Sonata For Violin And Piano A Major

Incarnant le classicisme viennois tout comme Mozart et Beethoven, le compositeur autrichien Franz Joseph Haydn, a eu une carrière musicale couvrant tout la période baroque en allant jusqu'au début du romantisme. A travers cette partition Sonata for Piano and Violin G major Hob. XV:32 écrite et composée pour Violon et plus précisément pour Violon Et Piano vous retrouverez tout le talent de ce compositeur. Ce sont les éditions Henle qui ont eu le privilège d'imprimer cette oeuvre. / Violon Et Piano / Chanson En Séparée

Violin Sonata in G major-Inspired by Béla Bartók’s Violin sonatas Ravel planned his own sonata for Violin and Piano in 1922 but at first did not get beyond sketches. Many interruptions ensued and the work was onlyfinished in 1927. He dedicated it to his violinist friend Hélène Jourdan-Morhange. Regarding the sonata’s sparse thinned out compositional structure and instrumentation Ravel later emphasized thatthe sonata proved the tonal incompatibility of the Violin and Piano. Yet it still succeeded in winning a permanent place in Violin repertoire – not least because of its middle movement inspired by jazz elements and the“blues”. The fingerings in this Henle Urtext edition have been provided by two masters of their instruments: Christian Tetzlaff and Pascal Rogé.

Compositeur : Mozart, Wolfgang Amadeus
Instrumentation : Violin and Piano
Editeur Musicologique : Seiffert, Wolf-Dieter
Couverture Reliée
Contenu :
Later Viennese Sonata B flat major K. 454
Later Viennese Sonata E flat major K. 481
Later Viennese Sonata A major K. 526
Later Viennese Sonata F major K. 547
Appendix: Later Viennese Sonata B flat major K. 570

Compositeur : Beethoven, Ludwig van
Instrumentation : Violin and Piano
Editeur Musicologique : Brandenburg, Sieghard
Couverture Reliée
Contenu :
Sonata A major op. 30,1
Sonata c minor op. 30,2
Sonata G major op. 30,3
Sonata for violin A major op. 47 [Kreutzer Sonata]
Sonata G major op. 96

A pioneering set of Urtext editions.String editions include an Urtext solo part and a second part with fingering as well as performance markings.Each edition offers a preface on performance practice aspects pertaining to the respective works.A separate text booklet includes pioneering texts on general issues of performance practice in the 19th century as well as on specific issues with regard to Johannes Brahms? chamber music.Bärenreiter?s pioneering new scholarly-critical editions of Brahms? works for one instrument and Piano are edited by a team of musicologists who are also performers. They offertoday?s musicians not just a reliable musical text based on all known sources but also a comprehensive approach to the works which aims to place them in their historical context and to elucidate the complex of meanings that the composer wished his notation to convey to performers.The Violin and Viola sonata editions come not only with an Urtext part freed from all editorial emendations but also with an additional part including fingering and bowing based on the practices of Joseph Joachim and his colleagues. These markings especially draw on publications of the sonatas edited by Joachim?s pupils Leopold Auer and Ossip Schnirlin as well as those by Brahms? associate Franz Kneisel. A similar approach has been used for the Violoncello sonatas drawing on performance markings by Robert Hausmann (for whom Brahms wrote the Sonata in F major) Hugo Becker with whom Brahms performed it and Julius Klengel who was also close to his circle.

The Sonata In A Major is one of Franck's best-known works. Originally for Violin it was composed as a wedding present for the famous Belgian Violinist Eugene Ysaÿe who performed it at his matrimonial celebrations onSeptember 26 1886. It is set in this edition for Cello and Piano accompaniment and has been selected for the ABRSM Grade 8 Cello Syllabus.

Brahms composed his ?Violin Sonata In A Major? during the summer of 1886. The work quickly became part of the standard repertoire and has remained so until today. It is presented here in a fine Bärenreiter Urtext edition and comes with an unmarked Urtext part as well as a second part marked with fingering and bowing by Clive Brown which are based on the practices of Brahms? contemporaries.An important part of this edition is the extensive preface. Firstly it informs about the works? origins its compositional process pre-publication performances its publication history as well as early reception. Truly remarkable is theunique Performance Practice Commentary. Here the editors take the premise that already a few decades after Brahms? death a widening gulf developed between the composer?s expectations and the performance practices of the early 20th century. In a very concrete and practical way the editors summarize some of the key issues in understanding Brahms? notation with regard to rhythm and timing dynamics and accentuation dots and strokes slurring and non legato Piano pedalling and overholding Piano arpeggiation and dislocation string instrument fingering string instrument harmonics and vibrato. In this way the edition offers an exciting and often surprising insight in Romantic musical interpretation.A pioneering Urtext edition.With an unmarked Urtext part.With a second part including fingering and bowing based on the practices of Joseph Joachim and other contemporaries of Brahms.With an extensive Performance Practice Commentary.For further information on Romantic performance practice we recommend: ?Performance Practices in Johannes Brahms? Chamber Music? text booklet BA 9600.