Frédéric Chopin

Am Klavier - 17 bekannte Originalstücke

Sylvia Hewig-Tröscher (Editor, Fingering)


Urtext Edition, paperbound

Edition available in German language

Pages 59 (III+56), Size 23,5 x 31,0 cm

Weight 245 g

HN 1810 · ISMN 979-0-2018-1810-8

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  • Am Klavier - bekannte Originalstücke
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  • Waltz a minor KK IVb,11
  • Piano 3 easy
  • Waltz b minor op. post. 69,2
  • Piano 4 medium
  • Prelude c minor op. 28,20
  • Piano 4 medium
  • Prelude b minor op. 28,6
  • Piano 4 medium
  • Prelude e minor op. 28,4
  • Piano 4 medium

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Preface

About the composer

Frédéric Chopin

Frédéric Chopin

Pianist and composer. His work is concentrated around piano music that enjoys extraordinary popularity and has become an integral part of the concert repertoire. His music influenced subsequent generations in France (Franck, Saint-Saëns, Fauré, Debussy) as well as Smetana, Dvořák, Balakirev, Grieg, Albéniz.

1810Born in Żelazowa Wola near Warsaw on March 1. First compositions at age seven, his first public performance at eight.
1822Private instruction in composition.
1825Rondo in C minor, Op. 1, his first published work.
1826–29Studies at the Institute of Music in Warsaw.
1829“Fantaisie sur des airs nationaux polonaise” in A major, Op. 13; Piano Trio in G minor, Op. 8. Travels to Vienna, where he gives two concerts of his compositions and improvisations.
1829–33 and 1835–37Etudes, Opp. 10 and 25 -- a new type of virtuosic etude that also makes aesthetic demands.
1830Premieres in Warsaw of his two piano concerti, Op. 21 in F minor and Op. 11 in E minor.
1831Unable to return to Warsaw due to the Polish uprising, he goes to Paris, where he will remain until the end of his life.
1832Debut concert in Paris to great acclaim.
1835/38“Trois valses brillantes,” Op. 34.
1836/39“24 Preludes,” Op. 28, in a cyclic succession: compactly-designed short pieces.
1835/39Piano Sonata in B-flat minor, Op. 35, with the funeral march.
1842/43Ballade No. 4 in F minor, Op. 52; “Grande Polonaise brillante” in A-flat major, Op. 53; Scherzo No. 4 in E major, Op. 54.
1844Piano Sonata in B minor, Op. 58
1849Completion of the mazurkas in G minor and F minor. Death in Paris on October 17.

© 2003, 2010 Philipp Reclam jun. GmbH & Co. KG, Stuttgart

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About the authors

Sylvia Hewig-Tröscher

Sylvia Hewig-Tröscher (Editor, Fingering)

Sylvia Hewig-Tröscher studied piano at the Hochschule für Musik in Munich under Erik Then-Bergh and Hermann Reutter, as well as under Louis Hiltbrand at the Conservatoire de Musique in Geneva. 1977 she finished the „ Classe de Virtuosité“ in Geneva with the Premier Prix avec distinction and received the Henry Broliet prize as well as being awarded the GEDOK prize. Also organ studies under Lionel Rogg finishing with the „Diplome d’Orgue“. Masterclasses with George Halmos, Klaus Schilde, Karl Seemann and Wilhelm Kempff, followed, as well as with the cembalo player Li StadelmannIn. 1977 the piano trio Orfeo was established.

Since then, as a solo pianist and chamber musician, her concert activities have led her to Germany, Switzerland, France, Italy, Austria, America, Egypt, India, Korea, and Japan. The list of recordings includes Bayerischer Rundfunk and Südwestfunk Freiburg, Baden-Baden, record and CD recordings of (among others) seldom played works of the classical and romantic periods with Musica Bavarica. Further CD recordings including modern music and first performances with Calig, Symicon, Bayer Records, Arts Magnamedia, and Sony, also co-production of the Bayreischer Rundfunk and Deutscher Musikrat.

Masterclasses in Villa Marteau, Marktoberdorf, Hammelburg, Brixen, Castelnuovo di Garfagnana and New York. Today Sylvia Hewig-Tröscher works as a professor of piano and vice president of the Hochschule für Musik and Theater Munich.

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Die Texte Hewig-Tröschers sind leicht lesbar, allgemein verständlich und in ihren praktischen Empfehlungen problemlos umzusetzen, etwa wenn sie mit wenigen Worten Empfehlungen gibt, wie eine Oberstimme bei Mehrstimmigkeit in einer Hand hervorgehoben werden kann. Auch der Klavierpädagoge liest die Anmerkungen der Herausgeberin durchaus mit Gewinn für den eigenen Unterricht. [Üben & Musizieren, 2016]

De serie houdt rekening met verschillende spelniveaus (...), uithoudingsvermogen (...) en wil twijfelaars niet afschrikken door een te groot gewicht van een volume (...) of een te druk tekstbeeld. Ook aan de portemonnee van de doelgroep is gedacht, want de serie is aantrekkelijk geprijsd. Kortom, alle voorwaarden zijn aanwezig, alle mogelijke duwtjes in de rug gegeven, nu is het de beurt aan de pianist zelf. Er is geen uitstel meer mogelijk. [Piano Bulletin, 2015]