Grande Sonate in A-flat major, Opus 26

Funeral March-Beethoven?s four-movement Sonata in A-flat major Op.26 belongs to his most popular works. It is dedicated to Prince Lichnowsky one of his most generous patrons and the dedicatee of for example the Grande Sonate pathétique Op.13 and Symphony No.2 Op.35.The work?s initial drafts date from 1800 01; it was first published in March 1802.This demanding sonata is highly varied in its form: it begins with a set of variations and contains the famous Marcia funebre sulla morte d?un Eroe as its third movement earning it the nickname ?Sonata with the Funeral March?. The identity of the title?s eroe (hero) remains unknown to the present day. The march was performed atBeethoven?s funeral on 29 March 1827 in an arrangement for orchestra.For this Bärenreiter edition Jonathan Del Mar possibly as one of the first editors of a modern edition consulted the composer?s autograph in the original. This enabled him to decipher details of Beethoven?s handwriting in particular with regard to the exact notation of doubtful slurs. The result is a most reliable and thoroughly-researched musical text. Differing readings and editorial decisions are documented in the Critical Commentary. The edition has been finely engraved and includes practical page turns. Information on central issues of historical performance practice (pedalling ornaments tempo dynamics articulation) is provided in a detailed chapter.Scholarly-critical Urtext edition based on most recent Beethoven researchEvaluation of Beethoven?s autograph in the originalElegant engraving with practical page turnsInformative Introduction (Eng / Ger)Discussion of central performance practice issues (Eng / Ger)Detailed Critical Commentary (Eng)

In Es Für Klavier Op. 7-The earliest sketches for Beethoven’s Grande Sonate Op.7 date from 1796 and the first edition was issued by the publisher Artaria Vienna in October 1797. It is dedicated to Beethoven’s pupil Anna Luise Barbara (Babette) Countess Keglevicz in whom if Carl Czerny is to be believed he was passionately in love. For this reason it is sometimes known by its German nickname “Die Verliebte” (The Lover).This work is one of the longest and most demanding of Beethoven’s piano sonatas. Its four movements cover a wide range of emotions – a challenge that the dedicatee who was 16 at the time and only started taking lessons from Beethoven in1797 possibly felt unable to master.Jonathan Del Mar the worldwide authority and acclaimed specialist on Beethoven is editing all of this composer's piano sonatas in B?renreiter Urtext editions incorporating the latest findings of Beethoven scholarship and evaluating every available source. Del Mar's meticulous examination of the handwritten and printed sources as well as the various impressions of prints published in Beethoven’s lifetime lead to a reliable and conclusive musical text. Rounding off each volume is a Critical Commentary which documents every source discrepancy and editorial decision.These editions contain an elegant and spacious engraving with practical page turns as well as informative Introductions on the genesis and significance of the works concerned. Also included are notes on key period performance practice questions such as the use of pedalling embellishments tempo and articulation.• Evaluation of every available source• Elegant and well-presented layout • Practical pageturns• Detailed Introductions (Eng/Ger)• Notes on period performance practice (Eng/Ger)• Detailed Critical Commentary (Eng)

Piano Sonata no. 4 in Eb major op. 7-Carl Czerny wrote the following about Ludwig van Beethoven?s ?Grande Sonate? Op. 7 published in 1797: ?The epithet appassionata would fit much better to the Sonata in E flat Op. 7 which he wrote in a very impassioned mood?. As to whether the reason behind his passionate music was the composer?s attraction for his then 16-year-old pupil Anna Luise Barbara Countess von Keglevich remains open. It might be thatthe dedicatee?s father commissioned Beethoven to write the work for his daughter. We are publishing the sonata in a revised single edition by Norbert Gertsch and Murray Perahia the introduction and fingerings wereprovided by the latter one of the foremost interpreters of Beethoven?s Piano music.

Volume III of Schubert?s Piano Sonatas includes the tuneful, dance-like Sonata in G major D 894 (1827), sometimes called the ?Fantasie? sonata, as well as the three great sonatas in C minor, A major and B-flat major (D 958, 959 and 960), which were conceived as a triptych and constitute the composer?s greatest contribution to the piano sonata genre. The works pay homage to the three late sonatas of Beethoven. This scholarly-critical Urtext edition is based on the definitive musical text of the ?New Schubert Edition? and presents the works in a spacious new engraving with practical page turns. It includes an informative Foreword and detailed notes (Ger/Eng) on central performance practice issues such as the use of pedals and Schubert?s distinctive manner of notating accents. It is rounded off by a Critical Commentary (Eng) with performance-related alternative readings. Schubert?s drafts for individual sonata movements can be accessed on the Bärenreiter website.