Ludwig Van Beethoven: Konzert Fur Klavier, Violine, Violincello Und Orchester Op. 56

In two private performances for Prince Lobkowitz in the spring of 1804, two new works by Beethoven were played for the first time: his Third Symphony op. 55 and the Triple Concerto op. 56 for piano, violin, cello and orchestra. The art-loving patron Lobkowitz was thus able to appraise two freshly composed works, and Beethoven was able to make many an improvement before publication. The first public performance of the Triple Concerto presumably took place only four years later in February 1808 in Leipzig’s Gewandhaus. Since then, this work has belonged to the standard repertoire of every symphony orchestra. The piano reduction of this Urtext edition is based on the score of theBeethoven Complete Edition, which was likewise made by Bernard van der Linde. The editor’s preface provides detailed information about the complicated source situation of this concerto for three soloists.

Ludwig van Beethoven: Concerto C major op. 56 for Piano, Violin, Violoncello and Orchestra [Triple Concerto]

In two private performances for Prince Lobkowitz in the spring of 1804, two new works by Beethoven were played for the first time: his Third Symphony op. 55 and the Triple Concerto op. 56 for piano, violin, cello and orchestra. The art-loving patron Lobkowitz was thus able to appraise two freshly composed works, and Beethoven was able to make many an improvement before publication. The first public performance of the Triple Concerto presumably took place only four years later in February 1808 in Leipzig’s Gewandhaus. Since then, this work has belonged to the standard repertoire of every symphony orchestra. The piano reduction of this Urtext edition is based on the score of theBeethoven Complete Edition, which was likewise made by Bernard van der Linde. The editor’s preface provides detailed information about the complicated source situation of this concerto for three soloists.

Ludwig van Beethoven: Concerto for Piano, Violin, Violoncello and Orchestra C major op. 56 [Triple Concerto]

Theodor Kirchner: Selected Piano Works

Theodor Kirchner was a successful pianist, pedagogue and composer in Leipzig, Dresden, Zurich, Winterthur and Hamburg. His very extensive output includes works for piano, organ, chamber music and choir. To the very end, Kirchner remained a master of the piano miniature in the tradition of Mendelssohn and Schumann, with characteristic work-titles such as “Album leaf” (op. 7), “Night pictures” (op. 25) and “In quiet hours” (op. 56). His waltzes, polonaises and mazurkas are also worth playing and hearing. This anthology, in customary Urtext quality with 34 piano pieces from all phases of Kirchner’s life, is an outstanding starting point for mastering the works of this Germanromantic.

Easy Piano Music - 18th And 19th Centuries - Volume II

I. Albeniz Zortziko from Espana op. 165; C. Ph. E. Bach Abschied vom Silbermannschen Clavier in einem Rondeau Wq 66; W. F. Bach Polonaise c from 12 Polonaises; L. van Beethoven Bagatelle C WoO 56; J. Brahms Intermezzo a op. 76,7; F. Chopin Mazurka g op. 24,1, Nocturne g op. 37,1, Waltz b op. 69,2; M. Cipra Old Dance; A. Dvovak Humoresque Ab op. 101,3; F. Liszt Il Pensieroso from Annees de Pelerinage; F. Mendelssohn Bartholdy Allegro non troppo G op. 72,1; W. A. Mozart Minuet D K. 355 (576b); M. Mussorgskij Im Dorf op. post. 70,15; F. Schubert Minuet Eb from Sonata op. post. 122 D 568; R. Schumann Walzer, Larghetto and Elfe from Album Leaves op. 124; B. Smetana Polka poetique g op. 8,2.

Robert Schumann: Works for Organ or Pedal Piano

Robert Schumann revered Johann Sebastian Bach and his polyphonic style throughout his life. Thus the “Six Studies in Canonic Form” op. 56 and “Four Sketches” op. 58 for pedal piano, which are reminiscent of Bach’s Inventions, were composed during a relatively short period starting in 1845. From a music history perspective, the “Six Fugues on the name BACH” op. 60 for organ or pedal piano are the first important organ compositions on the B-A-C-H theme before those by Franz Liszt and Max Reger. With his compositions for pedal piano the Leipzig School of Music had one at that time Schumann wanted to “bring new impetus to piano music”. However, this type of piano, which wasequipped with a pedal keyboard, did not find wide dissemination in the years that followed. Therefore it is more than legitimate to play the compositions by Schumann presented in this edition on the organ. The editor is the well-known organist and professor Gerhard Weinberger.