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Bach's music often lends itself to performance by instruments other than the ones he specified, and in this transcription the wide range of a modern piano allows for an entertaining, even humorous, two-piano treatment of this wonderfully lively piece.

There is no easy way out for pianists who play this work with a flautist. After the introduction, the first movement is full of quick, relentless finger work, as well as running to quite a number of pages on its own. With that in mind, we have produced a new accompaniment which takes the most pianistic elements from the orchestral original and preserves as much of its character as possible. Still difficult, but perhaps no longer a complete nightmare to play...

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This masterful 2-piano arrangement by Richard Simm is also ideal for choirs who want to sing this exciting music in its original operatic form, but don't have the luxury of a symphony orchestra to accompany them. All they need are two good pianists!

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Part of Richard Simm's pioneering series of richer and more demanding piano reductions of orchestral parts for top-rank accompanists. This wonderful piece by Max Bruch has long been a favorite of cellists, and Simm's new piano arrangement strives, as always, for faithfulness to the orchestral original.

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One of England's most captivating rhapsodies rendered for solo piano by Richard Simm. This advanced arrangement was inspired by the dreamy sadness of the original, and it requires a great deal of pedal subtlety and feeling for color on the pianist's part. An immensely rewarding challenge for sensitive musicians - listening to the original orchestration is highly recommended in order to enter into the spirit of this delicate work.

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Lush Wagnerian harmonies, as well as French delicacy, characterize Chausson's ever-popular work for violin and orchestra. This new piano accompaniment by Richard Simm was distilled from the original orchestral version, and aims to capture as much as possible of the score's color and magic.

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In this lovely mazurka, composed late in the composer's life, Chopin confounds us all near the end of the piece by cleverly introducing a little canon on a section of the melody for just a few short measures. It just creeps in there as a delightful surprise, but it is in fact rather awkward to play well. This new edition rearranges some of the notes between the hands in order to make the voicing more transparent.

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This irresistable and evocative dance from Delius's opera, "Koanga" is a deservedly popular orchestral encore. Although it is not particularly representative of the composer's general style, being clearly influenced by some of the Oriental repertoire of previous generations, such considerations pale into insignificance in the face of such a beautiful musical gem.

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Hard work, even for advanced pianists, but the result is a fascinating display of pianistic colour and rhythmic excitement in this arrangement of a highly popular virtuoso orchestral masterpiece. The entertaining exchange of musical phrases between the various instruments is masterfully imitated by Richard Simm.

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Part of a pioneering series of solo works with richer and more demanding reductions of the orchestral parts for top-rank accompanists. Fauré's Élégie is one of the most beautiful works ever written for cello, and Richard Simm's new piano part is a transcription of Fauré's later orchestration of the accompaniment.

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Part of a pioneering series of solo works with richer and more demanding reductions of the orchestral parts for top-rank accompanists. Fauré's Élégie is one of the most beautiful works ever written for cello, but its popularity has often led to it being played by other instruments. Richard Simm's new piano part is an arrangement of Fauré's later orchestration of the accompaniment, with a few changes in order to accommodate the violin better.

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This arrangement for advanced pianists is comfortable to play, yet no effort has been spared to capture the rich chromaticism of the well-known orchestral version of this popular and enchantingly beautiful piece. The possibility of exchanging the melodic lines between balanced instruments will truly delight performers of two-piano repertoire.

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One of the immortal classics of the flute repertoire, Richard Simm's new piano reduction is again based upon the original orchestration.

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This ever-popular treasure of the classical repertoire exists not only as a song with piano accompaniment, but also in a rich and glowing arrangement for string orchestra by Grieg himself. Richard Simm's 2-piano version is based upon this full-textured orchestration by the composer.

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Pianists and piano teachers all over the world know and love Grieg's miniature masterpieces, the "Lyric Pieces", which exist in several sets of beautifully-crafted and eminently pianistic pictures from the heyday of Romanticism in music. An excellent conductor from Grieg's time orchestrated the Op. 54 set, but Grieg later found the results of this somewhat heavy for his more delicate taste, and so he reworked them as the "Lyric Suite" we know today. Grieg's refined orchestration is therefore the inspiration for this 2-piano version by Richard Simm.

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The original muted-strings orchestration of Solveig's Lullaby lends an exquisitely beautiful, yet sad, mood to this piece. Undeservedly less well known than Solveig's Song, also from Grieg's incidental music to Ibsen's play, "Peer Gynt", Richard Simm's arrangement for solo violin with a new piano accompaniment brings performance of this musical treasure within the reach of every musician.

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A technically demanding, but very effective transcription of the opening music from the movie, "Psycho". Originally scored for string orchestra, this hypnotic, chilling music lends itself very well to virtuoso-pianistic treatment.

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The title of Holst's short comic opera, "The Perfect Fool" is intended as a joke based on Wagner's "Parsifal" ("The Blameless Fool"), and this delightfully kaleidoscopic ballet music shows the composer's brilliant orchestral mastery. This is a technically-difficult solo piano transcription for ambitious pianists.

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A completely new piano accompaniment for this beautiful standard of the violin repertoire. As always with Richard Simm's transcriptions, the primary aim has been to render pianistically as much of the original orchestral color and texture as possible.

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Originally composed for piano solo, then orchestrated by Ravel, Mussorgsky's extraordinary and colorful work, as here arranged for two pianos by Richard Simm, is ideal performing material for ambitious two-piano teams.

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This lovely Adagio was apparently composed as a replacement for the original slow movement of Mozart's 5th violin concerto, which Brunetti, a famous violinist of his day, is said to have found "artificial". Mozart's generous spirit has therefore provided lovers of his violin music with an "extra" gem. This edition has a new, full-textured piano reduction of the orchestral part by Richard Simm.

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Believed to have been composed for the same violinist as the Adagio in E, this Rondo has all the humor, beauty and energy of the best of Mozart. This new piano reduction aims, as always with Richard Simm's arrangements, to get as close as possible to the sound of the original orchestration.

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A brand-new piano accompaniment for this well-known Mozart concerto. As always with Richard Simm's transcriptions, the primary aim has been to render pianistically as much of the original orchestral color and texture as possible. This new arrangement provides more pianistic detail, as well as greater faithfulness to the orchestral score in some critical places.

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The essence of gypsy music-making, passionate, exotic, brilliant, colorful and absolutely riveting. Ravel's unique music fulfills the virtuoso tradition of Paganini, Liszt and Brahms in this unequalled bacchanale.

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One of the most exciting and attractive pieces of the violin repertoire. This new piano accompaniment by Richard Simm approaches the sound of the orchestral original as closely as possible.

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Saint-Saëns was himself a wonderful pianist and orchestrator, but his own arrangement of the orchestral part for a second piano leaves out several elements in the interests of simplification. This new arrangement of the accompaniment extracts a little more pianistic detail from the orchestration, as well as aiming at greater faithfulness to the orchestral score in some critical places.

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A completely new piano accompaniment for this beautiful cello concerto by Schumann. As always with Richard Simm's transcriptions, the primary aim has been to include as much of the original orchestral color and texture as possible.

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Four of these five songs are known to every Icelander, but, despite their beauty, charm and popularity, the texts are often linked with tales describing hair-raising events and situations in the country's history and folklore. The melody of the last song is an unexpected treasure.

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With its fascinating combination of humor, beauty and mystery, Irish folk music never fails to enchant the listener. The student part in these duets is quite easy, but there is plenty of scope for more advanced players to have a lot of fun with them.

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Richard Simm's "Five Icelandic Melodies" were composed for beginner students to play as piano duets with their teachers, or with advanced students. In their new form as a solo piano suite, they are technically challenging, as well as being considerably more embellished than the originals. Four of the five songs are known to every Icelander, and their original texts have a unique charm. The last song is an unexpected treasure.

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This suite is based upon Richard Simm's "Five Irish Melodies", which were originally composed for beginner students to play as piano duets with their teachers, or with advanced students. In their new form as a solo piano suite, they are technically challenging, but they have the advantage of allowing the performer total control over the subtle pedaling which is often needed here.

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Dedicated to Iceland's foremost piano accompanist, Jónas Ingimundarson, this work was first performed by him and the composer in 2000 at a recital of the European Piano Teachers' Association in the Icelandic Opera House. The composer's unconditional love of Beethoven was here temporarily overwhelmed by the thought of the number of times he had heard "Für Elise" badly played...