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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
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

Krzanowski Andrzej
Four Bagatelles

Krzanowski Andrzej

Krzanowski Andrzej

Krzanowski Andrzej
Nocturne and Scherzo

Krzanowski Andrzej

Krzanowski Andrzej
Sonata di concerto

Krzanowski Andrzej

Krzanowski Andrzej

Krzanowski Andrzej

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.
The Complete Music For Piano Solo UM10006 Brian Piano Ump
20,70 € 20,70 € 20.7 EUR
Double Fugue in E flat, 3 Illuminations, 4 Miniatures, Prelude ‘John Dowland’s Fancy’, Prelude and Fugue in C minor, Prelude and Fugue in D minor/major.
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
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)

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