Mozart W.a. - Piano Sonata B Flat Major K. 333 (315c)

Compositeur : Mozart, Wolfgang Amadeus Instrumentation : Piano solo Editeur Musicologique : Herttrich, Ernst Couverture Reliée Contenu : Sonata C major K. 279 (189d) Sonata F major K. 280 (189e) Sonata B flat major K. 281 (189f) Sonata E flat major K. 282 (189g) Sonata G major K. 283 (189h) Sonata D major K. 284 (205b) Sonata C major K. 309 (284b) Sonata a minor K. 310 (300d) Sonata D major K. 311 (284c)

Bartók taught piano at the Music Academy in Budapest from 1907 to 1934. In his first years as a professor the Budapest music publishers Rozsnyai and Rózsavölgyi commissioned him to prepare so-called instructive editions (including suggestions, commentaries and fingerings for the performer) of several classics of the piano repertoire, altogether more than two thousand pages of music. Following Bach and Beethoven, Mozart was the third classical titan of whom Bartók ventured to undertake a performing edition necessary for music education and the sheet music trade in Hungary. Károly Rozsnyai entrusted the work to him. Bartók worked on revisions of the sonatas between 1910 and 1912, and in 1912 or 1913 the pieces were published in a single-volume version. The two-volume form was published later, perhaps during the years of inflation following the First World War, on poorer quality paper and with gray cover. Bartók's editing reflects contemporary ideas about performance, but is for the most part more detailed and elaborate than in other similar instructive editions at the turn of the century.
For the present edition we have corrected known printing errors by retouching the score, and we have deleted abbreviation letters referring to analysis of the form of the sonatas, which Bartók agreed to only at the explicit request of the publisher. We have added an English translation to the footnotes in Hungarian and German. The reader's attention is drawn to significant problems of authenticity and text in new editorial footnotes.
To the new edition we have added an afterword by László Somfai which details the circumstances of the first publication, Bartók's sources and his working methods. Bartók's Mozart concept is outlined in detail, and the author reveals the problems surrounding the composer's edition and the significant distortions in the musical text, and puts into a historical context the performance indications used by Bartók. / Partitions classique / Piano - instruments à clavier / Piano / EMB (Editio Musica Budapest)

Wunderkind-Sonatas Volume III K. 26-31 Editor: Wolf-Dieter Seiffert Fingering: Ariane Haering The Six Sonatas for Piano K. 26-31 that can also have a violin accompaniment were composed in The Hague. They were published in 1766 and were dedicated to Princess Caroline von Nassau-Weilburg. These jewels by the Wunderkind Mozart have only been known in the form of violin sonatas up to now (also see Henle Urtext edition HN 1079). Our edition for solo piano, the first time it has ever been printed in this form, is now available for piano teachers to make use of in their lessons, as well as for all lovers of Mozart. Piano Sonata (Wunderkind) E flat major KV 26 Piano Sonata (Wunderkind) G major KV 27 Piano Sonata (Wunderkind) C major KV 28 Piano Sonata (Wunderkind) D major KV 29 Piano Sonata (Wunderkind) F major KV 30 Piano Sonata (Wunderkind) B flat major KV 31

Description This excellent edition contains all 19 sonatas and four fantasies, works central to the keyboard repertoire. Reprinted from Breitkopf & Härtel’s Complete Works. Indispensable for serious pianists at all levels. Songlist Fantasy No.1 And Fugue In C Major Fantasy No.2 In C Minor Fantasy No.3 In D Minor Fantasy No.4 In C Minor And Sonata No.14 In C Minor Sonata No.1 In C Major Sonata No.10 In C Major Sonata No.11 In A Major Sonata No.12 In F Major Sonata No.13 In B Flat Major Sonata No.16 In C Major Sonata No.17 In F Major Sonata No.18 In B Flat Major Sonata No.19 In D Major Sonata No.2 In F Major Sonata No.3 In B Flat Major Sonata No.4 In E Flat Major Sonata No.5 In G Major Sonata No.6 In D Major Sonata No.7 In C Major Sonata No.8 In A Minor Sonata No.9 In D Major Sonta No.15 In F Major With The Rondo In F Major

An attractive anthology suitable for advanced young students and adult players alike. The companion CD is intended as a further aid for study and interpretation and contains all the pieces. / Partition CD /

Pièces célèbres de Bach à Satie. Par . An attractive anthology suitable for advanced young students and adult players alike. The recording is intended as a further aid for study and interpretation and contains all the pieces. / Niveau : moyen - avancé / Date parution : 2022-02-15/ Recueil / Piano

Piano Sonata C major K. 309 (284b) Editor: Ernst Herttrich Fingering: Hans-Martin Theopold I wish to do it to reflect the character of Mad:selle Rose, Mozart replied when asked how he intended to set out the Andante of his Sonata in C major. In autumn 1777 he had got to know Rosina Cannabich in Mannheim and during her lessons immediately introduced her to the Sonata K. 309 that he had composed for her. Indeed, in December 1777 according to her teacher she was already able to perform it excellently. So that a great many other pupils might follow in her footsteps, we are now publishing this small gem that shows Mozart‘s great skill in composing for the piano as a single edition with a new preface by the editor; it was previously only available in the complete volumes (HN 1 and 3). FIRST MOVEMENT The first movement of the C major Sonata K 309 is a model teaching sonata form structure. With sonata forms, as with Bach fugues, no formal dogmas underlie the process of composition, but each sonata varies anew a basic principle. For Mozart, this entailed strict adherence to certain fundamental patterns without his creative freedom. In his sonata movements in major keys, for example he favoured a distinct second subject in the dominant as most contemporary composers did. Haydn, on the other hand, reveled in experiment at this point. A brief analysis may help to demonstrate Mozart's standard sonata allegro form and the first movement of it is an ideal example for such an investigation. The first subject is a distinctive, marcato opening followed by a five-bar response. The falling fourth and rising sixth of the opening is one of Mozart's favourite motifs, his common melodic device. He often uses it in the minor as well as the major, and many of his themes start with this motif (e.g. the second movement of the A major Sonata K 331, the Adagio in B minor K 540, and subjects in the Symphonies K 114, 124, 319/II and 551/II). The seven measures of the main theme are repeated, slightly varied. Measures 15 to 21 conclude the first subject group with an answering phrase (3+3 bars). The transition consists of new material and then, in measure 35 (after two measures of preparation comes a second cantabile theme, in the dominant (G major) comprising 2x4 bars, which is also repeated and proceeds to a spirited closing theme (concluding group) using passage-work (m. 43) and incorporating a delightful diminuation of measures 35 36 in measure 45. The exposition ends with a codetta of five bars. The development presents the opening motif first in g minor, and then the various ideas of the first subject are worked out. With this procedure Mozart is keeping much more closely to textbook principles than he usually does. Two further statements of the opening motif lead back to the recapitulation in measure 94. The second subject, now in the tonic, has surprisingly changed place with its accompaniment. The opening is recalled again in an effectively assertive coda. SECOND MOVEMENT The second movement of this sonata is an introspective Andante un poco adagio. In a letter Mozart stated his desire to make this Andante match the character of the young pianist Rosa Cannabich for whom he wrote it: ...she is a sweet, pretty girl, just like the andante. For her age she is sensible and level-headed; she is serious, and doesn't talk too much, though what she says is pleasing and sympathetic. THIRD MOVEMENT An elegant and smoothly flowing Rondo of unusually large proportions concludes this Sonata. Paul and Eva Badura-Skoda

Compositeur : Mozart, Wolfgang Amadeus Instrumentation : Violin and Piano Editeur Musicologique : Seiffert, Wolf-Dieter Couverture Reliée Contenu : Later Viennese Sonata B flat major K. 454 Later Viennese Sonata E flat major K. 481 Later Viennese Sonata A major K. 526 Later Viennese Sonata F major K. 547 Appendix: Later Viennese Sonata B flat major K. 570

50 Famous Pieces For Piano / Hard Cover. The popular anthology Best of Piano Classics is now available as an exclusive hardcover edition, with ribbon bookmark and high-quality binding. A thoughtful gift for any pianist! Selected for pupils in their first years of piano lessons, this volume contains 50 of the most beautiful original compositions for piano from the days of Johann Sebastian Bach (1685-1750) to the days of Alexander Grechaninov, providing playing material from the baroque period to the early 20th century. Apart from numerous individual pieces, it also contains easy sonatas and sonatinas by Haydn, Clementi, Mozart, and Beethoven. Complete with fingerings, tempo suggestions and notes on the execution of ornaments, this collection with its modern and reader-friendly layout is ideal for lessons and for playing at home. / Classique / Recueil / Piano