Beethoven, Ludwig Van : Sonata for Pianoforte F minor op. 57

With his sonatas op. 31 composed in 1802 Beethoven for the last time grouped together piano sonatas under one opus number. The centrepiece of the collection is undoubtedly the dramatic Sonata in D minor nicknamed 'Tempest' which already fascinated his contemporaries. According to Anton Schindler, who asked the composer about the 'key' to this work as well as to the sonata op. 57 ('Appassionata'), Beethoven advised him: 'Just read Shakespeares Tempest'. Jonathan Del Mar, currently one of the most renowned Beethoven scholars, stands for a meticulously edited Urtext edition on the basis of an intensive study of all sources. Performers are presented with a musical text offering new readings and based on the latest research findings. The detailed Critical Commentary accounts for sources, readings and editorial emendations. In this edition great care has been given to a user-friendly layout which on the one hand reflects the flow and tempo of the music and on the other hand facilitates the study of this complex music by means of a transparent and clear appearance on the page as well as good page turns. Particularly enlightening is the chapter on period performance practice which sheds light on certain issues of Beethovens instruments and their range, the usage of the pedals, tempo, dynamics, articulation and ornaments. / Piano

Bärenreiter continues its Urtext edition of the complete Beethoven piano sonatas with three major works at once.They begin with the frequently played op. 2 Sonatas (nos. 1-3) (BA 10859) which stem from his early yet mature oeuvre when he was developing an independent style from the legacy of Mozart and Haydn.They then proceed to the lyrical D major Sonata op. 28 from his middle period (nicknamed 'Pastorale? by the publisher of the original edition) (BA 11814) and finally to the Sonata op. 101, Beethoven's first sonata specifically intended for the 'hammerklavier? and the one that introduced his esoteric late style to the piano sonatas (BA 11811).The acclaimed Beethoven specialist Jonathan Del Mar has consulted every known source for these critical Urtext performing editions. In addition he has analysed various copies of the prints published during Beethoven's lifetime. The results of his accurate research are presented in a meticulously edited musical text at the cutting edge of scholarship, together with a detailed Critical Commentary.All three volumes stand out in terms of their elegant and well-presented layout. Special emphasis has been placed on optimum page-turns and on the consideration of the flow of the music. The highly informative Introductions on the genesis and significance of the works are supplemented by valuable notes on historical performance practice.- New critical performing editions at the cutting edge of scholarship- Optimum page-turns- Introductions with valuable notes on historical performance practice (Eng/Ger) and Critical Commentaries (Eng) / Piano

If the nickname 'Appassionata? was appropriate for one of Beethoven's Sonatas, it would be for his E-flat major Sonata op. 7 rather than his famous work in F minor op. 57. This was Carl Czerny's opinion who felt that op. 7 was written in a rather passionate state of mind. It was not only Beethoven's first 'Grande Sonate? but also his first work of this genre which he had published individually.The earliest sketches for Beethoven's Grande Sonate op. 7 date from 1796 and the first edition was issued in October 1797. This work is one of the longest and most demanding of Beethoven's piano sonatas. Its four movements cover a wide range of emotions - a challenge that may well have overtaxed the dedicatee, Beethoven's then 16 year old pupil Anna Luise Barbara (Babette) Countess Keglevicz.The worldwide renowned Beethoven specialist Jonathan Del Mar draws on all available sources for his scholarly-critical Urtext edition. The result of his thorough research is a reliable musical text accompanied by a detailed Critical Commentary. The elegant engraving with practical page turns and an optimal layout for this complex music meet the needs of performers. Indispensable information on performance-related issues (the use of the pedal, articulation, ornaments) adds to the value of this edition. / Piano

Beethoven's four-movement Sonata in A-flat major op. 26 belongs to his most popular works. It is dedicated to Prince Lichnowsky, one of his most generous patrons and the dedicatee of, for example, the Grande Sonate pathétique op. 13 and Symphony No. 2 op. 35. The work's initial drafts date from 1800-01 - it was first published in March 1802. This demanding sonata is highly varied in its form: it begins with a set of variations and contains the famous Marcia funebre sulla morte d'un Eroe as its third movement, earning it the nickname 'Sonata with the Funeral March?. The identity of the title's eroe (hero) remains unknown to the present day. The march was performed at Beethoven's funeral on 29 March 1827 in an arrangement for orchestra.For this Bärenreiter edition Jonathan Del Mar, possibly as one of the first editors of a modern edition, consulted the composer's autograph in the original. This enabled him to decipher details of Beethoven's handwriting in particular with regard to the exact notation of doubtful slurs. The result is a most reliable and thoroughly-researched musical text. Differing readings and editorial decisions are documented in the Critical Commentary. The edition has been finely engraved and includes practical page turns. Information on central issues of historical performance practice (pedalling, ornaments, tempo, dynamics, articulation) is provided in a detailed chapter. - Scholarly-critical Urtext edition based on most recent Beethoven research - Evaluation of Beethoven's autograph in the original - Elegant engraving with practical page turns - Informative Introduction (Eng / Ger) - Discussion of central performance practice issues (Eng / Ger) - Detailed Critical Commentary (Eng) / Piano

Composed at about the same time as the 'Grande Sonate pathétique? op. 13 (BA 10851), the two op. 14 sonatas are among the easiest Beethoven ever wrote and an indispensable part of piano lessons. Their lyrical, almost chamber-like textures and moderate difficulty make them an ideal introduction to the rich legacy of Beethoven's sonatas. Jonathan Del Mar, a scholar second to none in his knowledge of Beethoven's music, now presents these sonatas in a cutting-edge Urtext edition based on the latest research findings and an intensive study of the sources. Practical page turns and a fine engraving reflecting the character of the music ensure maximum enjoyment for every pianist. The informative Introduction describes the genesis of the works and is supplemented by valuable notes on performance practice. The Critical Commentary provides information on variants as well as editorial guidelines and contains facsimile pages. / Piano

Par BEETHOVEN LUDWIG VAN. Owing to severe illness, Beethoven had to wait for over a year after completing op. 109 before beginning work on the second piece in his triptych of late sonatas: the Piano Sonata in A-flat major op. 110. The initial sketches date from summer 1821: the work was completed by the end of the year and appeared in print the following summer – in an edition so riddled with mistakes that Beethoven angrily complained to the publisher. For this new edition Jonathan Del Mar consulted all known sources and came across previously unknown information in the course of his research. The edition appears with a meticulously edited and elegantly engraved musical text incorporating the latest findingsof scholarship, supplemented by a detailed Critical Commentary and notes on performance practice in Beethoven’s day. Owing to severe illness, Beethoven had to wait for over a year after completing op. 109 before beginning work on the second piece in his triptych of late sonatas: the Piano Sonata in A-flat major op. 110. The initial sketches date from summer 1821: the work was completed by the end of the year and appeared in print the following summer – in an edition so riddled with mistakes that Beethoven angrily complained to the publisher. For this new edition Jonathan Del Mar consulted all known sources and came across previously unknown information in the course of his research. The edition appears with a meticulously edited and elegantly engraved musical text incorporating the latest findingsof scholarship, supplemented by a detailed Critical Commentary and notes on performance practice in Beethoven’s day. / Niveau : 6 / Répertoire / Piano

Beethoven Complete Piano Sonatas Volume I. Edited by Harold Craxton. Annotated by Donald Francis Tovey.

The Op. 79 was announced by Breitkopf and Hartel in Leipzig in December 1810 as 'sonatine pour le pianoforte.' It was also registered at London's copyright registry on August 31, 1810, by the English publisher Muzio Clementi. It is not possible to ascertain exactly when the English edition was available to the public, but it may be that it predates the German edition. Although the Op. 79 bears no dedication, Beethoven may have planned to use it as a gift for Therese Malfatti, a woman with whom he was romantically involved. An autograph of the Op. 79 is extant and is now in Beethoven-Haus, Bonn. Dr. Stewart Gordon's editions of Beethoven's most popular piano sonatas provide the key to a stylistic performance. Thorough research of the earliest available sources has enabled Dr. Gordon to produce the most accurate reflection of the composer's intent. Each sonata contains helpful fingering suggestions and performance recommendations. / Piano