Brahms brilliantly captured the spontaneity and passion of Hungarian gypsy music in his 21 Hungarian Dances. In this volume containing the first 10 dances, editors Carol Ann Bell and Digby Bell have scrutinized all available autograph manuscripts of the duet, solo and orchestral versions and compared them with the earliest printed editions to produce the most scholarly, critical body of these works available today. Performance notes, helpful fingering suggestions, ornament realizations, and a wealth of historical background are provided.

Brahms brilliantly captured the spontaneity and passion of Hungarian gypsy music in his 21 Hungarian Dances. In this volume containing the first 10 dances, editors Carol Ann Bell and Digby Bell have scrutinized all available autograph manuscripts of the duet, solo and orchestral versions and compared them with the earliest printed editions to produce the most scholarly, critical body of these works available today. Performance notes, helpful fingering suggestions, ornament realizations, and a wealth of historical background are provided. Hungarian Dances Nos. 5, 6, and 8 are Federation Festivals 2016-2020 selections.

Intermediate and advanced pianists will savor these 42 carefully chosen works. Features include Beethoven's 8 Variations on a Theme by Count Waldstein, and the Sonata in D, Op. 6; Debussy's Prelude to The Afternoon of a Faun; Rachmaninoff's Barcarolle, Op. 11; Tchaikovsky's Waltz from "The Sleeping Beauty," Op. 66; Ravel's Rapsodie Espagnole; and many others.

Brahms brilliantly captured the spontaneity and passion of Hungarian gypsy music in his 21 Hungarian Dances. In this volume containing dances 11-21, editors Carol Ann Bell and Digby Bell have scrutinized all available autograph manuscripts of the duet, solo and orchestral versions and compared them with the earliest printed editions to produce the most scholarly, critical body of these works available today. Performance notes, helpful fingering suggestions, ornament realizations, and a wealth of historical background are provided.

Sixteen Waltzes, Op. 39 is a set of 16 short waltzes for piano written by Johannes Brahms. They were composed in 1865, and published two years later. This collection is for unsimplified solo piano.

Expertly arranged Piano Duet for 1 Piano, 4 Hands.

A great deal of evidence survives about how Brahms and his contemporaries performed his music. But much of this evidence - found in letters, autograph scores, treatises, publications, recordings, and more - has been hard to access, both for musicians and for scholars. This book brings the most important evidence together into one volume. It also includes discussions by leading Brahms scholars of the many issues raised by the evidence. The period spanned by the life of Brahms and the following generation saw a crucial transition in performance style. As a result, modern performance practices differ significantly from those of Brahms's time. By exploring the musical styles and habits of Brahms's era, this book will help musicians and scholars understand Brahms's music better and bring fresh ideas to present-day performance. The value of the book is greatly enhanced by the accompanying CD of historic recordings - including a performance by Brahms himself.

Johannes Brahms was a consummate professional musician, and a successful pianist, conductor, music director, editor and composer. Yet he also faithfully championed the world of private music-making, creating many works and arrangements for enjoyment in the home by amateurs. This collection explores Brahms' public and private musical identities from various angles: the original works he wrote with amateurs in mind; his approach to creating piano arrangements of not only his own, but also other composers' works; his relationships with his arrangers; the deeper symbolism and lasting legacy of private music-making in his day; and a hitherto unpublished memoir which evokes his Viennese social world. Using Brahms as their focus point, the contributors trace the overlapping worlds of public and private music-making in the nineteenth century, discussing the boundaries between the composer's professional identity and his lifelong engagement with amateur music-making.

Michael Musgrave presents a contemporary view of Brahms 150 years after his birth, seeing him not simply as the "conservative" figure so often stressed in the past, but as one who creatively reinterpreted a wider range of historical elements than any composer of his time. Brahms absorbed his studies directly into his music making and composition and in so doing helped to evolve not merely a personal language which was regarded as progressive and sometimes difficult by a range of contemporaries and successors, but also helped to establish an ethos of historical reference which anticipates the twentieth century. The Music of Brahms concentrates on the music, with Brahms's life discussed briefly in the introduction. The works are considered in four phases according to genre, with an emphasis on connection and on the development and elaboration of a unified language. The list of works includes recent discoveries and a calendar outlines the pattern of his musical life, including relevant information concerning performances.

This sonata for two pianos, four hands was written in 1781 for performance by Mozart and Josephine von Aurnhammer, one of his finest students. The first and third movements are fast and brilliant, contrasted by a gently flowing second movement. This edition includes editorial fingering and performance suggestions.