Violin Sonatas: Complete Edition with Critical Report, Series II, Volume 8

Instrumentation: Vln—Pf Editor: Eisen ISMN: M-57708-560-9 Format: Sheet Music Details: Contents: Sonatas K296, K376-K380; Andante and Fugue K402 (completed by Stadler); Sonata K403 (completed by Stadler). Contents: This complete edition of the Mozart sonatas for violin and keyboard has been researched and prepared by Cliff Eisen, one of the mostdistinguished Mozart scholars of our time. Professor Eisen recognizes that many of the apparent inconsistencies and idiosynchrasiesof 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-centuryfiction...it has little to do with Mozart's actual practice, which is based primarily onvariety of both content and articulation.' So in this new edition, alternative readingsfound 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 respectedin the new edition, as this often contributes to our aural perceptions of phrase structure and accent. Professor Eisenis conscious that there is no single 'Urtext' for this music. On the contrary, hebelieves 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 thisedition 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.

Instrumentation: Vln—Pf Editor: Cliff Eisen Format: Sheet Music Details: This projected complete edition of the MozartSonatas for Keyboard and Violin has been researched and prepared by Cliff Eisen, one of the most distinguished Mozart scholars of our time. Professor Eisen recognises that many of the apparent inconsistencies and idiosyncrasies 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 be misguided. As he writes in the preface: '…the notion that the classical style represents a model of symmetry, balanceand clarity is for the most part a 19th-century fiction…it has little to do withMozart's actual practice, which is based primarily on variety of both content and articulation. So in this new edition, alternative readings found in parallel passages are preserved, rather than being sterilised 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 Eisen 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 characterised 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, andas 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: K454, K481, K526, K547 & Variations K359, K360

Six Sonatas for Violin and Viola Hob. VI:1?6-The title ?Solo per il Violino? which Haydn gave these sonatas in his ?Entwurf-Katalog? (the handwritten catalogue he maintained of his own works) already gives us an indication: it is only the Violinwhich is treated as a solo instrument in these six sonatas the Viola has an accompanying role. Haydn might have written these ?soli? for himself; but they also might have been for Luigi Tomasini the ?first violinist? atEsterházy?s court. Today these duos enjoy great popularity particularly for teaching purposes. We are now proud to present the definitive Henle edition following the text in the Complete Edition of Haydn?s Works withthe addition of specially composed cadenzas.

Schumann’s Violin Sonatas were taken up with enthusiasm very soon after they were first performed. The Second Sonata was described at the time as 'Second only to Beethoven's Sonata in A'. Sonatas Op. 105 and Op. 121 are now presented in the first volume of this Wiener Urtext edition. It is based on the score in the new complete Schumann edition which draws not only upon the authorised first editions of both works but also upon Schumann’s working manuscripts and – in the case of the 2nd Sonata – the score used by the engravers and extensive correspondence between the composer and the originalpublishers. Meticulous comparison of these original documents has made it possible to determine numerous details regarding dynamics and articulation. Schumann’s autograph manuscript has been of significant help in this respect. The edition is part of the ABRSM syllabus (grade 8).

In E-flat major Op.102. Par SAINT-SAENS CAMILLE. The second half of the 19th century represented something of a ?Golden Age? of the violin sonata in France: influential violin sonatas such as those by Franck, Fauré and Saint-Saëns were among the successful works of this genre, inspiring many further compositions. Saint-Saëns? Violin Sonata No.2 was written in 1896 during a stay of several months by the composer in Egypt: he began the main themes of all four movements as well as the canonic trio in Luxor and Aswan. The sonata was then completed on the Nile journey back to Cairo. That same year the sonata was premiered by Saint-Saëns and Pablo Sarasate in a concert celebrating the composer?s fiftieth stage anniversary. Astoundingly, he had first appeared on stage when he was only ten years old. This performing edition edited by Fabien Guilloux and François de Médicis is based on ?Saint-Saëns ? ?uvres instrumentales complètes?, volume III/4. It reflects the most up-to-date state of research on this work which the edition presents in a spacious engraving. - With a detailed Foreword (Fr/Eng/Ger) on the genesis and performance history - Performing edition based on the Urtext of the ?Saint-Saëns ? ?uvres instrumentales complètes? - Optimum layout in the violin part and piano score / Date parution : 2022-11-08/ Répertoire / Violon et Piano

(Spätere Wiener) Urtextausgabe mit einer bezeichneten und einer unbezeichneten Streicherstimme-This is the third volume of Mozart’s Complete Sonatas for Piano and Violin and contains fully revised versions of his five sonatas for Piano and Violin K.454 K.481 K.526 and K.547 also known as Die spateren WienerSonatas and also includes the Violin Sonata In B Flat K.570.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 the composer’s original intentions with thoroughly comprehensive and detailed editorial markings and suggestions.

When Weber offered the sonatas for violin and piano to the publisher André from Offenbach in 1810, the latter refused to print them because they were 'too good and demanding'. In order to reach as large a target group of music-making amateurs as possible, the editors at that time increasingly saw to the works' easy playability. Fortunately, the sonatas nevertheless found their way into the repertoire of the violinists.This is a practical edition in two volumes based on the text of the Weber Complete Edition. / Violon Et Piano

Par HASSE JOHANN ADOLF. With the exception of his opera sinfonia, the present first edition of the Six Violin Sonatas by Johann Adolf Hasse is the only instrumental work by this composer whose authorship can be verified through his handwritten entries in a manuscript copy. The composer gave these pieces a profile completely tailored to the instrument, a fact which places them in sharp contrast to those compositions which can be played by various melody instruments./ Répertoire / Violon et Basse Continue

for Violin and Basso continuo-Handel returned repeatedly throughout his life to the composition of works for violin and basso continuo. The earliest autograph HWV 358 was composed around 1707 his last work for this combination of instruments the Sonata in D major HWV 371 stems from circa 1750. In addition to the 5 sonatas which have survived as autographs there are 4 other sonatas of a spurious nature which have found a place in the violin repertoire under Handel’s name although they are certainly not from his pen. These sonatas are attempts by other unknown composers to make a name by using the style of the great master. To round off thisfirst ever publication of Handel's Complete Works for Violin and Basso continuo there are two movements currently not available in any other performing edition: the Allegro HWV 408 and an Andante HWV 412. The Authoritative Performing Edition Edition with the recently-revised Urtext of the Halle Handel Edition First ever performing edition of the complete works for violin and basso continuo in one volume With separate violin and continuo bass parts the latter with figures Basso continuo part with figures including 2 movements not available in any other performing edition Includes valuable comments on performance practice An Associated Board recommended title “All violinists should buy this volume not only for its completeness and clarity but because it is exceptionally good value for score and parts.”(ESTA News Views Spring 2003)

Viennese Sonatas 1781-1788 with fragments and variations-This new publication in two volumes contains all the completed works by Wolfgang Amadeus Mozart for Violin and Piano (BA5761 BA5762). Several works by Mozart which are not found in competing editions are presented in the new Bärenreiter Edition with the Urtext of the New Mozart Edition: Sonatas 6–9 Sonatas 26–31 the Andante and Allegretto in C major K. 404 as well as the three sonata fragments K. 372 403 and 402 completed by Maximilian Stadler. All this with the Urtext of the New Mozart Edition and in the large format 24 3 x 31 cm plus a new preface by the Mozart scholar Dietrich Berke. Not just some but all the works for Violinand Piano Urtext violin part plus an additional violin part prepared with fingerings and bowings Large format 24 3 x 31 cm New informative preface by Mozart scholar Dietrich Berke 'The result is impressive and should have a widerspread appeal among scholars and performers alike… Thankfully Bärenreiter have made it far easier for amateurs students and professional musicians alike to choose their own course and free themselves from such intervention.' (The Concort Summer 2007) '... a highly researched performing edition that will be of great interest to all violonists ...' (ESTA – News Views“ Spring 2006)

Sonatas Wq 71-74 BWV 1036 Violinsonaten nach den Trios Wq 143-147-Carl Philipp Emanuel Bach's works for Violin and Harpsichord obbligato pervade his entire compositional oeuvre. The earliest works like the Sonata in D minor still numbered BWV 1036 date back to the years of study with his father yet show already a remarkable creative will of his own. The latest work the fantasia 'C. P. E. Bachs Empfindungen' in F flat minor of 1787 is characterized by the composer's highly expressive late style. The new two-volume edition of Wiener Urtext Edition contains C. P. E. Bach's complete works for Harpsichord (Piano) obbligato and Violin. Vol. 1 contains not only the sonatas Wq 71–74 and BWV 1036 but alsothe arrangements of the trios Wq 143–145 for Violin and Harpsichord most of which are included in C. P. E. Bach's autographs as well as a – previously ignored – early version of Wq 71 which like BWV 1036 grants a rare insight into the early works of the composer. Vol. 2 contains the four major sonatas of 1763 which already fascinated Johannes Brahms. Brahms not only played them in concert together with Joseph Hellmesberger but also published two of these sonatas in 1864. This volume concludes with the two late works 'Arioso' and 'Fantasie' of 1781 and 1787 respectively. With these works C. P. E. Bach bridged the gap between the late Baroque sonatas of his father and the early classical 'Klaviersonate mit begleitender Violine' [Piano Sonata with Accompanying Violin].

Without any doubt J.S. Bach?s cycle of the three Sonatas and Partitas BWV 1001-1006 represents one of the pinnacles of classical European music. According to C.P.E. Bach a contemporary voice stated that there was ?nothing more accomplished in order to become a good violinist? than his father?s works. The cycle reflects the entire harmonic and polyphonic musical universe of Bach?s time, so masterfully composed that it can be rendered within the limited framework of but a single instrument the violin.
The new publication of the Sonatas and Partitas BWV 1001-1006 (BA 5256) constitutes a complete revision of our older edition (BA 5116). The musical text has been edited by Peter Wollny and represents the most up-to-date state of research as published in the New Bach Edition Revised (NBArev), volume BA 5937-01. The edition is mainly based on Bach?s unusually clear autograph which is considered among the most beautiful manuscripts by the composer. All relevant secondary sources have been taken into consideration in order to clarify ambiguities. These include five contemporary copies, including one by Anna Magdalena Bach, and four manuscripts from the late 18th and early 19th centuries.
The musical text has been newly engraved with a clear and generous layout, whereby page turns and pagination have been retained from the previous edition. This allows the straightforward navigation between a copy of the previous and this new edition. The detailed Preface (Ger/Eng) provides information on the genesis of the Sonatas and Partitas, their context and the sources.
Sonata 1 g-Moll, BWV 1001
Partita 1 h-Moll, BWV 1002
Sonata 2 a-Moll, BWV 1003
Partita 2 d-Moll, BWV 1004
Sonata 3 C-Dur, BWV 1005
Partita 3 E-dur, BWV 1006 / Partitions classique / Cordes / Violon / BARENREITER

For Solo Violin-Dr. Lawrence Golan's edition of Bach's masterpieces for solo violin combines the authenticity and accuracy of a Scholarly Urtext Edition with the practicality and helpfulness of a Performing Edition. A facsimile of Bach'sautograph manuscript was used in the preparation of this edition and the composer's intentions have been preserved to the last detail. Of particular note is the fact that all stems have been beamed together as they appear in theautograph manuscript. This is of great importance when making interpretive decisions regarding dotted rhythms. Helpful fingering and bowing suggestions are provided by the editor but are clearly distinguished from Bach's originalnotation allowing the performer the freedom to accept or reject any given suggestion. The volume comes complete with Dr. Golan's essay 'Performing Bach: Dotted Rhythms and Trills in the Sonatas and Partitas for Solo Violin 'which also includes scholarly discussions of vibrato fingerings bowing styles and ritardandos in Baroque music. The inclusion of this comprehensive study of Baroque performance practices makes this edition a must for anyviolinist interested in performing the Bach Sonatas and Partitas in an historically informed manner.