12 Sonatas, Op. 2 - Book 2

Par BEETHOVEN LUDWIG VAN. This unique series offers students and teachers a carefully sequenced Urtext edition of Beethoven's sonatas, gradually progressing in difficulty. Each book in the series features an informative biography of Beethoven, including a moving letter he wrote to his brothers and pictures of his parents, his birthplace in Bonn, his teacher Neefe, Beethoven's music room, and more. The table of contents in each book gives additional information on some of the sonatas. Book One includes eight sonatinas for early intermediate students. / Niveau : Débutant à Intermédiaire / Classic - Solos / Répertoire / Piano

Book 2. Par SCARLATTI DOMENICO. This book comprises fourteen Sonatas For Harpsichord composed by Domenico Scarlatti, and thoroughly revised by Christopher Kite./ Répertoire / Piano

Par SCARLATTI DOMENICO. This book comprises fifteen Sonatas For Harpsichord composed by Domenico Scarlatti, and thoroughly revised by Christopher Kite./ Répertoire / Piano

Five Haydn sonatas edited and annotated for the ABRSM by Howard Ferguson. Set for the Harpsichord grade 7 examination.

Nine sonatas edited and annotated for the ABRSM by Howard Ferguson. Set for the ABRSM Harpsichord syllabus grades 4-6.

A 'must-have' collection for the serious pianist! Mozart is regarded by many as the greatest composer of music for the piano. The complete sonatas in two volumes represent a milestone in the history of piano writing.

Book 3. Par SCARLATTI DOMENICO. Edited by Christopher Kite CONTENTS Sonata in B minor K. 87 (L. 33) Sonata pair in A K. 219 (L. 393); K. 220 (L. 342) Sonata pair in C K. 270 (L. 459); K. 271 (L. 155) Sonata pair in D K. 281 (L. 56); K. 282 (L. 484) Sonata pair in Eb K. 370 (L. 316); K. 371 (L. 17) Sonata pair in Bb K. 439 (L. 47); K. 440 (L. 97) Sonata pair in C K. 501 (L. 137); K. 502 (L. 3)/ Répertoire / Piano

Arranged For Mandolin-This book contains the first three of J.S. Bach's solo Violin Sonatas and Partitas arranged for Mandolin. The goal of the material is to make learning these challenging pieces easier. Mandolin tablature isincluded throughout the book. Mandolinists who have little or no experience reading standard notation will find this to be an essential learning tool. For good reason there has been widespread interest in learning thesepieces in the Mandolin community. The pieces were originally written for Violin. As a result Bach's use of string crossing patterns and open-string pedals work brilliantly on the Mandolin.Also as solo works theyare a useful addition to anyone's performing repertoire. Lastly even if never performed learning all or some of these is wonderful for building Mandolin technique. Violinists often say that if you can play the Bach SoloSonatas and Partitas you can play anything-the same is certainly true for Mandolinists.

Unlocking the Masters Series-Ludwig van Beethoven's chamber works are some of his most revered compositions. Victor Lederer guides the serious nonprofessional listener through this oeuvre in his new book Beethoven's Chamber Music: A Listener'sGuide.Lederer shows how Beethoven's sonatas for violin and piano overflow with high energy and spirits showing a creative force that transcended personal struggles. The “Kreutzer” sonata Op. 47 displaysall the power of the master's middle period while the G Major sonata Op. 96 foreshadows Beethoven's mellower late works. The author also considers the sonatas for cello and piano which span Beethoven's early middle and lateperiods and examines the piano trios including the immense “Archduke” trio.A highlight of the book is an exploration of the sixteen string quartets which represent the pinnacle of Beethoven's achievement inchamber music. Lederer explains how the middle-period quartets starting with the epic “Razumovsky” set shatter molds and create new procedures often on a stunning scale and why the five late quartets and the GreatFugue are considered the peaks of the quartet literature and of Beethoven's own output. Lederer helps both new and experienced listeners grasp the strangeness and grandeur of these astonishing creations.The book comes witha compact disc containing musical selections drawn from critically acclaimed performances on Naxos Records.

Brahms had already announced his ?retirement' from composition when in the spring of 1894 he played chamber music with the cellist Robert Hausmann and the clarinettist Richard Mühlfeld. This encounter apparently renewed his enthusiasm for Mühlfeld's much admired playing and inspired him to write two clarinet sonatas in the summer of the same year. Brahms conceived an alternate version of the works for viola from the beginning and already before the publication of these two versions he intended to do another one for violin, a version which was to require changes and was to result in an independent edition. While the clarinet and viola versions have developed a rich performance tradition, the violin version is almost unknown. Yet for the violin version the composer revised the original clarinet part much more extensively than he did for the viola version and also rewrote the piano part to achieve a thoroughly convincing violin and piano idiom. This Bärenreiter edition aims to bring the neglected violin sonatas op. 120 back into players' hands.An important part of this edition is the extensive preface. Firstly it informs about the sonatas' origins, their compositional process, pre-publication performances, their publication history as well as early reception. Truly remarkable is the unique Performance Practice Commentary. Here the editors start from 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. On the basis of manifold sources which include memoirs by pupils and chamber music partners, treatises and essays, early instructive editions and historical recordings, the editors deal with key issues in understanding Brahms' notation. By a section-by-section analysis of 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, the editors provide an indispensable assistance for a historically informed interpretation of the works.At the same time, the edition offers an exciting and often surprising insight into musical interpretation of the German Romantic Era in general.- A pioneering Urtext edition- With an unmarked Urtext part- With a second part including fingering and bowing based on the practices of contemporaries of Brahms- With an extensive Performance Practice Commentary- For further information on Romantic performance practice we recommend the text booklet: 'Performance Practices in Johannes Brahms' Chamber Music?, BA 9600 / Violon Et Piano

Par WEISS SILVIUS LEOPOLD. Silvius Leopold Weiss (1687 1750) is known to guitarists as the greatest baroque composer for the lute, yet most are only familiar with the earlier portion of Weiss?s prolific output found in the British Library in London. Inspired by a forty-year friendship with the late Douglas Alton Smith - a major figure in the scholarly study of the history of the lute - guitarist, composer, and head of the guitar program at Temple University in Philadelphia, Allen Krantz explored the Weiss manuscripts found in other European cities, particularly the Dresden editions which contain the fifteen sonatas that Weiss produced from the late 1730s to the end of his life. Transcriptions of three of those fifteen late sonatas are featured in this book in modern standard notation along with the original lute tablature as found in the Sächsische Landesbibliothek - Staats- und Universitätsbibliothek, Dresden. While the baroque lute?s tuning makes some works awkward or impossible on the guitar, the three works presented here?Sonatas No. 35 in D minor, No. 42 in A minor and No. 45 in A Major? are in their original keys which happen to be guitar-friendly. The author?s generous and scholarly ?Preface? provides thorough historical and performance notes for the music in this volume. While just three of Weiss?s 109 multi-movement lute sonatas are represented here, the importance of this publication cannot be overstated. It contains some of the greatest music of a masterful lutenist? Weiss once faced-off with J. S. Bach on keyboards in a counterpoint improvisation contest?now made accessible to the modern classical guitarist. / Date parution : 2022-04-09/ Recueil / Guitare Classique

Sonatas From Opus 1-This first volume comprises seven of Handel's elegant Flute sonatas from Opus 1. This edition was edited and realised by Lionel Salter and aims to provide Flautists and Recorder players with as authentic atext as possible in a practical form. The Flute part is also included in a separate booklet.

The Pianists's Repertoire a new series of comprehensive practical guides to the solo piano repertoire is designed for players of all kinds: amateurs and professionals students and teachers.This first volume in the series provides a detailed survey of Haydn's keyboard music. It aims to help pianists find works which lie within their own capabilities and identify the pieces which are most likely to appeal to them. Eleanor Balie gives constructive suggestions and guidelines for both study and performance drawing attention to the most rewarding areas of Haydn's keyboard sonatas and miscellaneous pieces. This informative book also includes a graded list of hiskeyboard music and a comparative table of editions of the sonatas.

from 'Versuch uber die wahre Art das Clavier zu spielen'-Book 4 in this collection of Selected Carl Emanuel Bach Keyboard Works contains six fantastic sonatas from his Versuch uber die wahre art das Klavier zu spielen or The True Art of Playing Keyboard Instruments. Published within the â??Signature Series' a series of authoritative performing editions of standard keyboard works prepared from original sources by leading scholars including informative introductions and performance notes. These authoritative and satisfying volumes are all set for solo Keyboard instrument and are suitable for Piano Harpsichord or Keyboard solo.