These beautiful French works are a must for all pianists. Titles: Book 1 * Danseuses de Delphes * Voiles * Le vent dans la plaine * Les sons et les parfums tournent dans l'air du soir * Les collines d'Anacapri * Des pas sur la neige * Ce qu'a vu le vent d'Ouest * La fille aux cheveux de lin * La serenade interrompue * La Cathédrale engloutie * La danse de Puck * Minstrels Book 2 * Brouillards * Feuilles mortes * La Puerta del Vino * Les Fées sont d'exquises danseuses * Bruyères * "General Lavine" * La terrasse des a udiences du clair de lune * Ondine * Hommage à S. Pickwick Esq. * Canope * Les tierces alternées * Feux d'Artifice Kalmus Editions are primarily reprints of Urtext Editions, reasonably priced and readily available. They are a must for students, teachers, and performers.

Chopin's twenty-four Préludes remain as mysterious today as when they were newly published. What prompted Franz Liszt and others to consider Chopin's Préludes to be compositions in their own right rather than introductions to other works? What did set Chopin's Préludes so drastically apart from their forerunners? What exactly was 'the morbid, the feverish, the repellent' that Schumann heard in Opus 28, in that 'wild motley' of 'strange sketches' and 'ruins'? Why did Liszt and another, anonymous, reviewer publicly suggest that Lamartine's poem Les Préludes served as an inspiration for Chopin's Opus 28? And, if that is indeed the case, how did the poem affect the structure and the thematic contents of Chopin's Préludes? And, lastly, is Opus 28 a random assortment of short pieces or a cohesive cycle? In this monograph, richly illustrated with musical examples, Anatole Leikin combines historical perspectives, hermeneutic and thematic analyses, and a range of practical implications for performers to explore these questions and illuminate the music of one of the best loved collections of music for the piano.

A collection of exercises, for Piano, composed by Stephen Heller.

Bach's Well-tempered Clavier (or the 48 Preludes and Fugues) stands at the core of baroque keyboard music and has been a model and inspiration for performers and composers ever since it was written. This invaluable guide to the 96 pieces explains Bach's various purposes in compiling the music, describes the rich traditions on which he drew, and provides commentaries for each prelude and fugue. In his text, David Ledbetter addresses the main focal points mentioned by Bach in his original 1722 title page. Drawing on Bach literature over the past three hundred years, he explores German traditions of composition types and Bach's novel expansion of them; explains Bach's instruments and innovations in keyboard technique in the general context of early eighteenth-century developments; reviews instructive and theoretical literature relating to keyboard temperaments from 1680 to 1750; and discusses Bach's pedagogical intent when composing the Well-tempered Clavier. Ledbetter's commentaries on individual preludes and fugues equip readers with the concepts necessary to make their own assessment and include information about the sources when details of notation, ornaments, and fingerings have a bearing on performance.

The 31 moderately difficult preludes in this collection demonstrate Russian nationalistic influence mixed with characteristics of Brahms, Chopin, Schumann, and Scriabin. Titles: * Op. 3 * Op. 10 * Op. 11 * Op. 13 * Op. 24 * Op. 31 * Op. 36 * Op. 39 * Op. 40 * Op. 42 * Op. 46 * Op. 57 * Prelude-pastorale