# data[].attributes.description
Once upon a time all of the legends of Fin MacCool, an ancient hero of Gaelic mythology, were written down for posterity. Saint Patrick, however, was obliged to order two-thirds of them destroyed. The tales were so entertaining, said he, that the people of Erin would do nothing but listen to them. Fortunately for us, many Fenian tales survive, as this captivating collection features 24 tales of super-human heroes and their adventures.Compiled by an ethnographer from the Smithsonian Institution who traveled Ireland in the late nineteenth century in search of these vanishing folk tales, this volume abounds with fantastic accounts of bold warriors who battle dragons and giants, outwit sorcerers, and with the help of loyal comrades, overcome death itself. This delightful collection represents not only a valuable resource for students of anthropology and aficionados of Celtic lore but also hours of enchanting reading for lovers of folk tales.

# data[].attributes.name
Piano Music of Robert Schumann, Series II

# data[].attributes.description
Dover Publications continues its series of playing editions of musical masterpieces with this selection of Robert Schumann's later compositions for solo piano, edited by Clara Schumann. This second volume contains the major compositions from the period 183853: "Humoreske," "Novelletten," "Sonate No. 2," Nachtstucke," "Faschingsschwank aus Wien," "42 Clavierstucke fur die Jugend," "4 Fugen," "Waldscenen," "Bunte Blatter," and "3 Clavier-Sonaten fur die Jugend."This book has been especially designed as a playing edition  the noteheads are large and easily readable at the piano, and the margins and spaces between staves are adequate for written notes, fingerings, and turnovers. It is also most useful for analysis or as accompaniment to recordings.

# data[].attributes.description
Comprehensive, profusely illustrated book documents early-20th-century sailing. Includes detailed, instructional manual for beginning and experienced sailors, review of small vessels then in use; racing boats, odd and experimental vessels, and more. Over 380 line drawings and photographs, including body, deck, and sail plans. Nautical vocabulary. Indexes. Bibliography.

# data[].attributes.description
Supplementing the Dover edition of Schubert's complete piano sonatas, this volume contains all of the remainder of Schubert's music for pianoforte solo (except the dances and a few unfinished pieces): the ever popular "Wanderer" fantasy, Opus 15; the 8 impromptus (Opp. 90 and 142), experimental forerunners of one of the typical genres of the later Romantic composers; the Moments Musicals, Opus 94; the Adagio and Rondo, Opus 145; and numerous variations, scherzos, and other short pieces.The music is photographically reprinted from the Breitkopf & Hartel Schubert-Gesammtausgabe, still considered the standard, authoritative edition of Schubert's music.Note heads in this edition have been reproduced in a size large enough to be read easily at the keyboard, and margins and spaces between staves are conveniently wide to permit written notes, harmonic analysis, fingerings, and running measure numbers. Essential to all classical pianists, this edition is also practical for study, reference, enjoyment  virtually any use.

# data[].attributes.name
Piano Music of Robert Schumann, Series I

# data[].attributes.description
This selection of Schumann's solo piano compositions contains all of his major work: "Variation uber den Namen Abegg" (1830), "Papillons" (1832), "Studien nach Capricen von Paganini" (1832), "Davidsbundler" (1837), "Toccata" (1832), "Allegro" (1831), "Carnaval" (18345), "6 Concert-Etuden nach Capricen von Paganini" (1833), "Grosse Sonate No. 1" (18335), "Phanatasiestucke" (1937), "Grosse Sonate No. 3" (18356), "Kinderscenen" (1838), "Kreisleriana" (1838), "Arabeske" (1839), and "Blumenstuck" (1839).This book has been especially designed as a playing edition  the notes are large and easily readable at the piano, and the margins and spaces between staves are adequate for written notes, fingerings, and turnovers. It is also most useful for analysis.

# data[].attributes.description
The piano sonatas of Franz Schubert are characterized by the supremely lyrical greatness that distinguishes all of this composer's work. The unfailing melody, the fresh modulations, and the emotional range  from blissful contentment to pensive melancholy  of these works place them firmly among the undisputed piano classics. This volume, reproduced directly from Series 10 of the definitive Breitkopf & Hartel Schubert-Gesammtausgabe, contains all fifteen of Schubert's piano sonatas: the charming early sonatas, the groundbreaking sonatas of the early 1820s, right up to the brilliant final sonatas.Noteheads in this edition have been reproduced in a size large enough to be read easily at the keyboard, and margins and spaces between staves are conveniently wide to permit written notes, harmonic analysis, fingerings, and running measure numbers. Essential to all classical pianists, this edition is also practical for study, reference, enjoyment  virtually any use.

# data[].attributes.name
The Complete Preludes and Etudes for Pianoforte Solo

# data[].attributes.description
Alexander Nikolayevitch Scriabin (18721915), Russian composer and pianist, is best known for his perfectly spun miniatures where his novel harmonic and pianistic ideas were most brilliantly worked out. This volume in Dover's continuing series of musical scores presents the best of Scriabin's works, his complete etudes and preludes for the solo piano. There are the Chopinesque works from his early period, including the 12 etudes from Op. 8 and the 24 Preludes, Op. 11. The works of the middle period, when he began working out his new harmonies based on a series of fourths, include the outstanding sets of Preludes, Opp. 33 and 48, and the Etudes, Op. 42. The 5 Preludes, Op. 74, and the Etudes, Op. 65, from the final period reveal perhaps most about his joyous ecstasy and languid contemplation, moods which no other composer could express to such a degree. There are also the preludes and etudes from Opp. 2, 9, 13, 15, 16, 17, 22, 27, 31, 35, 37, 39, 45, 49, 51, 59, and 67, each containing miniatures working out some subtle harmonic, rhythmic, or melodic idea with a perfect pianistic sense of writing. This book has been especially designed as a playing edition  the noteheads are large and easily readable at the piano, and the margins and spaces between staves are adequate for written notes, fingerings, and turnovers. It is also most useful for analysis, or simply for following along with the actual music.

# data[].attributes.description
The entire corpus of Beethoven's piano sonatas is contained in this two-volume work  32 sonatas in all. Volume One contains the fifteen sonatas from Beethoven's first period, including the popular Pathetique, Moonlight, and Pastorale sonatas. Volume Two contains the seventeen sonatas from Beethoven's second and third periods, including the Waldstein, the Appassionata, and the Hammerklavier.The music is reproduced directly from the exemplary Universal-Edition set edited by Heinrich Schenker. Combining scrupulous scholarship and profound artistic vision, Schenker achieved an edition which is universally admired by musicians and scholars. He used more autographs as sources than any previous editor of the sonatas, and he was the first to reproduce in print the visual impression of the autographs. For this Dover edition, Schenker's footnotes have been translated into English and his preface retranslated. A new introduction by Carl Schachter has also been included.Noteheads have been reproduced in a size enough to be read easily at the keyboard. Margins and spaces between staves are generous, permitting insertion of written notes, analysis, fingerings, etc. Running measure numbers and many fingerings have already been included by the editor  the last a particularly unusual and valuable feature of this edition. This edition will be welcomed by all pianists, both professional and amateur, for its accuracy and reliability; it is highly desirable for instruction, study, reference, and enjoyment.

# data[].attributes.description
This volume contains the complete music for solo piano written by Claude Debussy between 1888 and 1905. Beginning with Deux Arabesques (1888), it offers the Suite bergamasque (18901905), Reverie (1890), Danse (1890), Ballade (1890), Pour le piano (18961901), D'un cahier d'esquisses (1903), Extampes (1903), Mazurka (1891), Valse romantique (1890), Masques (1904), L'Isle joyeuse (1904), and the first series of Images (1905): Reflets dans l'eau, Hommage a Rameau, and Mouvement. In each case the music has been reproduced photographically from original or early editions. This book has been designed to be used at the piano. Noteheads are large and clearly printed: margins and spaces are adequate for written notes, fingerings, and turnovers. It is also most useful, of course, for analysis or simply for listening along with the music.

# data[].attributes.name
Complete Works for Pianoforte Solo, Vol. I

# data[].attributes.description
Mendelssohn's complete works for pianoforte solo are now contained in this two-volume republication of the outstanding Breitkopf & Hartel edition. Included in Volume One are: "Capriccio in F-sharp Minor" (1825), "Sonata in E Major" (1826), Seven Characteristic Pieces," "Rondo Capriccioso in E Major" (1824), "Fantasy in F-sharp Minor" (1835), "Andante cantabile e Presto agitato in B Major" (1838), "Etude in F Minor" (1836), "Scherzo in B Minor," "Gondola Song in A Major" (1837), "Scherzo a Capriccio in F-sharp Minor," "Three Caprices" (18331835), "Six Preludes and Fugues" (18271837), "Variations Serieuses in D Minor" (1841), "Six Pieces for Children" (c. 1842), "Variations in E-flat Major" (1841), and Variations in B-flat Major."Volume Two contains: "Three Predules" (1836), "Three Etudes" (18341838), "Sonata in G Minor" (1821), "Sonata in B-flat Major" (1827), "Album Leaf (Song Without Words) in E Minor," "Capriccio in E Major/Minor" (1837), "Perpetuum Mobile in C Major," "Prelude and Fugue in E Minor" (1827, 1841), "Two Pieces," and "Song Without Words" [48 pieces in 8 books].Noteheads have been reproduced in a size large enough to be read easily at the keyboard. Margins and spaces between staves are generous, permitting insertion of written notes, analysis, fingerings, running measure numbers, etc. For playing, study, or just listening to records, this work will be an admirable addition to your music library.

# data[].attributes.name
Piano Music of Robert Schumann, Series III

# data[].attributes.description
"Schumann's short pieces are distinguished from those of his predecessors and contemporaries not only by their intrinsic charm and fantasy, but also by their literary and musical allusiveness and by their autobiographical nature."  Grove's Dictionary.Noted for their extraordinary romantic warmth and imagination, Schumann's piano pieces are among the very greatest ever written. Their deeply felt lyrical beauty, impressive originality, and eloquent expression of the composer's sentiments stamp these compositions as quintessential embodiments of musical romanticism. This volume, reproduced from the definitive edition (Breitkopf & Hartel, 187993), brings together all the solo piano pieces bearing opus numbers that did not appear in Series I and II. The fifteen works reprinted here include two masterpieces, Symphonic Etudes, Op. 13, and Fantasy, Op. 17, as well as thirteen other choice works that are often difficult to obtain: Intermezzi, Op. 4; Impromptus on a Theme by Clara Wieck, Op. 5; Etudes in the Form of Variations (Symphonic Etudes), Op. 13; Supplement to Op. 13: five additional variations; Supplement to Op. 14: the original Scherzo (second movement) of Sonata No. 3 in F Minor; Fantasy in C Major, Op. 17; Supplement to Op. 22: the original Presto (finale) of Sonata No. 2 in G Minor; Three Romances, Op. 28; Four Pieces, Op. 32; Four Marches, Op. 76; Three Fantasies (Drei Phantasiestucke), Op. 111; Album Leaves (Albumblatter), 20 pieces, Op. 124; Seven Pieces in Fughetta Form, Op. 126; Morning Songs (Gesange der Fruhe), Five Pieces, Op. 133; and Theme in E-flat Major.In cases where there is more than one edition of a given opus, this volume supplies the second, definitive edition. A glossary of German musical terms has also been included.Except for a few sketches and fragments and two pieces for pedal piano (unplayable on a standard piano), all of Schumann's solo piano music is now available from Dover, complete in three volumes. Devotees of Schumann, serious students, and pianists seeking to expand their repertoire will want to add this excellent playing edition of Schumann's piano compositions to their musical libraries.

# data[].attributes.name
Complete Works for Pianoforte Solo, Vol. II

# data[].attributes.description
Mendelssohn's complete works for pianoforte solo are now contained in this two-volume republication of the outstanding Breitkopf & Hartel edition. Included in Volume One are: "Capriccio in F-sharp Minor" (1825), "Sonata in E Major" (1826), Seven Characteristic Pieces," "Rondo Capriccioso in E Major" (1824), "Fantasy in F-sharp Minor" (1835), "Andante cantabile e Presto agitato in B Major" (1838), "Etude in F Minor" (1836), "Scherzo in B Minor," "Gondola Song in A Major" (1837), "Scherzo a Capriccio in F-sharp Minor," "Three Caprices" (18331835), "Six Preludes and Fugues" (18271837), "Variations Serieuses in D Minor" (1841), "Six Pieces for Children" (c. 1842), "Variations in E-flat Major" (1841), and Variations in B-flat Major."Volume Two contains: "Three Predules" (1836), "Three Etudes" (18341838), "Sonata in G Minor" (1821), "Sonata in B-flat Major" (1827), "Album Leaf (Song Without Words) in E Minor," "Capriccio in E Major/Minor" (1837), "Perpetuum Mobile in C Major," "Prelude and Fugue in E Minor" (1827, 1841), "Two Pieces," and "Song Without Words" [48 pieces in 8 books].Noteheads have been reproduced in a size large enough to be read easily at the keyboard. Margins and spaces between staves are generous, permitting insertion of written notes, analysis, fingerings, running measure numbers, etc. For playing, study, or just listening to records, this work will be an admirable addition to your music library.

# data[].attributes.description
Chopins piano works are of such uniformly high quality that they are all absolutely essential in the repertoire of any aspiring pianist. The Preludes and Etudes are exquisitely beautiful examples of his genius. Numbering 52 pieces in all, they are reproduced here from the authoritative Mikuli edition and are available for the first time in a low-priced, one-volume publication. The opus listings are: 25 Preludes  Op. 28, Nos. 124; Prelude in C-sharp Minor, Op. 45. 27 Etudes  Op. 10, Nos. 112; Op. 25, Nos. 112; and Trois Nouvelles Etudes Unabridged (1998) republication of works from an authoritative early edition. New unified table of contents.

# data[].attributes.description
The music historian Sir John Hawkings recorded that his friend Handel's keyboard improvisations "stole on the ear in a slow and solemn progression; the harmony close wrought, and as full as could be possibly be expressed; the passage concatenated with stupendous art, the whole at the same time being perfectly intelligible, and carrying the appearance of great simplicity." Such fecund spontaneity generated the few published pieces Handel wrote specifically for the keyboard. The first set of suites appeared in 1720, perhaps composed and published for the instruction of Princess Anne, to whom Handel serves as music master. Other collections of harpsichord and clavichord work followed; all seem to have been preserved from Handel's freely inventive keyboard sessions. Here, for the first time in a popularly accessible edition, are 35 of his finest keyboard works for solo instruments, reproduced from the monumental Deutsche Handelgesellschaft edition, still the most complete.This collection features the celebrated Eight Great Suites, including the Harmonious Blacksmith Air and the Passacaille in G Minor (G 255), "a work in which Handel approaches most nearly to the monumental style of his choral writing" (Grove's Dictionary). Other works include: Fugue in A Minor; Fantasia in C Major; Suite (Partita) in G Minor; Sonatina in B-flat Major; Capriccio in F Major; Minuet in G Minor; Sonatas in C Major; Chaconne in F Major; Prelude and Sonata in G Minor; and more.For this new edition, the pieces have been rearranged and retitled according to the latest scholarly sequences found in The New Grove Dictionary of Music and Musicians. Students and scholars will find many of the ideas Handel sketched here expanded and reworked in later chamber and orchestral works and in the opera dance movements; musicians and every Baroque music lover will see in these neglected pieces "a Protean fluidity" (New Grove) worthy of the great composer, and more than worthy of any musical library.

# data[].attributes.description
"His art was of an encyclopedic nature, drawing together and surmounting the techniques, the styles, and the general achievements of his own and earlier generations and leading to a new perspective."  Grove's Dictionary of Music and Musicians.This informed assessment of the genius of Bach's works can be applied with greatest accuracy to The Well-Tempered Clavier. This highly influential work is monumental in the history of Western music. It represents not only the culmination of Bach's own maturation process, but also the galvanization of the emerging style and structure of modern keyboard music.The grace and fecundity of The Well-Tempered Clavier have thrilled audiences, musicians, and composers for centuries. Mozart, when rapidly advancing to the height of his mastery, had but to read a manuscript copy of The Well-Tempered Clavier and his style developed a new polyphonic richness and depth of harmony. Beethoven studied all the accessible works of Bach profoundly (including The Well-Tempered Clavier) and frequently quoted them in his sketchbooks, often with direct bearing on his own works. Chopin is nowhere more characteristic than when he shows his love of The Well-Tempered Clavier in his Etudes and Preludes. It was Schumann who, in a series of maxims for young musicians, said "Make The Well-Tempered Clavier your daily bread."This remarkable volume contains all 48 preludes and fugues, from Books I and II, in all major keys, reproduced directly from the authoritative Bach-Gesellschaft edition. The fine engraving is beautiful, clear, and easy to read. These elegant pieces, which vary in difficulty, are available complete in one low-cost, convenient Dover edition.

# data[].attributes.description
Sparkling, graceful and tinged with an ineffable melancholy, Chopins waltzes succeed in conveying an air of mystery while retaining their ballroom splendor. His scherzos are truly novel metamorphoses of the form  tumultuous emotional outpourings that frequently attain tragic heights. Prepared by Carl Mikuli, Chopin's student and teaching assistant, this edition of these innovative works is particularly authoritative, reflecting Mikuli's knowledge and understanding of Chopin's music. This volume includes: Waltzes Op. 18 Op. 70, Nos. 13 Op. 34, Nos. 13 E Minor, (Op. posth.) Op. 42 E Major (Op. posth.) Op. 64, Nos. 13 Op. 69, Nos. 12 Scherzos Opp. 20, 31, 39, 54 Republication of works from an authoritative early edition. New unified table of contents.

# data[].attributes.name
Bagatelles, Rondos and Other Shorter Works for Piano

# data[].attributes.description
Universally recognized for his critically important role in raising instrumental music to its highest plane, Beethoven is also highly regarded for his leadership in developing and extending the piano repertoire. His bagatelles, once described by the composer himself as "Kleinigkeiten"  or "trifles"  are short, masterful works that have proved tremendously popular not only for their pleasing sounds but also for the technical challenges they offer intermediate as well as advanced piano students.This superb, high-quality collection, reproduced from the authoritative Breitkopf & Hartel edition, contains the composer's most popular and most performed bagatelles, rondos, and shorter compositions, including: Six Minuets (c. 1795); the Polonaise in C, Op. 89 (1814); Six Bagatelles, Op. 126 (182324); the famed Rondo a capriccio in G (Rage Over a Lost Penny, 1795); the Andante in F (Andante favori, 1803), and a generous selection of other short works. An easily affordable volume, the present edition provides Beethoven devotees, students, teachers, and music lovers with a delightful sampling of a number of spirited works by one of the music world's supreme masters.

# data[].attributes.description
Frederic Chopin did not attempt to preserve definitive versions of his compositions because he disliked the labor of writing down notes. Improvising his performances at will, he never played a piece the same way twice. As a result, there are numerous texts of any single Chopin work and the editions of these texts have more editorial "improvisation" than do the texts of most composers. One of the most respected editions was prepared by Carl Mikuli, Chopin's student and, later, his teaching assistant, who was in a particularly privileged and advantageous position to take into account all that the master brought to his playing and teaching. His editorial contributions to this volume reflect his understanding of the principles that underly this body of work, imparted to him in word and deed by the composer.The 20 nocturnes reproduced here include Opp. 9, 15, 27, 32, 37, 48, 55, 62, 72, and the posthumous Nocturne in C-sharp Minor. The 11 polonaises include Opp. 26, 40, 44, 53, 61,71, and the posthumous Polonaise in G-sharp Minor.Serious pianists will want to have these authoritative texts of 31 of Chopins most popular and enduring works.

# data[].attributes.description
The towering composer who perfected the early symphonic form and invented the modern string quartet also left his indelible mark on the sonata. During 50 years of inspired creative effort, Haydn experimented constantly with the sonata form, adding a clear thematic structure to the tonal design inherited from earlier composers.This comprehensive new playing edition contains 52 sonatas by the master  a treasury of keyboard compositions in which echoes of the baroque and harbingers of romanticism blend with the lucidity and elegance of 18th-century classicism. Here is a remarkably convenient and reliable presentation of more than 50 of Haydn's efforts in the form, from the early divertimento-like sonatas to the masterworks of the later years, culminating in the sublime Sonata No. 52 in E-flat Major.Reprinted in two volumes from an authoritative Breitkopf & Hartel edition, the sonatas are arranged in a chronological sequence based on recent scholarship. Extremely clear and readable, with ample space for notes, this Dover edition is a must for serious pianists, students, and music lovers in general. It is an excellent, inexpensive means to study and savor the inventive daring, freedom, and mastery that Haydn brought to the piano sonata.

# data[].attributes.name
Complete Keyboard Transcriptions of Concertos by Baroque Composers

# data[].attributes.description
Early in his career, Bach began to transcribe for the keyboard a number of concertos for violin, oboe, and other instruments by such baroque masters as Vivaldi and Telemann. His purpose: to study and explore the works of other composers as well as to supply good clavier music for his own performances.This collection of sixteen of these celebrated transcriptions is reprinted from the definitive Bach-Gesellschaft edition prepared by Ernst Naumann and presented in a study format designed to give amateur and professional pianists and harpsichordists a lifetime of pleasurable study and use.Six of these glorious keyboard works are known to be transcriptions of Vivaldi violin concertos. Three are based on concertos written by Duke Johann Ernst of Saxe-Weimar, the son of Bach's employer at Weimar. One is based on a violin concerto by Telemann, another on an oboe concerto by Alessandro Marcello, and another on a concerto by Benedetto Marcello. The sources of the remaining works are unknown.Vivaldi, whose music Bach probably first heard in 1712, was to provide a strong influence on the young composer. Bach would eventually assimilate the Italian's style and use it with his own contrapuntal heritage and the Northern idiom in creating what we recognize today as the typical Bach style. These transcriptions, which represent his introduction to the new idiom, richly display a dynamic virtuosity that makes their performance an exhilarating experience.