This collection contains the easiest piano pieces in their original form by Ludwig van Beethoven. These miniatures form a useful addition to piano lessons and offer valuable insights into the range and variety of Beethoven’s music.
Beethoven: Air de la petite Russie (No. 3 from National Airs with variations, Op. 107)
Beethoven: Air écossais “St. Patrick’s Day” (No. 4 from National Airs with variations, Op. 107)
Beethoven: Air russe “Schöne Minka” (No. 7 from National Airs with variations, Op. 107)
Beethoven: Bagatelle in C major, WoO 54, ‘Lustig-Traurig’
Beethoven: Bagatelle in D Major, Op. 33, No. 6
Beethoven: Bagatelles (11), Op. 119: No. 1 in G minor
Beethoven: Ecossaise in E flat major, WoO 86
Beethoven: Ecossaises (6) in E flat major WoO 83: No. 1
Beethoven: Für Elise (Bagatelle in A minor, WoO59)
Beethoven: German Dance in B flat major (No. 2 from German Dances, WoO 13)
Beethoven: German Dance in B flat major (No. 6 from German Dances, WoO 13)
Beethoven: German Dance in D major (No. 7 from Ländler, WoO 11)
Beethoven: Minuets WoO 10 – No. 2 in G major
Beethoven: Piano Sonatina No 37 in G major, Anh. 5, No. 1
Beethoven: Piano Sonatina No. 38 in F major, Anh. 5, No. 2
Beethoven: Rondo in C major, WoO 48
Beethoven: Variations (6) in F major on a Swiss Song, WoO 64

In the Baroque Era, the term “clavier” referred to all keyboard instruments: virginal, clavichord, harpsichord, fortepiano, and others. Bärenreiter’s “Baroque” Piano Album presents a representative selection of the major forms of Baroque clavier music from England, Italy, France and Germany.
The anthology is divided into these four countries and illustrated with pictures of historical instruments to convey an impression of music-making in the country concerned.
The volume begins with the Italian composer Girolamo Frescobaldi, whose keyboard works exemplify the stylistic transition from the Renaissance to the Baroque.
It then moves on to the English virginalists and the French clavecinistes and ends with the epochal of Johann Sebastian Bach.
Apart from traits which prevailed in each of these countries, piano pupils will learn about the various stages of the Early High and Late Baroque period as well as about the major musical genres, from dance to fugue.
Special care was taken in the selection of the pieces to ensure that they could be played on the modern piano.
Since Baroque ornaments must be executed differently for each composer, practical suggestions are included in the musical text. Reliable fingering has been added to make the volume ideal for use in piano lessons.
A representative overview of the major styles in Baroque clavier music
44 easy-to-play pieces
Colour illustrations of historical keyboard instruments
The musical text includes suggestions for ornaments
Reliable fingering
Vorwort
Preface
Préface
England – Angleterre:
Jig
Byrd, William
Alman
Farnaby, Giles
Faine would I wed – Gerne möcht’ ich heiraten – Je voudrais bien me marier
Farnaby, Richard
Corranto
Anonymus
Saraband
Lawes, William
Theatre Tune – Theaterlied – Air de théâtre
Blow, John
Air
Blow, John
Trumpet Tune – Trompetenmelodie – Air de trompette
Purcell, Henry
A Minuet
Purcell, Henry
A New Ground
Purcell, Henry
Suite
Purcell, Daniel
The Catherine
Barrett, John
Italien – Italy – Italie
Balletto Primo
Frescobaldi, Girolamo
Corrente Prima
Frescobaldi, Girolamo
Tre Arie
Pasquini, Bernardo
Sarabanda
Corelli, Arcangelo
Sonata I
Scarlatti, Domenico
Aria
Scarlatti, Domenico
Minuetto
Zipoli, Domenico
Giga
Zipoli, Domenico
Frankreich – France
Branle de Basque – Baskischer Branle – Basque Branle
Couperin, Louis
La Pastourelle
Couperin, Louis
Menuet
Anglebert, Jean-Henri d’
Menuet
Roux, Gaspard le
Les coucous bénévoles – Die wohlwollenden Kuckucke – The Kindly Cuckoos
Couperin, François
Menuet
Marchand, Louis
Flûtes – Flöten – Flutes
Dandrieu, Jean François
Sarabande
Rameau, Jean-Philippe
La Joyeuse – Die Fröhliche – The Merry Maid
Rameau, Jean-Philippe
Rigaudon
Rameau, Jean-Philippe
Menuet en Rondeau
Rameau, Jean-Philippe
Air pour Zéphire – Arie für Zephir – Song for Zephyr
Rameau, Jean-Philippe
Deutschland – Germany – Allemagne
Courant
Froberger, Johann Jacob
Sarabande
Kerll, Johann Kaspar
Praeludium und Fuge
Fischer, Johann Caspar Ferdinand
Gigue
Telemann, Georg Philipp
Menuet
Graupner, Johann Christoph
Menuet HWV 532
Händel, Georg Friedrich
Musette BWV Anh. 126
Bach, Johann Sebastian
Menuet BWV Anh. 132
Bach, Johann Sebastian
Praeludium BWV 999
Bach, Johann Sebastian
Praeambulum BWV 784
Bach, Johann Sebastian
Praeludium BWV 847
Bach, Johann Sebastian
Allemande BWV 814/1
Bach, Johann Sebastian

This collection contains the most beautiful and technically easy of Haydn´s piano pieces and dances. These miniatures can be used to enliven piano instruction and convey valuable insight into the richness of the composers´ music.
Four German Dances from Hob IX:12, Nos. 1-4
Andante G minor Hob XVI:11/II
Minuet G major Hob XVI:11/III
Trio E minor Hob XVI:11/III
Folksong “Gott erhalte” Hob. XXVIa:43 Piano Version
German Dance A major Hob IX:12 No. 5
Presto C major Hob XIX:24 for a Musical Clock
Allegro molto D major Hob. deest
Allegretto G major Hob III:41/IV
Adagio F major Hob XVII:9*
Sonata C major Hob XVI:7
Sonata G major Hob XVI:8
Variations G major from Hob XVII:2
Six easy variations C major Hob XVII:5
Minuet C major Hob. IX:8 No. 10
Trio C minor Hob. IX:8 No. 10

Cross-section of Czech piano literature from the 18th to the late 20th century
Works selected and provided with fingering by piano virtuoso Ivo Kahánek
Pieces of easy to a moderate technical difficulty
The leading Czech pianist Ivo Kahánek has long devoted himself to training young musicians. With this album of recital pieces, he offers young pianists quite easy pieces by well-known Czech composers.
The collection provides a cross-section of Czech piano literature from the 18th to the late 20th century. It contains pieces from the Czech classical period (Benda and Dusík), 19th-century and “fin-de-siècle” romanticism (Voríšek, Smetana, Dvorák, Fibich, Suk and Novák) as well as pieces of various styles from the latter half of the 20th century (Vreštál, Kabelác, Eben, Slavický, Dlouhý and Sluka).
Fingering has been supplied by the editor to support pianists in their playing. All the pieces appear in their original form; they have neither been arranged nor adapted.
​Vorwort / Preface / Predmluva
​Sonatine III a-Moll​Benda, Jirí Antonín
​Chansonette​Dusík, Jan Ladislav
​Rondo G-Dur​Voríšek, Jan Vaclav Hugo
​Freundliche Landschaft​Smetana, Bedrich
​Erinnerung​Smetana, Bedrich
​Polka g-Moll
​Humoreske Ges-Dur​Dvorák, Antonín
​Koboldstanz​Dvorák, Antonín
​Erinnerung​Fibich, Zdenek
​Idyllen​Suk, Josef
​Teufelspolka​Novák, Vítezslav
​Die Friedeker Mutter Gottes​Janácek, Leoš
​Das Käuzchen ist nicht fortgeflogen!​Janácek, Leoš
​Kommt mit!​Janácek, Leoš
​Colombine tantzt​Martinu, Bohuslav
​Harlekin​Martinu, Bohuslav
​Sextenstudie​Vrestál, Jirí
​Preludio ostinato​Kabelác, Miloslav
​Glocken zur Nacht​Eben, Petr
​Bagatelle Nr. 2​Dlouhý, Milan
​Schwäne

First Urtext edition
Based on The Bohuslav Martinu Complete Edition IV/4/1 (Chamber Music for 6–9 Instruments I)
Preface of the editor Jitka Zichová (Cz/Eng/Ger)
Unusual instrumentations were by no means the exception in the chamber music works of Bohuslav Martinu, most notably the works he wrote in Paris in the 1920s and 1930s being characterised by his experimentation with sound and form. It is from this period that four short serenades also originate, of which the Serenade No. 1 was composed in 1932. The serenades were published by the Prague publishing house of Melantrich in 1949.
Although the study score of the Serenade No. 1 was published while the composer was still alive, he was in fact not involved in preparing this edition; indeed, the performance material also appeared in print without his participation in 1954. It was therefore decided to use the autograph score as the principal source for this edition.

Mit dem zweiten Band ausgewählter Klavierstücke Clara Schumanns wird die 1992 neu erschienene, ausgesprochen beliebte Ausgabe Clara Schumann, „Romantische Klaviermusik“ (BA 6550) wirkungsvoll ergänzt.
Heft ll bietet einen hervorragenden Einblick in die Schaffensperiode der Komponistin und rundet mit den Klavierstücken aus den Jahren 1838-1856 das Bild der außergewöhnlichen Künstlerpersönlichkeit Clara Schumanns ab, die bereits vor ihrer Hochzeit mit dem damals noch kaum bekannten Robert Schumann Rang und Namen besaß. Musikalisches Gespür sowie ausgefeilte Kompositionstechnik zeichnen Clara Schumanns Werke aus, die sie zugleich als eine der bedeutendsten Komponistinnen ihrer Zeit ausweisen.
Romance variée op. 3
​Romance op. 5/3
​Trois Romances op. 11
​Scherzo II op. 14
​Quatre pièces fugitives op. 15
​Romanze a-Moll 21/1
​Romanze h-Moll