Music for Piano: Women Composers through the Centuries
Expected to ship in 1-2 weeks.
- Composers: Fanny (Mendelssohn) Hensel (1805-1847), Mélanie Bonis (1858-1937), Maria Hester Park (1772-1813), Louise Farrenc (1804-1875), Florentine Mulsant (1962-), Emilie Zumsteeg (1796-1857), Barbara Heller (1936-), Ruth Schonthal (1924-2006), Viera Janárčeková (1941-2023), Hope Lee (1953-), Ljubica Marić (1909-2003), Sibylle Pomorin (1956-), Anna Bon di Venezia (1738-1769), Cécile Chaminade (1857-1944), Vivienne Olive (1950-), Maria Szymanowska (1739-1831)
- Instrumentation (this edition): Piano
- Originally for: Piano, Harpsichord
- ISMN:
- Size: 8.3 x 11.6 inches
Description
2nd Anniversary Edition
Level of difficulty: easy to medium
- Anna Bon di Venezia ca.1740–?: Sonata I, 1. Satz Allegro, from: Sei Sonata per il cembalo, Op. 2
- Maria Hester Park 1760–1813: Sonata I, 1. Satz Allegro, from: Two Sonatas for the Pianoforte or Harpsichord, Op. 4
- Maria Szymanowska (1789–1831): Contre-danse, from: Dix-huit Danses de différent genre pour le Pianoforte
- Emilie Zumsteeg (1796–1857): Polonaise No. 3, from: Trois Polonaises pour le Pianoforte
- Louise Farrenc (1804–1875): Nocturne, Op. 49, No. 1
- Mel Bonis (1858–1937): Prélude, Op. 10, from: Cinq pièces musicales
- Fanny Hensel geb. Mendelssohn (1805–1847): Klavierstück, in E Major and Andante, d Minor (Erstveröffentlichung)
- Cécile Chaminade (1857–1944): Marche Russe, from: Album des Enfants, Op. 123, No. 12
- Ruth Schonthal (1924–2006): The Seagull's slow Ascent and Descent, from: Five Oceanic Preludes
- Ljubica Marić (1909–2003): Song and Dance
- Barbara Heller (*1936): Nelkenblume, from: Klaviermusik
- Viera Janárčeková (*1951): Tröpfelnde Elegie, from: Abgestaubte Saiten
- Hope Lee (*1953): Flower Drum Dance
- Sibylle Pomorin (*1956): No. III, from: Istanbuler Kompositionen
- Florentine Mulsant (*1962) : No. II and III, from: Cinq Pièces pour les enfants pour piano, Op. 12
- Vivienne Olive (*1950): Bush Gin Rag
"It was the editor's intent to place before the performer pieces enjoyable to play, pieces easy to enjoy, and pieces not terribly difficult to execute. Ordered chronologically, like its anniversary companion above, the works are suitable for the intermediate pianist, with a bit of wiggle-room on either side: some are a little easier than intermediate level, some are a little harder. All of the compositions are thoughtfully edited. …
The compositions shows a wide range of atmosphere and required touch. There are dances (Contre-danse by Szymanowska, Polonaise by Zumsteeg, Marche Russe by Chaminade, and Bush Gin Rag by Olive); mood pieces (Nocturne by Farren and Klavierstück by Hensel); and even one that includes improvisatory passages and a Turkish air. The piano and vocal volumes are equally compelling purchases." Ellen Grolman, Journal of the IAWM - Volume 17, No. 2, 2011
Works:
- Bon di Venezia: No. 1 from 6 Harpsichord Sonatas (Sei sonate per il cembalo), Op. 2
- Park: No. 1 from 2 Harpsichord Sonatas, Op. 4
- Contre-danse from Szymanowska: 18 Dances in Different Genres (1819)
- Zumsteeg: No. 3 from 3 Polonoises (1819)
- Farrenc: Nocturne No. 1 in E-flat Major, Op. 49
- Bonis: Prelude in E-flat Major, Op. 10
- Hensel: Klavierstück in E Major (1829)
- Hensel: Andante in D Minor (1826)
- Marche Russe, No. 12 from Chaminade: Album des enfants - Volume 1 (Children's Album), Op. 123
- Schonthal: The Seagull's Slow Ascent and Descent, No. 2 from 5 Oceanic Preludes (2000)
- Marić: Song and Dance (1947)
- B. Heller: Nelkenblume from Klaviermusik
- Janárčeková: Tröpfelnde Elegie from Abgestaubte Saiten (1986)
- H. Lee: Flower Drum Dance (2001)
- Pomorin: No. 3 from Istanbuler Kompositionen (Version for Piano) (1996)
- Mulsant: Nos. 2 & 3 from 5 Pieces for Piano, Op. 12
- Olive: Bush Gin Rag (2004)
Publishers use a lot of words to describe what they sell, and we know it can be confusing. We've tried to be as clear as possible to make sure you get exactly what you are looking for. Below are descriptions of the terms that we use to describe the various formats that music often comes in.
Choral Score
A score for vocalists that only contains the vocal lines. The instrumental parts are not there for reference. Generally, cheaper than a vocal score and requires multiple copies for purchase.
Facsimile
Reproductions of the original hand-written scores from the composer.
Full Score
For ensemble music, this indicates that the edition contains all parts on a single system (there are not separate parts for each player). In larger ensembles, this is for the conductor.
Hardcover
Hardbound. Generally either linen-covered or half-leather.
Orchestral Parts
Similar to a wind set, this is a collection of parts. In the case of strings, the numbers listed are the number of copies included, though generally these are available individually (often with minimum quantities required).
Paperback
When publishers offer multiple bindings (e.g. hardcover) or study scores, this is the "standard" version. If you're planning to play the music, this is probably what you want.
Performance / Playing Score
A score of the music containing all parts on one system, intended for players to share. There are not separate parts for each player.
Set of Parts
For ensemble music, this indicates that there are separate individual parts for each player.
Solo Part with Piano Reduction
For solo pieces with orchestra, this is a version that contains a piano reduction of the orchestra parts. For piano pieces, two copies are typically needed for performance.
Study Score
A small (think choral size) copy of the complete score meant for studying, and not playing. They make great add-ons when learning concertos and small chamber works.
Vocal Score
A score prepared for vocalists that includes the piano/organ part or a reduction of the instrumental parts.
Wind Set
For orchestral music, this is a collection of wind and percussion parts. The specific quantities of each instrument are notated.
With Audio
In addition to the printed music, the edition contains recordings of the pieces. This may be an included CD, or access to files on the internet.
With / Without Fingering (Markings)
Some publishers prepare two copies - a pure Urtext edition that includes no fingering (or bowing) suggestions and a lightly edited version that includes a minimal number of editorial markings.

