The world-famous Rachmaninoff "Eighteenth Variation" has probably graced as many pianos and recitals as has any favorite solo. Lambert's arrangement has faithfully maintained the beauty of the original for intermediate pianists.

This beautiful edition is made from the original 1934 2-piano score which is a reduction made by Rachmaninoff himself. The score is very clear and readable, and is configured in 4-staff systems, Piano I and Piano II, so two separate books are required for performance.

From an earlier Belwin Mills edition, this is Volume 6 of a series of the piano works of the great Russian-American composer. This book contains Variations on a Theme of Chopin, Opus 22, which is based on Chopin's C-Minor Prelude, Opus 28, No. 20; and also Variations on a Theme of Corelli, Opus 42, which is based on Corelli's Sonata for violin, violone, and harpsichord, Op. 5, No. 12 (which itself is a set of variations of the European musical theme, La Folia).

Arranged for one piano, four hands.

An abridged arrangement of Rachmaninoff's Rhapsody, Op. 43 on a Theme by Paganini arranged by Cecily Lambert for two pianos, four hands.

This historic reference edition contains an outstanding CD recording by internationally renowned artist, Idil Biret, who records on the Naxos label. She has made more than 70 recordings including the complete solo piano works and all the concertos of Chopin, Brahms and Rachmaninoff. At the age of fifteen, Biret graduated from the Paris Conservatoire with three first prizes. She went on to study with Alfred Cortot and then Wilhelm Kempff, who considered her his finest student. She has received numerous awards including: Lily Boulanger Memorial, Boston; Harriet Cohen - Dinu Lipatti gold medal, London; Chevalier de l'Ordre du Merite, France; State Artist, Turkey and others. Contents: Nocturnes Nos. 1-3 * Morceaux de fantaisie, Op 3. Nos. 1-5 * Prelude (posthumous) * Oriental Sketch * Fragments * Melodie, Op. 3, No. 3 (original version)* Piece in D Minor.

Throughout his career as composer, conductor, and pianist, Sergei Rachmaninoff (1873-1943) was an intensely private individual. When Bertensson and Leyda’s 1956 biography appeared, it lifted the veil of secrecy from several areas of Rachmaninoff’s life, especially concerning the genesis of his compositions and how their critical reception affected him. The authors consulted a number of people who knew Rachmaninoff, who worked with him, and who corresponded with him. Even with the availability of such sources and full access to the Rachmaninoff Archive at the Library of Congress, Bertensson and Leyda were tireless in their pursuit of privately held documents, particularly correspondence. The wonderfully engaging product of their labors masterfully incorporates primary materials into the narrative. Almost half a century after it first appeared, this volume remains essential reading. Sergei Bertensson, who knew Rachmaninoff, published other works on music and film, often with a documentary emphasis.