1002657
30,40 € 30,40 € 30.400000000000002 EUR
Ce recueil d'une magnifique diversité explore l'univers de la musique pour violon traditionnelle, de l'Irish au Gypsy, du Bluegrass à la musique sudaméricaine, sans parler d'autres styles tout aussi fascinants.
Le CD reflète cette richesse grâce aux orchestres d'accompagnement qui contribuent à apporter une étonnante variété de couleurs instrumentales et les sonorités authentiques des pays celtiques, de l'Europe Centrale et de l'Est et des Amériques.
Les transcriptions conviennent aux violonistes de presque tous les niveaux, du joueur avancé au relatif débutant.
Elles peuvent être jouées en solo, en duo ou par des ensembles plus importants, avec ou sans accompagnement de CD.
C'est, avant toute chose, une musique que l'on fait avec les autres, pour le plaisir.
Symphony No. 5 PW8982 434(+1sxf)3-6441-batt cel chit mand 2ar pf-archi Palester Roman PWM
103,00 € 103,00 € 103.0 EUR
1981
Palester completes Etudes for piano and Symphony no. 5.

23 September –1988 Palester’s Symphony no. 5 is performed at the Warsaw Autumn Festival.
Symphony No. 3 PW8762 Witold Lutosławski PWM
46,30 € 46,30 € 46.300000000000004 EUR
Witold Lutosławski Symphony No. 3 [3.Symfonia] (1983)
LUTOSLAWSKI - SYMPHONY NO 3


My Symphony No. 3 was commissioned by the Chicago Symphony Orchestra who as long ago as 1972 had asked me to write a work for them. Shortly after that, I wrote some sketches for the Symphony but only in January 1983 did I complete the score. The Premiere was given by the Chicago Symphony Orchestra conducted by Sir Georg Solti on 29 September 1983 in Chicago.

The work consists of two movements, preceded by a short introduction and followed by an epilogue and a coda. It is played without a break. The first movement comprises three episodes, of which the first is the fastest, the second slower and the third is the slowest. The basic tempo remains the same and the differences of speed are realised by the lengthening of the rhythmical units. Each episode is followed by a short, slow intermezzo. It is based on a group of toccata-like themes contrasting with a rather singing one: a series of differentiated tuttis leads to a climax of the whole work. Then comes the last movement, based on a slow singing theme and a sequence of short dramatic recitatives played by the string group. A short and very fast coda ends the piece.

© Witold Lutoslawski

The symphony is a strong, logical, clear-eyed work, typical of the composer’s care for balance and form. The element of violence that is embedded within the music never seems gratuitous, but structural, and therefore pointful. The work begins with a cannonade of four rapidly repeated E naturals: loud, brassy, peremptory, a summons to order and attention. After a flurry of whirling triplets in the strings, the stern summons is heard again – and a third and fourth time; later on, the figure is multiplied, extended and harmonized, while a world of orchestral colour and device springs up and plays around this harsh motif. A sense of impatience seems to hang over the music, modified by episodes of song-like melody for the strings. At the very end of the three continuous movements that make up the symphony, the repeated E’s have spread to the whole orchestra, and are hammered out for the last time with an effect of absolute finality.
Desmond Shawe-Taylor, Sunday Times,25/03/1984
The 30 minute symphony is so dazzling in its originality, so powerful in its use of the orchestra’s resources and so remarkable in its ability to communicate that a person had to think of it immediately as a 20th Century masterwork – dare I say a landmark to stand beside masterpieces by Bartok, Prokofiev and Shostakovich? The music is unique. It sounds like nothing else. The orchestra flows from one splendid tone cluster to another with never the feeling that a moment is bland, dreary, repetitious, or overly derivative. Mr. Lutoslawski has composed music which sounds so new, yet, amazingly, he has avoided amidst this experimentation any sounds which are offensive to the ear. Instead, we get a challenging, completely intensive journey in sound which consistently surprises us and grabs us up in its visceral sweep.
Joe Cunniff, The Chicago Leader,03/10/1983

https://www.youtube.com/embed/gqVcXbct5KY

https://youtu.be/NK8gvqWEFpk

https://issuu.com/scoresondemand/docs/symphony_no3_7711/54
Stanisław and Anna Oświecimowie PW2834 Mieczysław Karłowicz Symphonic Poem Op. 12
35,00 € 35,00 € 35.0 EUR

The genesis of the symphonic poem Stanisław and Anna Oświecim [Stanisław i Anna Oświecimowie] reaches deep into the composer’s youth and is shrouded in mystery. Adolf Chybiński, the composer’s scrupulous biographer, notes that between 9 and 14 February 1893 the Karłowiczes and their children were in Cracow for the wedding of their daughter Wanda and Zygmunt Wasilewski, when the then sixteen-year-old Mieczysław saw Stanisław Bergman’s painting Stanisław Oświęcim beside the Body of Anna Oświęcim
[Stanisław Oświęcim przy zwłokach Anny Oświęcimówny] on display in the Cloth Hall. Bergman, a talented pupil of Jan Matejko, was born in Krosno, where since the seventeenth century the burial crypt of the Oświecim siblings had stood in the Baroque chapel-mausoleum in the Franciscan church. The subject of a local cult, around the turn of the nineteenth century that crypt became the source of a popular, and thoroughly Romantic, legend of the tragic love between brother and sister. The legend fell on fertile soil in the young Mieczysław’s psyche. As we know from several people close to the composer – Helena Romer-Ochenkowska, Alina Świderska and Kazimierz Prószyński – Mieczysław was extremely fond of his cousin Ludwika Śniadecka; a close acquaintance of the composer, Stanisław Szumowski, suggested that this youthful love played a crucial role in the later inspiration of the symphonic poem. The Romantic motif of unrequited love, or of an unhappy or tragic love, appeared already in Karłowicz’s songs, then in his overture to The White Dove [Biała gołąbka] and his first symphonic poem, Returning Waves [Powracające fale]. Karłowicz showed a particular liking for such stories. But was he merely following the fashion of his melancholy, pessimistic times? Certainly not. Such an attitude was undoubtedly fuelled by personal experience and by the composer’s mental disposition – his depressive nature and solitude. And so the poem Stanisław and Anna Oświecim is a characteristic example of the musical setting of the Romantic myth of ‘unhappy love’; it is a programme work, in which the dramatic narrative is transformed into a finalistic structure of ‘an aspiration to eternity’.



Series: Karłowicz - Works
ISMN 979-0-2740-1008-9
Number of pages: 80
Cover: hardcover
Published: 2014
Type: score
Size: A3 vertical