SERVICES

I am now offering the following services for amateur composers or anyone who would like to have a clean and nice typesetted version of an antique score/autograph.

TYPESETTING fee:
from autograph (depends on legibility) : 
$10/page for solo instrument score
$18/page for chamber/vocal score

from printed score (without notes correction, old score) : 
$5/page for solo instrument score
$9/page for chamber/vocal score

from printed score (with notes correction, old score) : 
with quote.

Please note that I am doing typesetting of scores from the Baroque era to Contemporary era, mainly for tonal pieces. Atonal pieces will be quote differently.

ARRANGEMENT fee:
Piano Concerto:
Full Score to 2 Pianos:
from autograph (depends on legibility) : 
$25/page
from printed score:
$15/page

I will prefer Paypal as the main payment method. Bank transfer is only available in Malaysia. Anyone who is interested can comment on my post or email me 

Sample:

CHINESE PIANO MUSIC COLLECTION

THIS PROJECT AIMS TO COLLECT ALL AVAILABLE SCORES BY MODERN CHINESE COMPOSERS. ALL SCORES NOW AVAILABLE AT A FLAT PRICE OF $4.99 (regardless of pages) FOR THE BETTER PROMOTION OF CHINESE PIANO MUSIC!

林尔耀 - 社员都是向阳花 by ObscureScorefinder

殷承宗 - 北风吹

Mendelssohn/Merk - Variazioni Brillanti (reconstructed by Taglietti)

Felix Mendelssohn composed the piano part of a joint composition with Joseph Merk, noted Austrian cellist, it is not known where the theme of the set of variations came from, but a wonderful theme it is! Score originally set for cello and piano but only the piano part by Felix Mendelssohn survived. By using themes in the piano part, Taglietti figured out the cello part. A video of the premiere has been recorded and released in conjunction with the DVD - Mendelssohn Unknown, featured Roberto Prosseda and Steven Isserlis, the video has been uploaded 4 years ago but was no longer been found through normal search. Here is the attached video:

A good substitute for the missing cello concerto!

RECENT ACQUISITIONS #1

FRANCIS EDWARD BACHE - PIANO CONCERTO IN E Op.18
Status: Making into piano solo edition (with tuttis)
Duration: 3 months
Title page:

J.B. CRAMER - PIANO SONATAS Opp.53, 59, 62, 74

Status: for recreational playing after doses of Beethoven or Haydn

Title pages:

C.CZERNY - LES CHARMES D' LE AMITIE Op.55
Status: maybe for typeset but much fun for playing alone
Title page:

now publicly available at IMSLP (after my request to the uploader)

ENJOY!

STEIBELT

Without having to listen the 100th time of a Beethoven, Bach or Mozart concerto, why don't choose to listen the 1st time of a Steibelt concerto? Daniel Steibelt, humiliated as a charlatan for centuries, composed 8 piano concertos (8th with choral) and dozens of  piano sonatas with equal or superior quality than his predecessors. Anna petrova-forster, a highly-acclaimed pianist, which I respect the most for her venture into obscure compositions recorded the first ever solo disc dedicated only to the piano works of Daniel Steibelt.

2 sonatas op.6/2 & op.82, some etudes and a solo concerto no.6. This disc can be listened for free by using Spotify. I am satisfied for the quality of recording with the sonatas and etudes but rather disappointing with the concerto, titled 'Voyage sur le Mount Bernard', the concerto is lack of proper orchestral parts since Anna only played the parts marked Solo, the rondo works perfectly without the orchestra though not the best of his works. A sample of cover is below:

Orchestral parts of the concerto is rather hard to find, however, someone could consult the concerto authority, Micheal Britchfield for more information about the piece.

LITTLE CLASSICAL GEMS

CURRENTLY WORKING ON THE FOLLOWING:

James Hook - 12 Sonatinas op.12 (completed)
J.C.F. Bach - 3 Sonatas & 1 Sonatina from 'Musikalische Nebenstunden'
                    - 3 Sonatas 'Leichte'

LONGING FOR SPRING BREEZE 望春风

A Taiwanese folksong originally composed by famous composer Teng Yu-hsien, arranged by Tyzen Hsiao for violin and piano, an arrangement for solo piano first appeared in 'Dragon songs' by Lang Lang, probably arranged by him from the Tyzen Hsiao's version.

I will be arranging another version similar to this and will be published in the near future.

C.P.E.BACH SONATA Wq 65/29

LETS NOT FORGET THE GREAT CONTRIBUTION OF C.P.E.BACH TO THE NEW GENERATION OF CLASSICAL COMPOSERS, HERE IS ONE OF HIS UNPUBLISHED SONATAS, WHICH IS ALSO A FAMOUS ONE
http://www.scribd.com/doc/202150792/Sonata-in-E-Major-Wq-65-29-urtext-edition

Sonata in E Major Wq 65/29 (urtext edition) by ObscureScorefinder

PLEASE DON'T HESITATE TO INFORM ME IF THERE ARE ANY ERRORS IN THIS SCORE.THANKS.

'SPRING SALE' in ENSEMBLEMUSIC.SG

CLOSED

ADVICE ON 'HANDLING' CLASSICS

In this case, the Schubert piano sonatas. Here are a few choices:

1) Download and print out a public domain/unfingered version (ex. B&H edition on IMSLP)

2)Buy a well-edited and fingered edition from the following:
a)ABRSM "Signature series" by Howard Ferguson
b)HENLE urtext by Paul Badura-Skoda
c)WIENER urtext by Martino Tirimo
d)PETERS edition
e)ALFRED edition (particular only for op.120 with full pedal indications)
f)Tonmeister ausgabe (rare)

As far as I knew, b) and c) are available in cheaper authorized Chinese (bilingual) editions, and you just have to consider the useful annotations by Ferguson and figure out your own fingering.

LATE GREETINGS AND A SCHUBERT PIECE

     Due to excessive courseworks and time constraint, I would now wish a late Christmas and New Year to everyone. Here, in 2014, the hunting for rare piano scores and obscure composers should not end, though, let us not forget some of the greatest composers existed, Franz Schubert, whose entire piano output has been seriously underrated after his death. Let us not wait and start with a lovely movement of the famous Sonata in A major, D664. I will incite Howard Ferguson's annotations as a basic interpretation of this movement, optional pedal marks can be obtain by referring to Maurice Hinson's Alfred edition.
    Various editions of Schubert piano sonatas (with/without completions)have been published since the revival of Schubert's music, the most famous being Paul Mies edition (with completions by Paul Badura-Skoda)-Henle, Martino Tirimo edition-Wiener Urtext, Barenreiter (not recommended for learners), and the strongly recommended Howard Ferguson's edition.
   The autograph source of this sonata is lost and therefore, the urtext is based on the sole 1st edition pub.Vienna, 1829. This sonata is dedicated to young pianist Josefine von Koller, and copied by Albert Stadler (a faithful copyist) from the autograph.

Allegro moderato(♩=c.104)

There are an unusual number of widely-spaced chords for each hand in this Sonata. Since at least one of them are too big for most players to stretch (e.g. the r.h. 11th in b.19), there can be little doubt that Schubert intended them to be broken wherever necessary. When playing these arpeggios in the r.h. begin them on the beat, spread them smoothly (but not too slowly), and make the melody-note slightly more prominent than the rest. In the l.h. they should probably begin earlier, in order to make the top note coincide with the beat. Do not worry if this means taking extra time, for that is wholly in keeping with the leisurely mood of the movement.

Bar 1 (& forth) : If the pedal is changed with the harmony the lower r.h. notes need not be held down for their full value. However, bb.10-12 should be senza ped. for the sake of clarity (of the l.h. notes)and the change of colour(mf ->pp)                                                                    

 3 (r.h. beat 4) : As the final E is struck with the 5th finger. move to the 2nd finger (which has just played the B) towards the thumb, so that it is ready to play the E in chord 1 of b.4 (as shown in diagram above)

12. : Any slight rit. in this bar should not include beat 4, which leads into the following bar.

45-47 : Though the dynamic level is lower, the poignant chord 1 of b.46 is more intense than its equivalent in b.43. It may require a little extra space; and b.47 will certainly need a noticeable rit. to round off the exposition.

48-51 : Practise the l.h. by itself, to make sure that there is no slowing down at the end of bb.49 & 51.

55 : Unlike b.12, a rit. would here be out of place, for the music is moving towards a vigorous new idea, instead of returning to a familiar lyrical one.

66 & 72 : l.h. Do not let the 2 lower parts overpower the tenor.

79 : Beat 4 again leads into the following bar. 

127 (& forth) : Allow the rests their full value, and do not hurry this touching coda. In b.131 the l.h. is apt to sound unpleasantly thick on a modern piano, unless the top 2 parts are lightened. On some instruments it may even be advisable to omit the middle line altogether.

 Andante(♩=c.58, 69 & 80)

In spite of the straightfoward appearance of the movement, several different tempi are needed to match the changing moods of music.

1-14  (♩=c.58) : The tonal emphasis should be concentrated on the r.h. upper line. The l.h.is at present no more than the harmonic background, for it does not double the melody consistently. Its turn comes later (see b.51 & forth)

 16-25 : Tenuto touch, combined with discreet pedal, will prevent the l.h. accompaniment from sounding dry. 

22 r.h. : The turn is part of the melody, and must not be rushed. Some extra time can be taken at the end of the bar, to underline the curtailing of the phrase and its unexpected repetition.

32 : no rit., for the bar is moving towards.

33 & forth (♩=c.69) : a slightly faster tempo, without which the triplets would not flow. 

37-39 r.h. : The dotted quaver with semiquaver rhythms should certainly coincide with the l.h. triplets, and the upper line in b.39 should probably do so; for although the latter's duple rhythm was established in b.7, the pull of the new triplets is irresistible. 

40-41 : Poco accel. towards 42 (♩=c.80): the climax of the movement. 

44-49 : Though not so marked, these six bars imply a continuous dim. It is wise, therefore, to drop no further than, say, mf at b.44, whence a gradual dim. e rit. leads back to 

50 & forth(♩=c.58) :Tempo primo. The l.h. upper line now comes into its own by echoing the melody for four bars. Care must be taken to separate it clearly, but without exaggeration, from the two lower parts.

 56, chord 1 : If both hands are spread, they should begin and end their chords simultaneously.

 57 : No quieter than p(subito), to allow for the pp in b.58.  

70-75, r.h. : A new voice enters for one bar in the top line of b.71, and again for the three final bars. 

 Allegro(♩=c.80)

1-18 : The playful character of the opening subject is greatly enhanced by the continual interplay between 1st-beat and 2nd-beat accents. For example, in bb.1, 3 & 9 the l.h. stress is on beat 1; yet in these same bars the r.h. has an implied stress on beat 2, following the staccatos. And in bb.4-5, 11-12 & 15-16 the stress in both hands is on beat 2, only to revert to beat 1 in bb.7, 14 & 18 respectively. 

21-23 : The fz moves from hand to hand more clearly if there is no accent on the 1st semiquaver of each group. 

36-37 : Give the tied chords their exact rhythmic value, so that (a)they match the tied Gs in bb.45-46;(b)their sound has time to disperse before the pp in b.38; and (c) the listener can keep track of the beats. 

44-51, l.h. : Lightly detached, with perhaps a very slight touch of pedal on notes 1 & 4 of each bar. Practise the jumps by playing notes 1-2 slowly a number of times, then notes 3-4, then adding the two pairs together; and so on through the whole passage. 

56, r.h. notes 6-7 :  These two notes, and the similar pair in b.181, have the only fingering found in the Schubert  sources.

63, beat 1 : This is the only time the l.h. has to play all six notes. While the final E is being struck by the thumb, fingers 2 & 3 should move slightly to the left, so that they are ready to strike the two middle notes of the following chord.

92-94 : The l.h. upper line takes lead for two bars, to be followed by the r.h. in the 3rd bar.

102, r.h. : Some players may find it comfortable to finger the passage 2/1, 3, 2/1, 3, 2/1, 5, or 2/1, 3, 4/2, 5, 3/2, 5.

121 : No rit. A tiny accent on note 7 will show that the recapitulation has begun.

201, l.h. chord 5 : The lower E is in the 1st edition, although the note was a semitone beyond the compass of Schubert's piano. To omit it would seriously weaken the balance of the passage.

214 : A fraction of extra time can be allowed for this bar; but the final two ff chords should be strictly a tempo.

PLEASE NOTE THAT THE ANNOTATIONS ABOVE ARE INTENDED ONLY FOR EDUCATIONAL PURPOSES