Sonata D-Dur

D-Dur. Par PISENDEL JOHANN GEORG. Two sonatas by Johann Georg Pisendel for violin with basso continuo accompaniment have been handed down to us and have now been published for the first time by Carus. Pisendel was the famous concert master of the Dresdner Hofkapelle, which was one of the leading orchestras in the first half of the 18th century. Since he was the leading violinist of his time in Germany to whom renowned composers such as Vivaldi, Albinoni and Telemann Werke dedicated pieces, these two sonatas, written for Pisdendel‘s own chosen instrument, present a challenge to performers as well as a valuable enrichment to baroque violin literature. The D major Sonata is based on the opening and closingmovements of the solo parts from the D major Violin Concerto, which Pisendel had written on the occasion of the dedication of the Catholic Church of the Court in Dresden, in 1751./ Répertoire / Violon et Basse Continue

Piano Sonata D major K. 284 (205b) Editor: Ernst Herttrich Fingering: Hans-Martin Theopold The Sonata in D major is the last of the Six Sonatas K. 279-284 that Mozart had in his luggage when he set off for Paris in September 1777. He had already successfully performed this music in Munich, Augsburg and Mannheim, a fact he proudly told his father back at home. He gave the works particularly rich dynamic markings and also found unusual solutions concerning their formal aspect, for instance having a slow Rondeau en Polonaise as the middle movement of the Sonata in D major. The six sonatas, which were previously only published together in the complete volumes (HN 1 and 3), are now all available as single editions with new prefaces. Mozart dedicated this Sonata to a Freiherr Thaddäus von Dürnitz - which is why it has often been called the Dürnitz-Sonata. It is undoubtedly the best, the most brilliant and the most technically demanding of these six early Sonatas. Understandably, Mozart retained a special affection for it and continued to perform it himself. It was this Sonata of which he said that it sounded incomparable on Stein's new fortepianos. FIRST MOVEMENT A first version of the beginning of the first movement, written on one and a half pages, was cancelled by Mozart. On the same page, he started anew to write the final version underneath. The thematic material of this opening movement (and to a lesser degree also that of the following movements) is laid out on a more ample, nearly orchestral scale, a departure from the intimacy of the early sonatas. The tremolo effect in measures 13-16 and the unison announcements of the first subject read very much like a piano reduction of an orchestral tutti. The second subject, a supple melodic line, unaccompanied in its opening bar, incorporates a descending chain of first inversions a favourite harmonic formula of the baroque and classical periods. (There are analogous passages in the subsidiary themes in Gluck's overture Iphigénie en Tauride and the first movements of J. S. Bach's Italian Concert). This functions as a solo passage in contrast to the ensuing tutti entries in m.30. The development moves through a circle of minor keys before the recapitulation begins in measure 72. SECOND MOVEMENT Mozart called the second movement a Rondeau en Polonaise, so it is a dance. The opening four measures from a kind of dialogue (like the theme of the first movement of the preceding G major Sonata), and Mozart subjects them to felicitous counter-statement is heightened by Mozart's meticulous dynamic markings. THIRD MOVEMENT The last movement of the Sonata is a pianistically rewarding, cheerful set of variations, which, up to the adagio variation, has the character of a gavotte. It shows Mozart's special gift for writing variations at its most brilliant. The superficial impression of a diffuse form does not stand up to a closer inspection: it would not be at all easy to omit one of the twelve variations, or to add an extra one. The adagio variation is on special interest to Mozart scholars, for it gives us some insights into his concept of impromptu ornamentation. The autograph is only modestly ornamented, and Mozart presumably embellished it in performance as his fancy dictated. But a richly ornamented version survived in the first edition, published during Mozart's lifetime, and undoubtedly this embellished version is Mozart's own work. Who else could embellish in such an ingenious way? It illuminates Mozart's ideas on ornamentation in general and in particular. Paul and Eva-Badura-Skoda

Georg Philipp Telemann Six Sonates pour deux flûtes de 1726, également connu sous le nom Flûte Duets Op.. 2, sont dédiés à deux jeunes mélomanes et, par conséquent, faire appel explicitement à un cercle d'élèves et d'amateurs de musique. Les pièces de favoriser la capacité de l'interprétation musicale ainsi que d'un amour de la musique ludique de décision et sont donc idéal pour des leçons de musique. Les sonates peut aussi être effectuée sur le violon. La nouvelle édition de l'édition Wiener Urtext est basé sur la copie originale de Telemann ainsi que sur deux éditions précédentes qui accordent un aperçu de la pratique contemporaine ornementation. D'autres suggestions pour la performance sont donnés dans les notes sur l'interprétation par Susanne Schrage. La présentation de la nouvelle édition est clairement conçu, page-tours au sein des mouvements individuels ont été évités grâce à plier-out pages. Ainsi, le fondement approprié a été mis à la fois pour une performance historiquement informée et pour faire de la musique relaxante. / 2 Flûtes Traversières (Violons)

About Complete Church Sonatas. Volume 1Nine Sonatas for two Violins Organ and Violoncello/Bass. By Wolfgang Amadeus Mozart. Edited by Minos E. Dounias. For Organ Violin 1 Violin 2 Violoncello/Contrabass. Playing Score; Set of Parts; Urtext Edition. Published by Baerenreiter-Ausgaben (German import). (BA4731) ISBN M006454488. Contents:KV 67 (41h) Es-dur /2`KV 68 (41i) /4`KV 69 (41k) /3`KV 144 (124a) D-dur /4`KV 145 (124b) F-dur /3`KV 212 B-dur /4`KV 224 (241a) F-dur /5`KV 225 (241b) A-dur /5`KV 241 G-dur /3`

Fünf Sonaten für zwei Violinen Orgel Violoncello und Bass-About Complete Church Sonatas. Volume 25 Sonatas for two Violins Organ Violoncello and Bass. By Wolfgang Amadeus Mozart. Edited by Minos E. Dounias. For Violin 1 Violin 2 Organ Violoncello Contrabass. Playing Score; Set of Parts; Urtext Edition (paperbound). Published by Baerenreiter-Ausgaben (German import). (BA4732) ISBN M006454525. Contents:KV 244 F-dur /4`KV 245 D-dur /5`KV 274 (271d) G-dur /5`KV 328 (317c) C-dur /4`KV 336 (336d) C-dur /3`

[Klaviersonate D-Dur KV 311 (284c)] / Classique / Partition / Broché / Edition Urtext

Pour plus de 200 ans sonates pour piano de Mozart ont fait partie du répertoire de tout pianiste . Les recherches menées au cours des dernières décennies a permis , cependant, d'établir des rencontres plus précise et la commande de ces oeuvres . L'expertise des documents originaux a montré que de nombreuses éditions imprimées du XVIIIe siècle donnent des détails plus fiable que ses propres partitions écrites de Mozart , la plupart de ces oeuvres ont été préparés pourpublication par le compositeur lui-même et marqué avec des indications précises pour la performance à l'égard de l'ornementation , la dynamique et l'articulation. Tout cela, avec la redécouverte des documents qui ne sont devenus à nouveau accessible à la fin du 20ème siècle , donne une raison suffisante pour justifier la publication d'une nouvelle édition Wiener Urtext des Sonates pour piano de Mozart.- . -Pour suivre le deuxième volume, publié au printemps 2003 avec Sonates K 330 K 576, nous présentons aujourd'hui le premier volume , qui contient le Sonates K 279 à K 311. Pour Sonate K 284 , variation XI dans le dernier mouvement est donnée à la fois dans la version qui apparaît dans le manuscrit original et la version utilisée dans la première édition , afin de rendre la musique plus facile à lire , les deux versions sont donnés en impression normale taille . Une musique qui est clair et bien aménagé , avec page se tourne dans des endroits pratiques , rend cette édition extrêmement convivial .Conseils sur la performance par le célèbre Mozart spécialiste Robert D. Levin fournit une nouvelle impulsion à ce qui autrement peut devenir trop souvent une interprétation plutôt fatigué. / Piano

Separate bass part for performance e.g. with cello accompaniment.Schott Violin Library includes eleven contrasting Baroque sonatas for violin and continuo bass. Besides popular and well-known sonatas by Corelli, Vivaldi, Handel and Telemann there are also delightful less familiar compositions by Dall'Abaco, Pepusch and Finger, among others. All these pieces are at lower to intermediate level. Some of them can be played in first position throughout, while others require just a few position changes, but the sonatas by Dall'Abaco, Kirchhoff, Vivaldi and Handel require fluent use of the first three positions. The pieces brought together in this book are the best-loved works from the popular series Schott Violin Library (VLB) and other violin repertoire published by Schott. / Violon Et Basse Continue

Sechs Sonaten für Altblockflöte (Querflöte Oboe Violine) und Basso Continuo-The works by Benedetto Marcello Antonio Vivaldi and other Italian contemporaries of Bach and Handel wonderfully illustrate the possibilities of this versatile solo instrument and offer recorder players an ideal introduction to the chamber music of the Italian Baroque.Francesco Barsanti: Sonata B-durMartino Bitti: Sonata G-durBenedetto Marcello: Sonata F-dur op. 2/1Antonio Vivaldi: Sonata g-moll 'Il pastor fido' op. 13/6Francesco Mancini: Sonata d-mollFrancesco Maria Veracini: Sonata F-dur

These sonatas are among the epoch-making works of the violin repertoire and nowadays figure in the standard repertoire of every violinist. It is all the more surprising, therefore, that until now there has been no Urtext edition of such significant works. The score is based on a first edition supervised by Corelli himself. From what we know of performance practice in CorelliÂ’s time, however, more was expected of the violinist than just a musical reading of the printed score: it was customary to add ornamentation verging on improvisation, with embellishment and variations as desired. The original score is therefore presented here with the earliest documented ornamentation from a reprint published by Roger in Amsterdam in 1708. This ornamentation is not meant to be slavishly imitated, but to stimulate the player to find their own creative and stylistically confident interpretation of the score. As Roger did not specify any ornaments for the sonatas in the second volume, the variations as desired used by CorelliÂ’s pupil Geminiani have been reproduced with the ninth Sonata as an example. Advice on performance is given by the Cologne baroque specialist Reinhard Goebel. This advice does not only apply to ornamentation, but also to articulation, bowings and more besides, calling for specific markings in the separate violin part. The realisation of the continuo part echoes the fashions of that time. Here too, advice on performance is meant to stimulate free interpretation by the continuo player. A figured bass part is included for the player who prefers to read the accompaniment from figures. Content : Sonate D-Dur op. 5,1 Sonate B-Dur op. 5,2 Sonate C-Dur op. 5,3 Sonate F-Dur op. 5,4 Sonate g-Moll op. 5,5 Sonate A-Dur op. 5,6

La collection Best of Viola Classics - 16 Famous Concert Pieces pour alto et piano présentée par Schott contient une sélection d'?uvres qui peuvent accompagner chaque élève pendant de nombreuses années de cours d'alto. Le volume contient des compositions allant de l'époque de Georg Philipp Telemann (1681-1767) à celle de Volker David Kirchner (1942-2020), offrant ainsi un matériel de jeu allant de la période baroque au XXe siècle. La collection, qui comprend un répertoire connu et des pièces rares, est idéale pour les cours et les concours, ainsi que pour les récitals et les concerts.Georg Philipp Telemann: Sonata B-Dur / Bb major aus / from: Der getreue Music-MeisterLuigi Boccherini: Minuetto aus / from: Sonata c-Moll / C minorJohann Nepomuk Hummel: Allegretto moderato aus / from: Sonata Es-Dur / Eb major, op. 5/3Robert Schumann: Märchenbild Nr. 3 / Fairy-Tale Picture No. 3, op. 113/3Märchenbild Nr. 4 / Fairy-Tale Picture No. 4, op. 113/4Friedrich Kiel: Romanze Nr. 2 / Romance No. 2, op. 69/2Romanze Nr. 3 / Romance No. 3, op. 69/3Emanuele Muzio: AndanteAnton Rubinstein: Morceau de Salon No. 2Joseph Joachim: Hebräische Melodie Nr. 1 / Hebrew Melody No. 1, op. 9/1Hebräische Melodie Nr. 2 / Hebrew Melody No. 2, op. 9/2Heinrich von Herzogenberg: Legende Nr. 1 / Legend No. 1, op. 62/1Robert Fuchs: Phantasiestück Nr. 2 / Fantasy Piece No. 2, op. 117/2Alexander Sergej Tanejew: Feuillet d?album / Albumblatt / Album Leave, op. 33Johanna Senfter: Scherzo aus / from: Viola-Sonata F-Dur / F major, op. 41Volker David Kirchner: Paso doble aus / from: Nostalgia / Alto / Schott

[Klaviersonaten - Band 3 : Frühe und unvollendete Sonaten] / Classique / Editeur : Paul Badura-Skoda / Doigtés : Paul Badur / Partition de poche / Edition Urtext / Edition révisée