SKU: BR.EB-8327
ISBN 9790004176351. 9 x 12 inches.
Tommaso Giordani wrote sonatas - here for violin or flute - that are typical examples of early Classical chamber music: their scoring is flexible, they are fun to play, and their technical demands are moderate. The Sonatas Op. IVa show that Giordani is a Haydn contemporary who can really hold his own. Giordani's chamber-music works with obbligato piano were actually very important for the development of chamber music. Too bad Giordani did not contend himself with writing more of these enchanting ensemble sonatas rather than investing in dubious opera projects and going bankrupt. That was no way to become a serious Classical composer!Tommaso Giordani wrote sonatas - here for violin or flute - that are typical examples of early Classical chamber music: their scoring is flexible, they are fun to play, and their technical demands are moderate.
SKU: HL.14002640
UPC: 884088854201. 8.25x11.75x0.207 inches.
The Seis Sonatas were Blasco De Nabra's first work, published when he was the cathedral orgainst in Seville.
SKU: HL.49031790
ISBN 9790001132381. 9.0x12.0x0.24 inches.
Kirchhoff was born in Muhlbeck (near Bitterfeld) in 1685 and died in Halle in 1746. He was (like Handel) a pupil of Zachov and in 1714 became Zachov's successor as organist and Director Musices at the Marienkirche in Halle. His violin sonatas, which were praised by Leopold Mozart, are very well suited for use in teaching the violin, as they are skilfully structured around the capabilities of the instrument. Especially recommended for friends of baroque violin music.
SKU: HL.49031789
ISBN 9790001132374. 9.0x12.0x0.253 inches.
SKU: CF.BF115
ISBN 9781491150993. UPC: 680160908493. 9x12 inches.
Johann Sebastian Bach’s (1685—1750) SixSonatas and Partitas have captivated violinistsfor centuries. Rachel Barton Pine—havingspent decades studying the music of Bach,his contemporaries, and his predecessors—now offers this unparalleled edition completewith detailed historical notes, performancesuggestions, and downloadable study materialsincluding a new Urtext edition and a speciallyprepared manuscript. Pine’s interpretationis informed by thorough historical study, which has been polished byyears of performance insight, but also encourages those studying Bach’srepertoire to craft their own unique interpretation of these timelessmasterpieces. This edition closely follows Pine’s critically acclaimed 2016recording “Testament: Complete Sonatas and Partitas for Solo Violin byJ.S. Bach” (Avie 2360) making it an invaluable resource for any student,teacher, or performer enthralled with J.S. Bach’s long standing legacy.Ms. Pine holds the distinction of being the only American and youngestperson to win the gold medal at the J.S. Bach International ViolinCompetition in Leipzig, Germany, 1992.here is no one right way to play Bach. More thanalmost any repertoire, each individual’s interpretation isas unique as their personality. Though I have spent decadesstudying Bach’s music as well as that of his contemporariesand predecessors, my final rationale for artisticdecisions is often taste and instinct. Every violinist whoundertakes a lifetime’s journey with this incredible repertoireis continually discovering new ideas. Thus, theopinions on the following pages may evolve over time.However, everything in the sheet music closely follows my2016 recording “Testament: Complete Sonatas and Partitasfor Solo Violin by J.S. Bach” (Avie 2360), which I trulyfeel represents the culmination of my exploration intothese extraordinary works.In choosing to present this edition, my hope is thatyou will find useful solutions to challenges of fingering,bowing, and polyphony, and helpful information aboutphrasing. I have also included additional dynamic suggestionswith the hope that trying these ideas will help inspireyou to discover your own. All of these markings aredesigned to work with a baroque violin and baroque bow,a modern violin and baroque bow, or a modern violinand modern bow. While the information in this editionis unusually dense, there is much that I did not include,such as lifts, breaths, articulations, whether to play on oroff the string, metronome markings, details of timing,and emphases other than hemiolas.I offer this book to you in the spirit of Bach: “SoliDeo Gloria.”.
SKU: HL.49046266
ISBN 9781540062512. UPC: 842819103196. 0.23 inches.
A contribution to make the classical period accessible to the trumpet: Of medium difficulty, Kristin Thielemann's arrangements of performance pieces and sonatas by James Hook (1746-1827) are ideal for tuition as well as for auditions and competitions. Several songs of Hook were arranged as instrumental pieces and serve as a good start into this repertoire. More advanced players may try thesonatas. Apart from the frequently played Sonata Op. 99/3, even lesser known sonatas might be interesting for the trumpet because oftheir well-chosen keys.
SKU: UT.GCE-20
ISBN 9790215328259. 9 x 12 inches.
Given that appendices have since been included in other volumes, it now seems appropriate to compile an appendix for Volume 1A in the form of a separate publication, Volume 1C of the series. Even with a whole volume available, however, it is impossible to include all known arrangements. Such a publication would be of disproportionate size: it would require about 600 pages, due largely to the two complete or near-complete sets of concerto arrangements. The present volume thus includes only selections from these sets of concerto arrangements and also only a selection from Edward Finch’s complete set of arrangements in the form of transverse-flute sonatas. The smaller sets of arrangements—either as solo sonatas or as trio sonatas—are included in their entirety.The available arrangements fall into three distinct categories: solo sonatas, trio sonatas, and concertos. There are fourteen arrangements by Edward Finch for transverse flute with figured bass; they are found in the so-called Armstrong-Finch manuscript and comprise a full set of twelve plus two duplicate versions. Four of these arrangements are included in the present volume. Three more arrangements for transverse flute or recorder with figured bass are found in anthologies of sonatas for these instruments published in the 1720s; they are all of them edited here. Geminiani’s Sonatas VII-XII were transformed into trio sonatas by Francesco Barsanti and published in this format in 1727. These arrangements are included here in complete form as well. A near-complete set of concerto arrangements—Sonata XI is missing—was composed by Charles Avison and a complete set by Gerhard Christoph Raupach, both sets composed probably in the 1730s. From each of these two sets, two examples were selected for inclusion in the present volume. They are supplemented by single concerto arrangements by William Hayes (after Sonata IV) and Johan Helmich Roman (after Sonata VI), composed at all probability in the 1730s as well. None of these concerto arrangements was published in the eighteenth century.
SKU: BR.EB-8942
ISBN 9790004187036. 9 x 12 inches.
Friedrich Schneider's extensive work for piano has not to date attracted any research attention, although he enjoyed an excellent reputation as composer and conductor and was one of the most highly regarded piano virtuosos of his time. Extant of his are no less than 42 piano sonatas composed in the surprisingly brief period from 1802 to 1814, hence still before Beethoven had written any of his late sonatas. 24 piano sonatas appeared in print, many others remain simply in manuscript. In the coming years we are presenting all of Friedrich Schneider's piano sonatas for the first time in modern editions. The sonatas are ordered within 4 volumes chronologically by year of composition, starting now with volume II, which gives an overview of Schneider's more mature sonatas. The edition is being edited by Prof. Ulrich Urban, who has for years dealt intensively with this composer's piano work.Schneider's piano sonatas complement the view of this genre between Haydn and Beethoven and are an important expansion to the repertoire for both specialists and students, with technical demands representing the whole range from moderate to very difficult.
SKU: BR.EB-4342
ISBN 9790004162873. 9 x 12 inches.
Whereas in past decades Urtext editions with assorted aspirations and readings by various editors were the primary points of departure in addressing Beethoven's piano sonatas, today it is more often the question of what significance so-called instructive editions have in the history of interpretation, what additional benefit is generated from them, and wherein lies their legitimacy. Unlike his teacher Hans von Bulow in his edition of the sonatas, Lamond did not allow any intervention in the music text per se. His indications give instead interpretive approaches, additionally inspiring today's musicians in the realization of the musical composition. By the beginning of the 20th century he was a successful and celebrated pianist, concertizing in the US and across much of Europe. He repeatedly caused a stir with his Beethoven projects such as performing sixteen sonatas as well as the Diabelli and Eroica variations within four days at the Queen's Hall in London (1925). Dating from this period is also his edition of Beethoven's 32 piano sonatas that first appeared from Breitkopf & Hartel in 1923. Frederic Lamond thus epitomizes Beethoven interpretation. Even today his name is still associated primarily with Beethoven. The present ,,Instructive Edition of Beethoven's 32 Piano Sonatas is a part of the ,,Breitkopf Originals series on the occasion of Beethoven's 250th Birthday in 2020. Apart from the established Urtext editions, this reissue opens up a fascinating view on the interpretation- and performance practice of one of the most important Beethoven interpreters in the 19th and 20th century.The Scotsman and his Beethoven - The 32 Piano Sonatas in the Instructive Edition, edited and supplied with fingerings by Frederic Lamond.
SKU: BR.EB-4341
ISBN 9790004162866. 9 x 12 inches.
SKU: HL.48188884
UPC: 888680873332. 9.0x12.0x0.21 inches.
Italian composer, Domenico Scarlatti (1685-1757) is well-known for his Keyboard compositions. His 555 Keyboard Sonatas remain ever popular to this day, and it is for this reason that this first volume of Selected Sonatas is indispensable to performers of the genre. Originally composed for the Harpsichord, Organ or early Pianoforte, the sonatas display the riveting use of discords and unconventional modulations to remote keys. It is also thought that much of Scarlatti's Keyboard music contains influences of Iberian music, considering that he spent much of his working life in the service of the Spanish and Portuguese royal families. The first volume of Selected Sonatas, compiled by Kenneth Gilbert, includes many of the popular and recognised sonatas. Bearing in mind that Domenico Scarlatti was a highly competent and popular Keyboard player in his day, so much so that he was employed in the service of two royal families, his sonatas are composed with much experience, understanding and expertise, creating an essential addition to the repertoire of all Keyboard players of the Baroque genre. .
SKU: FZ.5254
ISBN 9790230652544. 24.00 x 33.00 cm inches.
This facsimile of an original and the manuscript by Antonio Vivaldi is part of our Dominantes collection. VI sonatas for cello solo col basso - Edition: Paris, Leclerc le cadet, Le Clerc, Boivin, (undated: 1740). [Sonatas for cello and continuo] - Edition: Manuscript probably used for the 1740 Parisian edition. [Two sonatas for cello and continuo] - Edition: Manuscripts from the library of Count Schornborn. [Three sonatas for cello and continuo] - Edition: Manuscript held in the Naples Conservatory Library. Anonymous manuscript from the library of Count Schornborn, bound together with two sonatas by Vivaldi. Presentation by Philippe Muller: Foreword (the various sources) - Problems of authenticity - Vivaldi's sonatas. Collection supervised by the musicologist Jean Saint-Arroman, professor at the Conservatoire National Superieur de Musique et de Danse of Paris and at the CEFEDEM Ile de France (Training Centre for Music Teachers). He is the author of the majority of our prefaces and has also been involved in library searches. Facsimile of copies from: - Municipal Library of Lyon (France). - National Library of Paris (France). - Library of the Conservatory of Naples (Italy). - a private collection. Anne Fuzeau Classique propose period copies of classical music scores.
SKU: BR.EB-8390
ISBN 9790004176962. 9 x 12 inches.
Francesco Mancinis four sonatas were first published in a collection of twelve sonatas in 1724.The present edition is based on a reprint of the first edition published in 1730 (copy housed at Kings College, Cambridge), in which the sonatas are explicitly assigned to the recorder.The present edition is based on a reprint of the first edition published in 1730 (copy housed at King's College, Cambridge), in which the sonatas are explicitly assigned to the recorder.
SKU: BR.EB-32113
The first edition of a forgotten treasure
ISBN 9790004186787. 9 x 12 inches.
Schumann's horn sonatas were composed in 1936/37. Considering the slim repertoire offered horn players from this period, it is more than surprising that these two masterpieces could have slumbered for so long. Both sonatas are similar in structure, with op. 118 being one Schumann's few three-movement sonatas. The first movements of the pieces sparkle with melancholically lyrical melodies, whereas passages strongly marked rhythmically, variously shape the two outer movements. Virtuoso moments can be found, respectively, in the final movements, bringing the works to a brilliant close. The horn parts predominantly range within the full, sonorous middle register, where occasional outbursts up to the notated a flat'' are also not lacking. The clever handling of the balance of sounds, the possibilities on the early valve horn as well as the inner interweaving of themes differentiating horn and piano make the sonatas an exceedingly vivid testimony to Schumann's mature compositional art.Schumann's horn sonatas are a crucial enhancement to each horn player's repertoire. The first edition of a forgotten treasure.
