Waltz in D-flat Major (Minute), Op. 64, No. 1 · Waltz in C-sharp minor, Op. 64, No. 2 · Waltz in A-flat Major (L'adieu), Op 69, No. 1 · Nocturne in F minor, Op. 55, No. 1 · Nocturne in E-flat Major, Op. 9, No. 2 · Prélude in D-flat Major, Op. 28, No. 15 (Tear Drop) · Prélude in E minor, Op 28, No. 4 · Trois Ecossaises, Op. 72 · Mazurka in B-flat Major, Op. 7, No. 1 · Impromptu in A-flat Major, Op. 29 · Polonaise in A Major (Militaire), Op. 40, No. 1.

This Practical Performing Edition is a well-rounded introduction to Chopin's easiest piano pieces. It contains the familiar "Prelude in A Major," "Prelude in B minor" and "Prelude in E minor," three waltzes (published posthumously), six mazurkas and additional works. Ornaments are realized and fingering and pedal suggestions are provided. Biographical information and a brief discussion of each work further assist students with Chopin's style. Also included is an outstanding CD recording from the Naxos label, by internationally renowned artist Idil Biret. She has made more than 70 recordings and 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 many others.

Idil Biret, pianist.

Some of Chopin's best-loved works are contained in this volume. More advanced than 14 of His Easiest Piano Selections, familiar preludes, waltzes and mazurkas are joined by "Fantaisie-Impromptu," "Etude in E Major" and "Polonaise in A Major." This versatile collection could be used over the span of several years as a student's facility develops. Helpful biographical and historical materials are provided for each work. Also included is an outstanding CD recording, from the Naxos label by internationally renowned artist Idil Biret. She has made more than 70 recordings and 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 many others.

Mazurka F sharp minor, Op. 6/1 • Mazurka B flat major, Op. 7/1 • Mazurka A minor, Op. 7/2 • Mazurka E minor, Op. 17/2 • Mazurka A minor , Op. 17/4 • Mazurka G minor , Op. 24/1 • Mazurka C minor 30/1 • Mazurka G minor, Op. 30/2 • Mazurka B minor, Op. 33/4 • Mazurka C major, Op. 56/2 • Mazurka F minor , Op. 63/2 • Mazurka C sharp minor, Op. 63/3 • Mazurka G major, Op. 67/1 • Mazurka G minor, Op. 67/2 • Mazurka C major, Op. 67/3 • Mazurka A minor, Op. 67/4 • Mazurka C major, Op. 68/1 • Mazurka A minor, Op. 68/2 • Mazurka F major, Op. 68/3 • Mazurka F minor, Op. 68/4

Publisher: Schott
Series: Schott
Medium: Softcover
Pages: 56
Credits: (ed. Terebesi)
Composer(s): Frédéric Chopin

Contents: Ballade, Op. 47, No. 3 · Ballade, Op. 23, No. 1 · Berceuse (Lullaby) · Fantaisie-Impromptu · Funeral March (Sonata Op. 35) · Impromptu, Op. 29 · Mazurka, Op. 33, No. 1 · Mazurka, Op. 33, No. 3 · Mazurka, Op. 33, No. 4 · Mazurka, Op. 7, No. 1 · Mazurka, Op. 7, No. 2 · Nocturne, Op. 9, No. 2 · Nocturne, Op. 15, No. 2 · Nocturne, Op. 15, No. 3 · Nocturne, Op. 27, No. 2 · Nocturne, Op. 32, No. 1 · Nocturne, Op. 37, No. 1 · Nocturne, Op. 37, No. 2 · Polonaise, Op. 26, No. 1 · Polonaise, Op. 40, No. 1 · Polonaise, Op. 53 · Prelude in D-flat Major, Op. 28, No. 15 (Raindrop) · Scherzo B Flat Minor, Op. 31 · Study, Op. 25, No. 9 · Study, Op. 25, No. 1 · Study, Op. 25, No. 7 · Waltz, Op. 18 · Waltz, Op. 34, No. 1 · Waltz, Op. 34, No. 2 · Waltz, Op. 42 · Waltz, Op. 64, No. 2 · Waltz in D-flat Major (Minute Waltz), Op. 64, No. 1.

The genesis of ChopinÂ's Grande Polonaise Brillante Op. 22 originates with his youth in Warsaw and his first tours as a virtuoso. Designed as a concert piece with orchestra, it takes up a special position among the Polonaises of Chopin. By tradition, however, the work has always been performed as an extremely effective solo piece. Since no autograph survives, various first prints are used as source material, and comparisons show that the English first edition must have been based on the autograph manuscript of Chopin. This edition therefore rates this English edition more highly than usual, and numerous discrepancies and omissions present in the French definitive edition are clarified and complemented. The notes on interpretation not only explain the relatively rare term Â"spianatoÂ" but also explain ChopinÂ's techniques with respect to trills and appoggiaturas, and tempo rubato. These explanations are drawn from sources close to Chopin, such as letters from his pupil, Karol Mikuli. For advanced players.

For the first time ever, many of Alfred's most popular Masterwork Library editions are now packaged with a full-length CD at affordable prices for students. All selections are presented in their original form.

Chopin was probably the first to apply the word 'ballade' to music, Robert Schumann once wrote. He and his contemporaries were only familiar with the term ballad as a literary generic concept. Poems by Chopin's compatriot Adam Mickiewicz are said to have inspired the composer's ballades, although there is no concrete evidence to support this. However, the dramatic narrative gesture of the literary ballad can clearly be seen in this new genre, as in Ballade no. 3 op. 47 which is now available as a single edition following a revision of the complete volume (HN 862).

Now available in an affordable single edition, taken from the recently revised edition of the Ballades (available as 51480862).

Excerpt from Paderewski edition.

With this poetic masterpiece all four of the recently revised Ballades (HN 862) are now available as single editions. Following a restrained opening in C major and the first dreamy sounds of the theme, the tension continually increases to the brilliant closing coda before the work finally fades away after four chords. Two autograph scores survive for the fourth ballade, although they are merely fragments. However, the first editions provide important information, particularly since Chopin undertook further corrections after the first printing.

When Chopin gave his Opus 23 the title Ballade in the mid 1830s, he established the piano ballade as a new musical genre which was subsequently taken up by others, including Brahms, Liszt and Grieg. The idea of transforming a fictional, dramatic and mystical event into music particularly suggested itself to the Romantic Schumann. He was enthusiastic about this work: I have a new Ballade by Chopin. It seems to me to be one of his most brilliant (not most inspired) works. Our single edition has been taken from the recently revised edition of the Ballades (HN 862). Detailed information on the genesis of this work and an evaluation of the sources can be dwonloaded from www.henle.com free-of-charge.

Commentaries and notes in Russian only.

In 1836 Chopin introduced the term ballad into piano music with the publication of his Ballad op. 23, although up to then it had only been used in literature and in vocal music. Indeed, all four of Chopin's ballads have the character of a dramatic story: the musical thread is spun with increasing tension throughout the work, reaching a powerful climax at the end. Following the Préludes, we have now thoroughly re-evaluated this edition and revised it to include the latest scholarly findings. The most significant ones are documented in the printed critical apparatus; the detailed version can be downloaded from the Internet.

Edited by Willard Palmer. In this edition, Palmer provides fingering and offers suggestions for the performance of ornaments and other markings as revealed through the study of original sources. The introductory material includes a helpful discussion of ornamentation in Chopin's music. Also included is an outstanding CD recording from the Naxos label.

In 1836 Chopin introduced the term ballad into piano music with the publication of his Ballad op. 23, although up to then it had only been used in literature and in vocal music. Indeed, all four of Chopin's ballads have the character of a dramatic story: the musical thread is spun with increasing tension throughout the work, reaching a powerful climax at the end. Following the Préludes, we have now thoroughly re-evaluated this edition and revised it to include the latest scholarly findings. The most significant ones are documented in the printed critical apparatus; the detailed version can be downloaded from the Internet.

Extensive Critical Commentary in German.

Edited by ChopinÂ's student and teaching assistant Carl Mikuli, this edition includes highly authoritative versions of these favorite pieces: BalladesÂ--No. 1 in G Minor, Op. 23; No. 2 in F Major, Op. 38; No. 3 in A-flat Major, Op. 47; No. 4 in F Minor, Op. 52 ImpromptusÂ--No. 1 in A-flat Major, Op. 29; No. 2 in F-sharp Major, Op. 36; No. 3 in G-flat Major, Op. 51; No. 4 in C-sharp Minor, Op. 66 (Fantaisie-Impromptu) SonatasÂ--No. 1 in C Minor, Op. 4; No. 2 in B-flat Minor, Op. 35; No. 3 in B Minor, Op. 58 New compilation of scores originally published by G. Schirmer, New York, 1894Â-1895.

A new critical edition.

The most famous and popular edition of Chopin's works prepared by I. J. Paderewski, L. Bronarski and J. Turczynski. The edition has been based primarily on Chopin's autograph manuscripts, copies approved by him and first editions. The principal aim of the Editorial Committee has been to establish a text which fully reveals Chopin's thoughts and corresponds to his intentions as closely as possible. The full version of this edition includes 21 volumes.

Jorge Bolet Memorial Edition features Bolet's editorial markings and performance rules.

Study edition commented by Alfred Cortot in English

The Barcarolle, Op. 60, is one of the finest works of Frederic Chopin. Its expressive melodies, rich harmonies and formal perfection have been admired by musicians and writers for many generations. This edition, based on numerous sources, includes: extensive background information on the piece; an exploration of the form, interpretation and style; numerous performance suggestions; and critical commentary by the editor.