~YUELINK PUPIL 4 O58 | IWYBEPT SCHUBERT | OTA SERENADE i GEANDEEN) svi hoprenuano.s uersipe pyxu for piano for four handsBBK 85.9542 KOHTPOAbIDIN JIACTOK ‘CPOKOB BOSBPATA, KAHEA AODKUA BEIT BOSBPAMIEHA Np TOs KE YKA3AHHOTO 3DECb CPOKA Kons. apes. ounay —— -$206010100-72 w Ges Gyan. © Manaremervo «Kounossrope, CM, 1995TIPEAICIOBHE Dnt nepenoxeHit anpeconaH eTAM, KOTOPHE © CAMBIX TepBEIK waros cBOHK XemAIOT HrpaTs HacTomNj.o “BSpocmyiO” MYSBIKY, a He TOMKO crTeLM- ambHo 21 HI CoMMMeHHYIO “seTeKyIo" (KOT epenM cosnaTereit STOIt To- cremtelt — Te xe Llywax 1 Yafixoncxsch, Mpoxodsen # Bema Baprox). Tlepenoxeniia oti, Haxeioce, cnOcoBHBI SAMHTepeconATH THICKE H HSpoC- TOTO MOGHTEAL MYSEKH, SME XYOXECTRCHHBIE SANPOCHI H TIOTPEOHOCTH He- MGLOTO MpeBLIMIAIOT ero TEXHHNeCKHe BOSMOKHOCTH. Tlaprix "yxerna” (Primo wnt Secondo) Ha10xeHa mpocto M, KAK TOKa- SHIBAET OMT, HTIOMHe JOCTYFINA 1OOMY THAHMCTY Mepporo—BTOporo TOROR oGyserne, Wi xons oa napmit cranur Mepen McMOmHBTeHEM OnpemeeHHEe ‘Texnveckare saayn (sByKOMSRTONeHHe, STeMeHTApHaR MaNsUenaR TOABHK- HocTB), AWlakTUveckas Lens STHX MepeTOXEHT JeAMT ECC Xe B TUIOCKOCTH He coSeraeHHo dopremanniol, a o6uleMySEKAUEHOH. B opxecrponnix comneHHax nOBCIOZY CoxparteHia — HacKONBKO 9To 0- cnomHMO B hopremnarnin nepeno>keHisX — MaxcYOMamHAs GIN30CT aB- ropexoft napniype. Benexersite otoro npestembHat oGrerseHHOCTS Maprun ‘fuernua” rrontexna sa coGoit xexoTopyio — Ho oTInORE He YpesMepHyI0 — yeroxnetocrs naprina "yacrerst’ Tlepenoxesit om nosnnem rio ynmpariese Moero ceniuteTHero CBIKA Tanwons, Koropsitt 4 ctax WX TlepBbIM HeromHHTeTeM, my a wt ocamuiato cnow pa6ory. A.Cmipamucsercutt FOREWORD The transcriptions are intended for children who are taking their first steps in playing genuinely "grown-up" music as opposed to music which has been specially composed for children (albeit by such composers as Schumann, Tehaikovsky, Prokofiev and Bartok). T hope these transcriptions will be equally interesting to adult amateur ‘musicians whose artistic objectives exceed their technical ability. ‘The pact played by the pupil whether Primo or Secondo is written in the simplest form. Experience shows that they can be played by young pianists in their first and second years. However, the student’s part presents a performer with definite technical problems (in touch and finger dexterity), but the aim of the teaching process lies not just in developing piano technique but in acquiring general musicianship. ‘The orchestral picces have been retained as far as possible in these piano transcription as close as possible to the original score. As a result of simplifying the student's part, we have had to make the teacher's part more complicated, but by no means excessively so. T dedicate these transcriptions to my son Daniel, on whose initiative T composed thei when he was seven years old, and who became their first performer. ASrationsy: CEPEHAJIA SERENADE (STANDCHEN) UIYBEPT Secondo SCHUBERT Moderato (MiiBig) Pupil VY © 2261kCEPEHAJIA (STANDCHEN) UIyBEPT Primo - Secondo SCHUBERT Moderato (Maiig) SERENADE : ‘Teacher Moderato (MiBig) 2261 k4 Secondo ©2261 kPrimo - Secondo 13 > a 76 Secondo © 2261 kPrimo - Secondo 7 ©2261 k8 Secondo 62261kPrimo - Secondo _ © 2261k10 Secondo foe ©2261 kPrimo - Secondo n © 2261k2 Secondo ©2261 kPrimo - Secondo 3 ©2261 k‘morendo, poco rit. Secondo ©2261 kPrimo - Secondo 1s simile ETS TT, morendo, pocorit, Q morendo, poco rit. ©2261 kSESVR- 7 7] pansy, yoo ‘CEPEHADA ae oprenuano 0 # py Beaaerop 9. H. Quyctsuurebn, Xyzom cepme HH. Kousposca Texw, peaxrop T: I. Kul Rogpovpe Me laecraong 2 1 Rupuong iP 030880 or 0.993. Homa emote 21.0895. ‘Sepuor £95 96/8, tm be: Pap. Tone Obe nena, ew 22. You mn 3 Yucnan x35. Tupame S08. danms Se 1166, Haguvemncoe eKowtooetope (Cana fleepSjpi 180000, Ca-erepeyor, yx BomiansMopexan 43, Srnowatno # AO aan Sexopor Rouries, PO to. nessa, TESS ‘Conce eeppn jae Svmropnctay Te6 geor MOUAPT. Cumdonus cons sunop (Ne40), wacmo I Primo-Secondo MOLIAPT. Cunbonus con» aunop (N40), wacme IIT (Menyom) Primo-Secanda MOUAPT. Manenoxas uownan cepenada, wacms I Primo-Seconde Secondo-Piimo MOLAPT. Maaenoxas nownan cepenada, wacm» II (Menysm) Psimo-Secondo Secondo-Primno IIYBEPT. Cepenada ‘Secondo-Primo IIYBEPT. Bapraposa Primo-Secondo BAX H.C. Agnus Dei (Mecea cu munop) Primo-Sesondo, Secondo- Primo IYMAH. Cuseonua Ne2, wacme ITT Prine-Secondo MEHJEJIBCOH. Cusponus Ned, acme IT Primo-Secondo MOLIAPT. Conama dan expunxie MOZART. Sowata for Von 1H hopmenvano sux naop (324) and Piano E minor (4) MOLAPT. Joxpumoza (Perewest) MOZART. Lacrimosa (Requiem) BETXOBEH. Cumonun 2, BEETHOVEN. Symphony 2, sacs IT ‘pars IT BETXOBEH. Cuashonun M87, BEETHOVEN. Symphony 07, acm IT part IT LIVBEPT. Cunponus N28 SCHUBERT. Symphony 8 (HHeoxonennan), acms I (Gnfnished), part IT LIYMALH. Cunponux Ned, acm IT SCHUMANN. Symphony X44, BATHEP. Bemyusenue « onepe part IT WAGNER. Lohengrin-Vorspiel TCHAIKOVSKY. String Quarter M1, “aonspan” YAMIKOBCKHML Cmpywasit xsapmem N01, xacms IT part I YAMKOBCKHH, Cnpyrnait ‘TCHAIKOVSKY. String Quartet 2, aapmem N22, wacme IT part IT PHMCKMIt-KOPCAKOB. RIMSKY-KORSAKOV Mlexepasada , wacme I Shecherazada, part 1 MOZART. Symphony G minor, part I Primo-Secondo MOZART. Symphony G minor, part IIT (Minuet) Prino-Secando ‘MOZART. Kine Kleine Nachtmusik, part I Prino-Secondo, Secondo-Prino ‘MOZART. Eine Kleine Nachtmusik, part II, (Minuet) Primo-Secondo, Secondo: Primo SCHUBERT. Serenade (Standchen) Secondo-Primo SCHUBERT. Barcarole (Auf dem Wasser zu singen) Primo-Secondo BACH J.S. Agnus Dei (Missa B minor) Primo-Seeond, Secondo-Primo SCHUMANN. Symphony Ne2, part III Primo-Secondo MENDELSSOHN, Symphony Ne4, part III Primo-Secondo MIATERKCTBO"KOMNOMTOP*» CAHKT-IBTEPEYET 1995 ‘THE “KOMPOZITOR" PUBLISHERS SANKT PETERSBURG 1985