Sonata in A Major Op. 30-19

Description Domenico Scarlatti: Sixty Sonatas - Volume One Edited in Chronological order from the manuscript and earliest Printed sources with a preface by Ralph Kirkpatrick. Songlist Sonata Ii K.7 In A Minor Sonata Iii K.16 In B Flat Major Sonata Iv K.18 In D Minor Sonata Ix K.54 In A Minor Sonata K.3 In A Minor Sonata V K.28 In E Major Sonata Vi K.29 In D Major Sonata Vii K.44 In F Major Sonata Viii K.46 In E Major Sonata X K.57 In B Flat Major Sonata Xi K.84 In C Minor Sonata Xii K.52 In D Minor Sonata Xiii K.96 In D Major Sonata Xiv K.105 In G Major Sonata Xix K.132 In C Major Sonata Xv K.115 In C Minor Sonata Xvi K.116 In C Minor Sonata Xvii K.119 In D Major Sonata Xviii K.120 In D Minor Sonata Xx K.133 In C Major Sonata Xxi K.175 In A Minor Sonata Xxii K.140 In D Major Sonata Xxiii K.208 In A Major Sonata Xxiv K.209 In A Major Sonata Xxix K.259 In G Major Sonata Xxv K.215 In E Major Sonata Xxvi K.216 In E Major Sonata Xxvii K.238 In F Minor Sonata Xxviii K.239 In F Minor Sonata Xxx In G Major

  Symphony No. 3 (1972-1975) by Per NørgÃ¥rd. Per NørgÃ¥rd's third symphony commissioned by The Danish Radio Symphony Orchestra (conductor Herbert Blomstedt) was premiered in Copenhagen in 1976 and received wide attention. The work gives comprehensive expression to a new realm of musical experience which the composer began to explore toward the end of the 1960s. While the first period in NørgÃ¥rds production in the 1050s represents his personal interpretation of the Nordic music tradition – evidenced for example in his “Piano Sonata No. 2” (1957) and“Constellations” for chamber orchestra (1958) – and the second period in the 1960s saw him working with serial techniques musical collage and a new sound-palette - especially in the orchestral works “Iris” (196-67) and “Luna” (1967) – with “Voyage into the Golden Screen” (1968) NørgÃ¥rd arrived at a new compositional technique based on the use of a special form of a so-called “infinity series” a principle of musical motion to be applied to all kinds of scales (chromatic diatonic et cetera). It is characteristic that that NørgÃ¥rd in the 1970s chose to cultivate diatonic infinity series already evident in the mythological opera “Gilgamesh” (1971-72). Thus the Symphony No. 3 begun directly after the opera combines the infinity series major and minor scales the partial series of natural harmonics and “sub-harmonics” (NørgÃ¥rds terminology) with rhythmic patterns based on the Golden Section (the Golden Mean) in a nexus of synchronous yet disparate elements which serve the composers vision of musical coherence.. The works which followed the symphony – the operas “Siddharta” (1975-79) and “The Divine Circus” (1981-82) and Symphony No. 4 (1981) – usher a new

The early sonatas. Par SCHUBERT FRANZ. Schubert was visibly adventurous in his early piano sonatas, as is apparent in their wide-ranging key schemes, diverging versions of many movements or entire sonatas, and numerous works left incomplete. This revised Urtext edition contains the sonatas he composed between 1815 and 1817. An updated preface and valuable notes on central questions of performance practice (e.g. articulation, pedalling and embellishments), with a special emphasis on his idiosyncratic treatment of accent-like diminuendo hairpins, form a useful introduction to the sonatas. Schubert?s drafts and fragments can be accessed on the Bärenreiter website. - Urtext edition based on the ?New Schubert Edition?, with drafts and fragments accessible on the Bärenreiter website (see BA 9642: Extras) - Reader-friendly engraving with practical page-turns and running titles to facilitate the location of sonatas and movements - Valuable notes on performance practice in Schubert?s day (Ger/Eng) - Critical Commentary with readings relevant to performance, especially regarding Schubert?s notation of accents (Eng) / Date parution : 2022-07-30/ Recueil / Piano

All 15 Sonatas including the celebrated 'C Minor' 'A Major' and 'B Flat Major' Sonatas. Breitkopf

Description Domenico Scarlatti: Sixty Sonatas Volume Two Edited in Chronological order from the manuscript and earliest Printed sources with a preface by Ralph Kirkpatrick. Songlist Sonata In C K.309 Sonata Klviii K.471 In G Major Sonata L K.491 In D Major Sonata Lii K.493 In G Major Sonata Liii K.494 In G Major Sonata Liv K.513 In C Major Sonata Lix K.544 In B Flat Major Sonata Lv K.516 In D Minor Sonata Lvi K.517 In D Minor Sonata Lvii K.518 In F Major Sonata Lviii K.519 In F Minor Sonata Lx K.545 In B Flat Major Sonata Xl K.403 In E Major Sonata Xli K.420 In C Major Sonata Xlii K.421 In C Major Sonata Xliii K.426 In G Minor Sonata Xliv K.427 In G Major Sonata Xlix K.490 In D Major Sonata Xlv K.460 In C Major Sonata Xlvi K.461 In C Major Sonata Xlvii K.470 In G Major Sonata Xxxi K.263 In E Minor Sonata Xxxii K.264 In E Major Sonata Xxxiii K.308 In C Major Sonata Xxxix K.402 In E Minor Sonata Xxxv K.366 In F Major Sonata Xxxvi K.367 In F Major Sonata Xxxvii K.394 In E Minor Sonata Xxxviii K.395 In E Major

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

Par PEPUSCH JOHANN CHRISTOPH. Format: 22, 2 x 30, 3/ Répertoire / 1 Flûte à Bec (S/A/T) et Piano

This collection of the most beautiful 100 easy original compositions for piano presented by Schott contains a selection of works that accompany every pupil in the first years of his or her piano lessons.



The volume contains compositions from the days of Johann Pachelbel (1653-1706) to the days of Alexander Grechaninov (1864-1956), providing playing material from the high baroque period to the early 20th century. Apart from numerous individual pieces, there are also easy sonatas and sonatinas by Haydn, Cimarosa, Clementi, Mozart and Beethoven. Complete with fingerings, tempo suggestions in the form of metronome numbers and notes on the execution of ornaments, the collection with its modern, readable typeface is ideal not only for lessons, but also for the private music-making of every music lover.



This album represents superb value for money! / Partition /

The three volumes of The Masterwork in Music present complete English translations of major works by Austrian music theorist Heinrich Schenker, one of the twentieth century's leading figures in the field. First published in German between 1925 and 1930, these essays represent Schenker's greatest writings in analysis prior to the 1935 definitive formulation of his theory of music in Der freie Satz (Free Composition). This new publication of the long-awaited English translation, which first appeared in the distinguished Cambridge University Press edition, provides a valuable resource for scholars. Editorial annotations and elucidations by Dr. William Drabkin and his translators offer additional insights. This volume features a major essay on Mozart's Symphony #40 in G minor- studies of Bach keyboard and solo cello pieces- works by Haydn and Reger- theoretical writings on sonata form and fugue- and many examples of Schenkerian theory. Volume One includes analyses of keyboard works by Bach, Scarlatti, Chopin, Beethoven, and Handel and solo violin music by Bach, along with studies of other works. Volume Three's contents include Schenker's celebrated analysis of Beethoven's 'Eroica' Symphony and other works.Reprint of The Masterwork in Music, A Yearbook, Volume II, Cambridge University Press, 1996, with a new Introduction by William Drabkin.- See more at: http://store.doverpublications.com/0486780031.html#sthash.Wzwx6KIG.dpuf / Divers

28 Pieces by 22 Composers in Progressive Order. Baroque to Modern presents music from the 1700s through the 1900s, with composer biographies and practice and performance tips. Organized by difficulty level, the music is presented in newly researched editions. Each volume is in progressive order. ANTHEIL: Little Shimmy C.P.E. BACH: Solfeggietto in C minor, H. 220 J. S. BACH: Prelude in D minor, BWV 926 · Prelude in C minor, BWV 999 BARBER: Petite Berceuse · To My Steinway from Three Sketches for Piano BEACH: Gavotte in D minor from Children's Album, Op. 36, No. 2 BEETHOVEN: German Dance in C Major, WoO 8, No. 7 BONIS: Frère Jacques from Scènes enfantines, Op. 92, No. 6 BURGMÜLLER: Restlessness (Inquiétude) from 25 Easy and Progressive Studies, Op. 100, No. 18 CHOPIN: Prelude in A Major, Op. 28, No. 7 CRESTON: Rustic Dance from Five Little Dances, Op. 24, No. 1 HANDEL: Prelude in G Major from Suites de pièces, Volume 2, HWV 442, No. 9 HELLER: Study in A minor (The Avalanche) from 25 Melodious Etudes, Op. 45, No. 2 KABALEVSKY: Lyric Piece from 30 Pieces for Children, Op. 27, No. 16 · The Chase from 30 Pieces for Children, Op. 27, No. 21 · Rondo-Toccata from Four Rondos, Op. 60, No. 4 KHACHATURIAN: Ivan Sings from Adventures of Ivan MACDOWELL: To a Wild Rose from Woodland Sketches, Op. 51, No. 1 MOZART: Funeral March for Signor Maestro Contrapunto, K. 453a · Adagio for Glass Harmonica, K. 356 (617a) MUCZYNSKI: Fable No. 9 from Fables, Op. 21, No. 9 PROKOFIEV: Morning from Music for Children, Op. 65, No. 1 · Promenade from Music for Children, Op. 65, No. 2 RAVEL: Prélude D. SCARLATTI: Sonata in D minor, L. 423 (K. 32, P. 14) SCHUMANN: Of Strange Lands and People (Von fremden Ländern und Menschen) from Scenes from Childhood (Kinderszenen), Op. 15, No. 1 SHOSTAKOVICH: Birthday from Children's Notebook for Piano, Op. 69, No. 7

The Oxford Book of Organ Music by Women Composers presents a comprehensive survey of historical organ pieces by women composers alongside six newly commissioned works. The music is stylistically varied and encompasses secular and sacred repertoire from a range of periods. In addition to original organ repertoire, the collection also contains several organ transcriptions in new arrangements for the instrument. ? 42 pieces for manuals and pedals, in a variety of musical forms, suitable for use at church services or as recital repertoire ? Original music for the instrument, spanning the sixteenth century to the present day, including compositions by Amy Beach, Clementine de Bourges, Nadia Boulanger, Jeanne Demessieux, Cecilia McDowall, Clara Schumann, and Ethyl Smyth, plus commissions from Kristina Arakelyan, Miriam Carpinetti, Ghislaine Reece-Trapp, Isabelle Ryder, Amy Summers, and Rebecca Groom te Velde ? Standalone miniatures, movements from organ sonatas and symphonies, transcriptions of piano, harpsichord, and flute pieces, and an orchestral opera overture ? A variety of difficulty levels, from ABRSM Grades 2-3 through to Diploma standard, with a graded index provided

Wide selection of fine pieces, many difficult to find elsewhere. Included are harpsichord toccatas, Capriccio on the Departure of His Most Beloved Brother, Aria Variata 'alla Maniera Italiana' and the 6 Little Preludes, as well as many lesser-known compositions — over 40 in all.Content :Toccata in F-sharp Minor, BWV 910Toccata in C Minor, BWV 911Toccata in D Major, BWV 912Toccata in D Minor, BWV 913Toccata in E Minor, BWV 914Toccata in G Minor, BWV 915Toccata in G Major, BWV 916Prelude and Fugue in A Minor, BWV 895Fugue n A Major, from Prelude and Fugue, BWV 896Fugue in A Minor, BWV 897 (doubtful)Prelude and Fughetta in D Minor, BWV 899 (doubtful)Prelude and Fughetta in E Minor, BWV 900Fantasia and Fugue in D Minor, BWV 905 (doubtful)Fantasia and Fughetta in B-flat Major, BWV 907 (doubtful)Fantasia and Fughetta in D Major, BWV 908 (doubtful)Concerto and Fugue in C Minor, BWV 909 (doubtful)Fantasia in G Minor, BWV 920 (doubtful)Fantasisa in C Minor, BWV Anh. 86 (incomplete)Prelude (Fantasia) in C Minor, BWV 921 (doubtful)Prelude in B Minor, BWV 923 (doubtful)Seven Little Preludes, BWV 924-930 (from the Clarvier-B?ein vor Wilhelm Friedemann Bach)Six Little Preludes, BWV 933-938Five Preludes, BWV 939-943Fugue in A Minor, BWV 944Fugue in A Major, BWV 949 (doubtful)Fugue in B Minor on a Theme by Albinoni, BWV 951Fugue in C Major, BWV 952 (doubtful)Fugue in C Major, BWV 953 (from the Clavier-B?lein vor Wilhelm Friedemann Bach)Fugue in B-flat Major, BWV 954 (arr. from J. A. Reincken's Hortus musicus)Fugue in B-flat Major, BWV 955 (arr.of an organ fugue by J. C. Erselius)Fugue in E Minor, BWV 956 (doubtful)Fugue in G Major, BWV 957 (doubtful)Fugue in A Minor, BWV 958Fugue in A Minor, BWV 959Fughetta in C Minor, BWV 961 (doubtful)Prelude, Fugue and Allegro in E-flat Major, BWV 998 (for lute or keyboard)Suite in A Minor, BWV 818Suite in E-flat Major, BWV 819Ouverture in F Major, BWV 820Suite in B-flat Major, BWV 821Suite in F Minor, BWV 823 (incomplete)Partie in A Major, BWV 832Partita in C Minor, BWV 997 (for lute or keyboard)Partita in E Major, BWV 1006a (for lute or keyboard; arr. Of Violin Partita No. 3, BWV 1006)Sonata in D Major, BWV 963Sonata in D Minor, BWV 964 (arr. Of Violin Sonata No. 2, BWV 1003; doubtful)Sonata in A Minor, BWV 965 (arr. from Reincken's Hortus musicus)Sonata in C Major, BWV 966 (arr. from Violin Reinchken's Hortus musicus)Adagio in G Major, BWV 968 (arr. from Violin Sonata No. 3, BWV 1005; doubtful)Three Minuets, BWV 841-843 (from the Clavier-B?ein vor Wilhelm Friedemann Bach)Aria variata alla maniera italiana [Air varied in the Italian manner], BWV 989 Capriccio sopra la lontananza del suo fratello dilettissimo [Capriccio on the departure of his most beloved brother], BWVCapriccio in E Major, BWV 993

«Je veux le composer tout à fait d?après le caractère de Mlle Rose». Voici ce que répondit Mozart à la question de savoir comment il allait concevoir l?Andante de sa Sonate en Ut majeur. Il avait fait la connaissance de Rosina Cannabich à Mannheim durant l?automne 1777. Composée à son intention, la Sonate K. 309 lui fut tout de suite présentée lors d?une leçon, si bien que d?après les dires de son professeur, elle la jouait déjà de manière «admirable» en décembre 1777. Afin que de nombreux élèves puissent faire de même, nous présentons ce joyau de la musique de piano de Mozart, jusqu?alors seulement disponible dans les recueils intégrals des sonates (HN 1 et 3), sous la forme d?une édition séparée avec, en sus, une nouvelle préface de l?éditeur.


1er MOUVEMENT Le premier mouvement de la sonate K 309 en ut majeur est un modèle pour enseigner la structure de la forme sonate. Dans les formes sonate, pas plus que dans la fugue de Bach, aucun dogme ne sert de base au processus de composition, mais chaque sonate apporte une nouvelle variation à un principe fondamental. Cela impliquait, pour Mozart, l?obligation stricte de se conformer à certains schémas sans pour autant laisser entraver sa propre liberté de création. Pour ses mouvements de sonates en tonalités majeures, il était, par exemple, favorable à la dominante comme la plupart de ses contemporains. Sur ce point, Haydn, en revanche, se délectait à tenter de nouvelles expériences.
Il serait peut-être utile, par une brève analyse, de montrer quel était le modèle de référence d?une «forme d?allegro de sonate» pour Mozart, et le premier mouvement de la sonate en ut majeur K 309 est, à cet égard, un exemple idéal pour un tel examen. Le premier thème est un début caractéristique en marcato, suivi d?une «réponse» de cinq mesures. La quarte descendante et la sixte ascendante du début forment un des motifs favoris de Mozart; c?est son procédé mélodique habituel. Il l?utilise souvent en mineur comme en majeur et beaucoup de ses thèmes commencent par ce motif (pour exemple le deuxième mouvement de la sonate en la majeur K 331 et l?Adagio en si mineur K 540 et certains thèmes des Symphonies K 114, 124, 319/II et 551/II). Les sept mesures du thème principal sont répétées avec une légère variation. Les mesures 12 à 30 viennent conclure la période du premier thème par une phrase réponse (3 3 mesures). La transition fait appel à un nouveau matériau puis, dans la mesure 35 (âpres 2 mesures préliminaires) vient un second thème cantabile à la dominante (sol majeur), comprenant deux fois quatre mesures. Il est également repris et s?achemine vers un thème de clôture plein d?allant (groupe conclusif) qui traverse un passage d?ornementation pianistique (m. 43) et enferme une merveilleuse réduction des mesures 35 et 36 dans la mesure 45. L?exposition se termine par une «codetta» de cinq mesures. Le développement présente d?abord le motif d?exposition en sol mineur puis les différentes idées du premier thème sont élaborées. Dans cette démarche, Mozart s?en réfère beaucoup plus aux principes d?école qu?il ne le fait d?habitude. Deux autres expositions du motif du départ nous conduisent à la réexposition dans la mesure 94. Le second thème, maintenant à la tonique, s?est interverti avec son accompagnement. On assiste à un rappel du début dans une coda qui s?impose avec force.

2eme MOUVEMENT Le deuxième mouvement de cette sonate est un Andante un poco adagio introspectif. Mozart avait fait part dans une lettre de sin désir d?adapter cet Andante au caractère de la jeune pianiste Rosa Cannabich pour laquelle il l?avait écrit : «c?est une jolie et charmante jeune fille, tout comme cet andante. Elle est très mûre et posée pour son âge, elle ne parle pas beaucoup et c?est toujours avec grâce et gentillesse».

3eme MOUVEMENT C?est un Rondo élégant et fluide, d?une longueur inusitée, qui clôt cette sonate. / [Sonate pour piano en Ut majeur K. 309 (284b)] / Classique / Partition / Agrafé /