Polonaises (Complete)

Ce nouveau volume rassemble 57 mazurkas et 16 polonaises, qui font partie des standards du repertoire du 19ème siècle à un prix défiant toute concurrence. Chopin était le maitre dans la composition de ces morceaux dont l'origine vient des danses folkloriques polonaises et dont le rythme est en 3/4. / Classique / Partition /

2me Polonaise brillante pour violon avec acompagnement de piano op.21 Henryk Wieniawski wrote only two polonaises. The first one, op. 4 in D minor, is one of his youthful works; the other, op. 21 in A major, is one of the last works he composed. Moreover, H. Wieniawski is the co-author of another polonaise, op. 8, for violin and piano, which he wrote with his brother Józef Wieniawski, a pianist. The latter polonaise, like the Polonaise in D minor op. 4, is also a youthful composition (1852). The polonaise as a genre, therefore, does not occupy much space in Wieniawskis heritage. Nonetheless, both polonaises, in D minor and A major, constitute an essential part of his artistic inheritance. Likewise, both polonaises had been composed in two versions: for violin and orchestra, and for violin and piano. The Polonaise in A major was completed in 1870. It is not known precisely which of the versions, the one with the piano, or the one with the orchestra first came into being. It was the version with orchestra that the composer performed for the first time on 17 March 1870, in the Grand Theatre in St. Petersburg. But merely two months later he performed the Polonaise in Warsaw, accompanied by his brother Józef at the piano. It is quite possible that Wieniawski had already performed this version of the Polonaise. It is certain, nonetheless, that both versions either appeared simultaneously, or one was composed shortly after the other. From its first public performance until the end of his concert career, Wieniawski often included this Polonaise in his concert repertoire, playing one version or another, the choice depending on the needs and circumstances. Just to mention one occasion, he played the orchestral version during a concert tour of Sweden in 1870, when he dedicated and presented a manuscript of this piece to King Charles XV of Sweden. The dedication, however, was changed in print, and both versions were eventually dedicated to François van Hal. Both versions were published simultaneously, by Schott Publishers in Mainz, with the same plate number, though the orchestral version appeared only in parts, which was a common practice in those days. The piece was most probably not published earlier than 18751. The Polonaise was praised by the critics. The reviews reported that it was a magnificent piece2, and this opinion was shared by later critical reviews, both Russian and West European. The Polonaise remained popular after the composer had died, which is evident from the number of later editions of the piece (more than ten) issued by different publishers, mostly German, and prepared by different editors. In Poland, the Polonaise was published twice after the Second World War. All the editions introduced some more or less significant changes into the text, mostly concerning performance indications, but in a sense blurring the composers intentions. All those changes were pertinent to the violin and piano version, and it was mostly in this form that the piece appeared in concert and teaching repertoires. The performances with an orchestra were much more seldom which was, among other factors, due to limited availability of the orchestral version, as it had never been published again after the first edition, until now. The Polonaise in A major was composed approximately at the same time as the Violin Concerto No. 2 in D minor3. This convergence in time had influenced a certain similarity with regard to both composition and technical means, and also to the themes. In particular, the similarity becomes quite obvious in the second theme of the Allegro in the Concerto, and in the theme of the Polonaise. The Polonaise in A major is also in a certain way similar to the first Polonaise (in D minor), the motifs of the themes in both polonaises are alike. However, both pieces differ in style. The Polonaise in D minor shows the composers fascination with technical writing. Wieniawski makes the most of double-stops, chords, and all other sophisticated virtuoso techniques. The Polonaise in A major, written 18 years later, is much more mature. Although it is a virtuosic piece as well, the techniques used are somewhat more limited and subordinated to the expression. The virtuoso character of this piece is more fragile, much closer to the brillant style. At the same time, the Polonaise is typical of Wieniawskis violin playing technique. Here the composer uses the means regarded by his contemporaries to be typical of him, e.g., long staccato fragments played with one bow. The Polonaise is a concert piece in one movement extended form with a considerably abbreviated return of the first section at the end. The middle section is contrasting in character, due to the modulation to F major, change of tempo (meno mosso) and the reduction in the number of instruments (in the orchestral version). All the sections show thematic similarity. The first section, too, consists of three subsections, including a contrasting middle subsection (in E major). Zofia Chechlińska Footnotes 1. See The Critical Commentary, p. ? and onward. 2. See V. Grigoriev, Henryk Wieniawski. Życie i twórczość. [Life and Work] Warszawa - Poznań 1986, p. 184. 3. The first version of the Concerto No. 2 in D minor was completed in 1862, but in 1870, i.e., not until the Polonaise in A major was completed, Wieniawski had been working on the Concerto and implemented quite a few changes. Publisher: PWM/Towarzystwo Muzyczne im. Henryka Wieniawskiego w Poznaniu Series: Henryk Wieniawski - Complete Works Cover: softback Nr ISMN: 979-0-2740-0753-9 Number of pages: 34+8 Format: N4 stoj. 235x305 Language version of text: pol., Eng.

This Alfred Masterwork Edition boasts the complete Piano Waltzes of Frederic Chopin edited from the original sources by Willard A. Palmer. Like his world-famous Mazurkas Polonaises and Etudes Chopin's Waltzes have become an integral part of the serious Piano repertoire offering some of the most warm and delightful melodies you could ever wish to play. Chopin's ingenuity inventiveness and imagination allowed him to craft works that today still sound refreshing and vital.

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A completely revised Urtext edition of this popular work. Norbert Müllemann to whom we are already indebted for the revisions of the Préludes and Ballades closely examined the musical text using the currentlyavailable sources and provided an informative preface and added footnotes to the musical text which contain possible performance alternatives.The Polonaise also known as the 'Heroic' due to its proudly pacingtheme is amongst Chopin's most forceful bravura pieces in particular on account of its breakneck ostinato octaves in the middle section.

Chopin's works for piano and strings were usually made for a specific occasion, and we owe their existence to the repertoire needs of specific individuals. The exception is the Sonata in G minor for cello, the last work by the composer intended for publication, a work reflecting his current style, highly reflective, the result of imagination encroaching into post-romantic areas. Chopin's chamber works belong to the regular concert repertoire. These works were edited by by I. J. Paderewski, L. Bronarski and J. Turczyński. Table of contents: Chopin Fryderyk Grand Duo Concertant for Cello and Piano Chopin Fryderyk Polonaise Brillante Op. 3 for Cello and Piano Chopin Fryderyk Sonata Op. 65 for Cello and Piano Chopin Fryderyk Trio Op. 8 for Violin, Cello and Piano Chopin Fryderyk Variations for Flute

Complete Ballades Études Mazurkas Nocturnes Polonaises Préludes and Waltzes-This gigantic 724 page volume includes virtually the complete works of Chopin. The book is comb-bound for ease of use. A great value for the complete Ballades Études Mazurkas Nocturnes Polonaises Préludes andWaltzes.

Although Robert Schumann absolutely loved to play a duet he wrote only few works for Piano duet. Created in 1848 Bilder aus dem Osten Op. 66 was one of the best-known and most frequently played works in the Piano duet literature until the 20th century. But the Polonaises Op. 3 by the 18-year-old composer following the example of Franz Schubert and even exceeding him in harmonic boldness and tonal ingenuity already show the self-taught Schumann on the way to his own style. After volume 1 which contains the easier works composed for music teaching purposes volume 2 now contains the charming yet hardly known Ballszenen Op. 109 inaddition to the two above-mentioned works. The new edition of the Wiener Urtext Edition based on the musical text of the New Schumann Complete Edition (edited by Joachim Draheim and Bernhard Appel) provides for the first time a reliable original text based on the sources especially for the 8 Polonaises which had been inadequately edited up to now. The appendix contains the popular Fantasiestücke Op. 73 (originally for Clarinet and Piano) edited by the composer and future Schumann researcher Friedrich Gustav Jansen. The arrangement published in 1851 had been revised and thus been authorized by Schumann himself.

Piano Sonata D major K. 284 (205b) Editor: Ernst Herttrich Fingering: Hans-Martin Theopold The Sonata in D major is the last of the Six Sonatas K. 279-284 that Mozart had in his luggage when he set off for Paris in September 1777. He had already successfully performed this music in Munich, Augsburg and Mannheim, a fact he proudly told his father back at home. He gave the works particularly rich dynamic markings and also found unusual solutions concerning their formal aspect, for instance having a slow Rondeau en Polonaise as the middle movement of the Sonata in D major. The six sonatas, which were previously only published together in the complete volumes (HN 1 and 3), are now all available as single editions with new prefaces. Mozart dedicated this Sonata to a Freiherr Thaddäus von Dürnitz - which is why it has often been called the Dürnitz-Sonata. It is undoubtedly the best, the most brilliant and the most technically demanding of these six early Sonatas. Understandably, Mozart retained a special affection for it and continued to perform it himself. It was this Sonata of which he said that it sounded incomparable on Stein's new fortepianos. FIRST MOVEMENT A first version of the beginning of the first movement, written on one and a half pages, was cancelled by Mozart. On the same page, he started anew to write the final version underneath. The thematic material of this opening movement (and to a lesser degree also that of the following movements) is laid out on a more ample, nearly orchestral scale, a departure from the intimacy of the early sonatas. The tremolo effect in measures 13-16 and the unison announcements of the first subject read very much like a piano reduction of an orchestral tutti. The second subject, a supple melodic line, unaccompanied in its opening bar, incorporates a descending chain of first inversions a favourite harmonic formula of the baroque and classical periods. (There are analogous passages in the subsidiary themes in Gluck's overture Iphigénie en Tauride and the first movements of J. S. Bach's Italian Concert). This functions as a solo passage in contrast to the ensuing tutti entries in m.30. The development moves through a circle of minor keys before the recapitulation begins in measure 72. SECOND MOVEMENT Mozart called the second movement a Rondeau en Polonaise, so it is a dance. The opening four measures from a kind of dialogue (like the theme of the first movement of the preceding G major Sonata), and Mozart subjects them to felicitous counter-statement is heightened by Mozart's meticulous dynamic markings. THIRD MOVEMENT The last movement of the Sonata is a pianistically rewarding, cheerful set of variations, which, up to the adagio variation, has the character of a gavotte. It shows Mozart's special gift for writing variations at its most brilliant. The superficial impression of a diffuse form does not stand up to a closer inspection: it would not be at all easy to omit one of the twelve variations, or to add an extra one. The adagio variation is on special interest to Mozart scholars, for it gives us some insights into his concept of impromptu ornamentation. The autograph is only modestly ornamented, and Mozart presumably embellished it in performance as his fancy dictated. But a richly ornamented version survived in the first edition, published during Mozart's lifetime, and undoubtedly this embellished version is Mozart's own work. Who else could embellish in such an ingenious way? It illuminates Mozart's ideas on ornamentation in general and in particular. Paul and Eva-Badura-Skoda

Déjà le premier volume de la très originale musique pour piano du fils cadet de Mozart fit dresser l?oreille des mélomanes.

Grâce à ce deuxième volume, nous sommes en mesure de compléter la collection par d?autres oeuvres de ce compositeur souvent sous-estimé. Voici ce qu?on pouvait lire à son époque au sujet de Franz Xaver Mozart: «Son jeu est limpide, précis, expressif, plein d?esprit et animé de sentiments»; contrairement aux «chevaliers du clavier», tels Moscheles ou Hummel, il ne plaçait pas la virtuosité au premier plan, ce qui rend ses oeuvres attractives pour le musicien amateur.

À côté d?un grand nombre de pièces isolées, le volume contient plusieurs cadences de F. X. Mozart écrites à l?attention des concertos de son célèbre père, et qui ont pu être éditées ici pour la première fois grâce aux autographes. / [Toutes les Oeuvres pour Piano, volume II] / Classique / Partition / Cartonné / Plats de carton /