SKU: BT.EMBZ14505A
English-German-Hungari an.
Of the early versions of works included in this volume the first versions of the notably popular Consolations cycle and Grand solo de concert (published in 1850) are of particular interest. In the first version of Consolations the third movement was a style hongrois piece whose thematic material was later used by Liszt in his Hungarian Rhapsody No. 1 (published in 1851). The first version of Grand solo de concert shows that the work did not originally include a slow middle section to be recapitulated towards the end as seen in the final version. This is a characteristically Lisztian feature that would reappear a few years later in his Sonata in B minor. A detailed preface inHungarian, English, and German, including new research results, numerous manuscript facsimiles, and critical notes, makes this volume of the New Liszt Edition an important publication of immense scholarly value. Along with the cloth-bound Complete Edition, a paperback version for practical use has also been published. This edition's contents are identical to those of the hardcover edition with the exception that the critical notes are not included. Of the early versions of works included in Supplementary Volume 10, particular interest is expected in the first versions of the notably popular Consolations cycle and the monumental Grand solo de concert of 1850. In the first version of Consolationsthe third movement was a style hongrois piece whose thematic material Liszt used again later in the first piece of the Hungarian Rhapsodies published in 1851. The first version of the Grand solo de concert shows that the original concept did notinclude the slow “movement†that would be placed in the middle of the work and recapitulated towards the end in the final version - a characteristically Lisztian feature that would reappear a few years later in the Sonata in B flat minor.A detailed preface in Hungarian, English and German, including new research results, numerous manuscript facsimiles and critical notes make this volume of the New Liszt Edition a specially important publication of scholarly value. Simultaneously withthe Complete Edition volume in colth-bound, its paperback for practical purposes is also published, the contents of which, except for the critical notes, is identical with the Complete Edition volume.Von den im vorliegenden Band veröffentlichten Werkversionen dürften der außerordentlich populäre Consolations-Zyklus sowie die Erstfassung des 1850 entstandenen Grand solo de concert (Großes Konzertsolo) auf besonderes Interesse stoßen. In der ersten Fassung der Consolations stand an dritter Stelle noch ein Stück im ungarischen Stil, dessen Thematik Liszt später im 1851 herausgegebenen 1. Stück der Ungarischen Rhapsodien verwendete. Die erste Version des Großen Konzertsolos belegt, dass der in der Mitte der Komposition angelegte und kurz vor Ende rekapitulierte langsame Teil, welcher zum typisch Lisztschen Element der endgültigen Fassung des Konzertsolos - und einige Jahre späterauch der H-Moll-Sonate - wird, noch kein Bestandteil der ursprünglichen Konzeption war.
SKU: BR.EB-9386
ISBN 9790004188569. 0 x 0 inches.
The Violin Sonata No. 1 in E minor, op. 73, a Grand Sonata for Violin and Piano, occupies an important position in Joachim Raff's oeuvre: it reflects numerous artistic, aesthetic, biographical, and reception-historical aspects characteristic of Raff. The work was composed in Weimar in 1854, when Raff was going through a process of artistic self-discovery. He increasingly distanced himself from his mentor Franz Liszt and intensively explored Wagner as well as the ideal of absolute music - this is also reflected in the music of the sonata. While Raff described the first two movements as objectified, he perceived the last two movements as a piece of him, that is, not free of extra-musical influences.The 1st movement, with its expansive main theme, is reminiscent of Mendelssohn; the 2nd movement reveals the refinement of classical-romantic work with musical material. The 3rd movement, with its partly rhythmic, virtuoso accompanying figures and harmonically advanced passages, allows a deeply romantic, almost tormented insight into a soul life a la Sturm und Drang. The partly irascible last movement revisits already familiar themes and thus creates a musical framework.In collaboration with the Joachim-Raff-Archiv Lachen (CH)First Urtext Edition of the Grand Sonata for Violin and Piano.
SKU: PR.ZM31730
SKU: FG.55011-436-4
ISBN 9790550114364.
Acco rding to Paavo Heininen, his sonata for piccolo associates in his mind with Schroeder from the Peanuts comic strip. He plays a toy grand piano crouching on the floor and responding to the sound of a tiny flute from above. Until a large, real grand piano sends out its gravity waves. All of Heininen's sonatas have different characters that are informed by the force fields created by classic solos and melodies in orchestral repertoire. There is also a certain encyclopaedic nature to the sonata cycle; many have been composed to various instruments.
SKU: HL.48024711
UPC: 888680955540.
Even though I was and remain a proponent of absolute music, the things that we see and experience inevitably colour and energise our thought processes. The grand old man of Finnish Modernism Paavo Heininen (b. 1938) turned his impressions of Boston into violinsonatas.
SKU: FG.55011-500-2
ISBN 9790550115002.
Even though I was and remain a proponent of absolute music, the things that we see and experience inevitably colour and energise our thought processes. The grand old man of Finnish Modernism Paavo Heininen (b. 1938) turned his impressions of Boston into violin sonatas op. 134 (2016). All the three sonatas - Boston Sonata, Boston Variations and Boston Ballade - were premiered in one concert in Helsinki celebrating the composer's 80th birthday in May 2018 by Kaija Saarikettu (violin) and Juhani Lagerspetz (piano).
SKU: BT.EMBZ14505
Of the early versions of works included in this volume the first versions of the notably popular Consolations cycle and Grand solo de concert (published in 1850) are of particular interest. In the first version of Consolations the third movement was a style hongrois piece whose thematic material was later used by Liszt in his Hungarian Rhapsody No. 1 (published in 1851). The first version of Grand solo de concert shows that the work did not originally include a slow middle section to be recapitulated towards the end as seen in the final version. This is a characteristically Lisztian feature that would reappear a few years later in his Sonata in B minor. A detailed preface inHungarian, English, and German, including new research results, numerous manuscript facsimiles, and critical notes, makes this volume of the New Liszt Edition an important publication of immense scholarly value. Along with the cloth-bound Complete Edition, a paperback version for practical use has also been published. This edition's contents are identical to those of the hardcover edition with the exception that the critical notes are not included. Of the early versions of works included in Supplementary Volume 10, particular interest is expected in the first versions of the notably popular Consolations cycle and the monumental Grand solo de concert of 1850. In the first version of Consolationsthe third movement was a style hongrois piece whose thematic material Liszt used again later in the first piece of the Hungarian Rhapsodies published in 1851. The first version of the Grand solo de concert shows that the original concept did notinclude the slow “movement†that would be placed in the middle of the work and recapitulated towards the end in the final version - a characteristically Lisztian feature that would reappear a few years later in the Sonata in B flat minor.A detailed preface in Hungarian, English and German, including new research result and, numerous manuscript facsimiles make the practical paperback version of this volume of the New Liszt Edition a specially important publication of scholarly value.Von den im vorliegenden Band veröffentlichten Werkversionen dürften der außerordentlich populäre Consolations-Zyklus sowie die Erstfassung des 1850 entstandenen Grand solo de concert (Großes Konzertsolo) auf besonderes Interesse stoßen. In der ersten Fassung der Consolations stand an dritter Stelle noch ein Stück im ungarischen Stil, dessen Thematik Liszt später im 1851 herausgegebenen 1. Stück der Ungarischen Rhapsodien verwendete. Die erste Version des Großen Konzertsolos belegt, dass der in der Mitte der Komposition angelegte und kurz vor Ende rekapitulierte langsame Teil, welcher zum typisch Lisztschen Element der endgültigen Fassung des Konzertsolos - und einige Jahre späterauch der H-Moll-Sonate - wird, noch kein Bestandteil der ursprünglichen Konzeption war.
SKU: HH.HH286-FSP
ISBN 9790708092254.
A true Grand Duo for cello and piano to provide a much needed connection between the first sonatas for this combination -- by Beethoven -- and the later 19th century repertoire. Eberl's heroic style provides a masterly alternative to the over familiar works, with the balance of power between the two players scrupulously maintained throughout, and ingenious formal innovations. The Rhapsodie finale in particular, with sections in varying metres and moods, resolves in an elegant Pastorale, an entirely new format for this combination. The composer thoughtfully provided an adaptation of the cello part for violin containing many differences which will be of interest to players of both instruments; both string parts are included in this publication.
SKU: FG.55011-347-3
ISBN 9790550113473.
In Tampere, Finland, surprisingly many, relatively young and active composers with their own distinctive voice are making their mark. This would not be possible without Jouni Kaipainen, the grand old man of the Tampere scene. He was both a lecturer at the Tampere Music Academy and the composer-in-residence for the Tampere Philharmonic Orchestra, and as a true Tampere culture person an inspiration to the younger generation. Jouni's passing was a moment of deep grief for all of us in Tampere - we are left with sadness and longing. Tommi Hyytinen commissioned a sonata for horn and piano from me at around that time, so I decided to dedicate the work in Jouni's memory. The work passes through different emotions and sections within the rather wide-arched sonata form. The final movement is very much in memoriam Jouni Kaipainen. This sonata continues my project to write sonatas for each solo instrument and piano.
SKU: FG.55011-501-9
ISBN 9790550115019.
SKU: FG.55011-502-6
ISBN 9790550115026.
