Mozart - Sonata for Violin and Piano in E Minor, KV 304 (300C)

A delightful collection of well-loved piano solos (and one song) by Haydn, Mozart, and Beethoven; arranged - with equal difficulty parts - for violin, cello and piano. Whether just for pleasure, or a public concert, or as GCSE/A-level ensembles, these pieces will be very useful, with the added bonus of having familiarity in another form. They would also make appealing encores for amateur or professional chamber musicians. Level: Grades 6-7; Early Advanced-Advanced. / Ensemble Music, Instrumental Music / Recueil / Piano, Violon et Violoncelle

for Piano and Violin-Wolfgang Amadeus Mozart's Sonatas For Piano And Violin. Late Viennese Sonatas.

Sonatas For Piano And Violin: The Mannheim Paris Salzburg Sonatas.Contents:Sonata in G KV 301 (293e)Sonata in Es KV 302 (293b)Sonata in C KV 303 (293c)Sonata in e KV 304 (300c)Sonata in A KV 305 (293d)Sonata in D KV 306 (300l)Sonata in C KV 296Sonata in B KV 378 (317d)

Works for Piano and Violin I. Par MOZART WOLFGANG AMADEUS. Mozart ne s’est adonné à aucun autre genre de musique de chambre autant qu’à celui des duos pour piano et violon, qu’il s’agisse de sonates ou de variations. Exploitant les possibilités d’interaction de ces deux instruments par des combinaisons et des croisements toujours renouvelés, en particulier dans les sonates, il composa ainsi des oeuvres d’une beauté pure et intemporelle alliant force dramatique, élégance et profondeur de sentiments. Cette édition de travail offre le texte complet et non modifié des partitions publiées dans les trois éditions pratiques «bleues» Henle Urtext HN 77, 78 et 79, respectivement l’édition sous reliure lin de l’ensemble des sonates pour violon deMozart HN 80. / Partition brochée / Répertoire / Violon et Piano

This complete edition of the Mozart sonatas for violin and keyboard has been researched and prepared by Cliff Eisen one of the most distinguished Mozart scholars of our time. Professor Eisen recognizes that many of the apparent inconsistencies and idiosynchrasies of Mozart's notation are perfectly deliberate and that the attempts in many other editions to impose uniformity upon similar phrases or musical paragraphs can bemisguided. As he writes in the preface '...the notion that the classical style represents a model of symmetry balance and clarity is for the most part an 19th-century fiction...it has little to do with Mozart's actual practice which is basedprimarily on variety of both content and articulation.' So in this new edition alternative readings found in parallel passages are preserved rather than being sterilized by a spurious quest for conformity. Naturally all such instances are noted within the Critical Commentary. The highly individual beaming within Mozart's autographs is also respected in the new edition as this often contributes to our aural perceptions of phrase structure and accent. Professor Eisenis is conscious that there is no single 'Urtext' for this music. On the contrary he believes that 'there is compelling evidence that Mozart's later performances of his works were characterized by changes--sometimes substantial changes--in the musical text.' It is the achievement of this edition to indicate how far this freedom of musical expression can extend and as such it is likely to take pride of place in the collections of all those involved in the study and performance of these masterpieces.Contents: Sonatas K296 K376-K380; Andante and Fugue K402 (completed by Stadler); Sonata K403 (completed by Stadler).

Compositeur : Mozart, Wolfgang Amadeus Instrumentation : Violin and Piano Editeur Musicologique : Seiffert, Wolf-Dieter Couverture Reliée Contenu : Kurfürstin Sonata G major op. I / K. 301 (293a) Kurfürstin Sonata E flat major op. I / K. 302 (293b) Kurfürstin Sonata C major op. I / K. 303 (293c) Kurfürstin Sonata e minor op. I / K. 304 (300c) Kurfürstin Sonata A major op. I / K. 305 (293d) Kurfürstin Sonata D major op. I / K. 306 (300l)

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

(Aurnhammer) Urtextausgabe mit einer bezeichneten und einer unbezeichneten Streicherstimme-This is the second volume of Mozart’s Complete Sonatas for Piano and Violin and contains fully revised versions of his six sonatas for Piano and Violin K.296 and K.376-80 also known as the Aurnhammer SonatasOp.2.This authoritative Henle Urtext edition has been carefully edited by Wolf-Dieter Seiffert with fingerings by Walther Lampe and Karl Rohrig and provides you with the most accurate realisation of thecomposer’s original intentions with thoroughly comprehensive and detailed editorial markings and suggestions.

Beethoven?s ten sonatas for piano and violin, along with those by Mozart, constitute the heart of this classical music genre. Following the lead of Mozart?s late sonatas, Beethoven lets the violin part become increasingly independent from the piano part. Not only does Clive Brown?s scholarly critical edition offer a meticulously edited text but for the first time it presents a list of sources and a Critical Report. Furthermore Brown documents a great number of passages where, by today?s standards, the notation raises some questions. These passages had previously been overlooked in the autograph but their significance is now clarified. One example can be found in Beethoven?s ?Tempo di Minuetto? from Sonata op. 30 No. 3, where he uses a notational idiosyncracy based on C.P.E. Bach?s ?Versuch über die wahre Art das Clavier zu spielen? to denote a rest. This musical symbol, which was included in the first edition published during Beethoven?s lifetime, has not been addressed in any modern edition to date. In addition, a score through a chord can also not be found in previous modern editions; this denotes an arpeggiated chord.

Par MOZART WOLFGANG AMADEUS. Since their publication in the New Mozart Edition, Mozart's sonatas K. 10–15 count as piano trios. Furthermore, the title of the first edition, published by father and son Mozart in 1765 reads 'Six Sonates pour le Clavecin qui puevent se jouer avec l'accompagnement de Violon ou Flaute Traversiere”. In other words, these pieces are harpsichord sonatas that may be accompanied at will by a violin or a transverse flute. In a partial press run of the first edition a cello part was included. Our new edition is the first to take these conflicting formats into account by presenting two separate versions, one being the unaltered harpsichord part, the other a full score with separateinstrumental parts for violin/flute and cello. The harpsichord part [CV 51. 010/10] is indeed capable of standing by itself and requires no instrumental expansion. The melody instrument, in contrast, merely function as an accompaniment or contribute brief interjections, or, in the case of the cello, reinforce the left hand of the keyboard. In other words, K. 10–15 are not only Mozart's earliest piano trios, they are also his earliest keyboard sonatas to survive intact./ Répertoire / Violon, Violoncelle et Piano