Trio Sonata in G major based on BWV 1038

SKU: SU.46200010

Clarinet, Violin & Piano Duration: 25 ' Composed: 1984 Published by: Verdehr Trio This publication contains two separate worksMedieval Suite composed by James NiblockTrio in B-flat transcribed by James Niblock Medieval Suite uses material from a variety of thirteenth through fifteenth-century sources. The second movement is a fantasy for clarinet solo based on a Gregorian Chant melody from the Liber Usualis. Trio in Bb Major, K358 is a transcription on one of four piano sonatas that Mozart composed for four hands. The objective of this transcription was to capture, as accurately as possible, Mozart’s intent had he scored this sonata of the trio. Michigan State University Press.

SKU: BR.KM-2277

ISBN 9790004502426. 9 x 12 inches.

It is now regarded as a proven fact that J. S. Bach derived two works from a trio sonata which was most likely in the key of B flat major: the well-known organ Trio Sonata No. 1 in E flat major BWV 525 and the slow middle move-ment of the incomplete Flute Sonata in A major BWV 1032. In his reconstruction, Klaus Hofmann comes as close as possible to the presumably lost original version. While the melody instruments - the range suggests an alto recorder and oboe - were adapted practically without change, the bass part underwent considerable alterations. An organ pedal part simply is not a continuo line. However, Hofmann found a stylistically and idiomatically compelling solution to this dilemma.

In his recon-struction, Klaus Hofmann comes as close as possible to the presumably lost original version.

SKU: BR.EB-9441

ISBN 9790004189184. 9 x 12 inches.

The two sonatas of Johannes Brahms's op. 120 are widely hailed as crowning points of the repertoire for clarinet and piano. Moreover, in the version for viola and piano arranged by Brahms himself, they rank among the most frequently played viola works of the 19th century. They far surpass in compositional substance the relatively few original sonatas written for these instrumentations during the same period.Of the two fellow works, the Sonata No. 2 in E flat major is the more accessible. Diverging from the classical-romantic tradition, Brahms used the key of E flat major here not to express the heroic or monumental, but to obtain lyrical, chiefly restrained characterizations. The serenade-like beauty of the principal theme, which opens the sonata, has always been particularly admired. In his review of the world premiere, the renowned Viennese music critic Eduard Hanslick, a friend of Brahms's, raves with the words it was as if it had fallen from the Heavens. The closing set of variations also follows with gentle gracefulness this lyrical character. However, the middle movement, with its tempestuous outer sections in E flat minor and the hymnic trio in B major provides a passionate and serious contrast, which allows the flanking idyll to unfold its beauties all the more insistently.

SKU: BR.EB-9440

ISBN 9790004189177. 9 x 12 inches.

The two sonatas of Johannes Brahms's op. 120 are widely hailed as crowning points of the repertoire for clarinet and piano. Moreover, in the version for viola and piano arranged by Brahms himself, they rank among the most frequently played viola works of the 19th century. They far surpass in compositional substance the relatively few original sonatas written for these instrumentations during the same period.Of the two fellow works, the Sonata No. 2 in E flat major is the more accessible. Diverging from the classical-romantic tradition, Brahms used the key of E flat major here not to express the heroic or monumental, but to obtain lyrical, chiefly restrained characterizations. The serenade-like beauty of the principal theme, which opens the sonata, has always been particularly admired. In his review of the world premiere, the renowned Viennese music critic Eduard Hanslick, a friend of Brahms's, raves with the words it was as if it had fallen from the Heavens. The closing set of variations also follows with gentle gracefulness this lyrical character. However, the middle movement, with its tempestuous outer sections in E flat minor and the hymnic trio in B major provides a passionate and serious contrast, which allows the flanking idyll to unfold its beauties all the more insistently.