Score Parties. Par BEETHOVEN LUDWIG VAN. When Beethoven wrote these three quartets he was 15 years old and a composition student of Christian Gottlob Neefe in Bonn. They reveal a strong Mozartian influence while the brilliant piano writing already gives a sense of the mature Beethoven. He may conceivably have written the works for the wealthy Mastiaux family in Bonn, as he gave piano lessons to one of the daughters and the other three siblings played violin, viola and violoncello. The sole source for the quartets is the autograph score which contains many overwritings that shed light on the works' original conception and possible alternative readings. Although Beethoven never published the pieces in his lifetime and is not known to have performed them, he reused their melodic and thematic material in later compositions. Beethoven preserved the autograph score to the end of his days ? perhaps an indication that the quartets meant a great deal to him. The first edition was published by Artaria in Vienna one year after his death, albeit with the pieces in a different order and with many errors in the musical text. Bärenreiter's scholarly performing edition of the Piano Quartets WoO 36 is edited by the Italian pianist Leonardo Miucci, a specialist in the performance practice of keyboard music from this period. The edition not only presents the correct readings, it also sheds light on the young Beethoven's expressive notation and provides a plausible explanation for the distinction he made between dots and strokes to indicate staccato./ Répertoire / Quatuor pour Piano, Violon, Alto et Violoncelle

Par DUNCAN CRAIG. Cette collection comprend des transcriptions de musique de oeuvres accessoires de Beethoven, y compris ses danses allemandes et contredanses trios de violon, comme bien comme martiales compositions de musique et de piano. Toutes les pièces sont jouables en première position, commençant avec des arrangements faciles et progresse en difficulté. La plupart des pièces piano double le violon à l'aide de performance. Violon partie 15pp. - partie de Piano 31 p. / Niveau : Débutant à Intermédiaire / Classic - Solos / Recueil / Violon

for Violin and Orchestra-Beethovens concert for violin and orchestra is one of the most famous pieces in music history. It was numerously published in the last 150 years but none lived up to the original composition.

String Quartet with optional 3rd Violin part in pl-A delightful arrangement of Beethovens famous work for string quartet.

In Beethoven?s Triple Concerto a piano trio provides the soloists a first in the history of music. Beethoven?s treatment of the trio is pioneering: he does not apply a typical piano trio setting in contrast to the orchestra but varies his treatment of the solo parts allowing each instrument to play alone with the orchestra (particularly the cello) using two solo instruments together in ever new combinations and finally bringing together all three instruments with the orchestra. Beethoven weaves a complex web the orchestral piano violin and cello voices interplaying and entwining and he produces a true masterpiece. Bärenreiter?s new Urtext edition ofBeethoven?s Triple Concerto is a completely fresh revision of this warm and beautiful showpiece. Errors abounded in all previous editions but with the assistance of three newly-discovered sources editor Jonathan Del Mar has cleaned up the text corrected wrong notes and rhythms and (for the first time since 1807) presented the work in a way that a musician of Beethoven?s day might have recognized with all necessary information for directing the piece included in the solo piano part. Piano reduction with separate parts for all three soloistsDraws on three new sourcesCorrection of many errors found in previous editions

String Quartet F major op. 135-Beethoven’s Op. 135 one of the last works he composed is equally famous for its compositional clarity and for the inadequacy of previous editions. The problem lies in the surviving sources forBeethoven’s autograph score contains a great many contradictions compared to his autograph set of parts. In 1827 after Beethoven’s death the German publisher of the first edition posthumously ironed out thesediscrepancies as he saw fit and later editions simply adopted his interventions. Rainer Cadenbach’s volume is the first attempt to produce an authoritative text for Op. 135. Beethoven’s contradictoryformulations are laid bare allowing musicians to make their own decisions. This ambitious new edition also finds room for ideal page turns.

String Quartet F major op. 135-Beethoven’s Op. 135 one of the last works he composed is equally famous for its compositional clarity and for the inadequacy of previous editions. The problem lies in the surviving sources forBeethoven’s autograph score contains a great many contradictions compared to his autograph set of parts. In 1827 after Beethoven’s death the German publisher of the first edition posthumously ironed out thesediscrepancies as he saw fit and later editions simply adopted his interventions. Rainer Cadenbach’s volume is the first attempt to produce an authoritative text for Op. 135. Beethoven’s contradictoryformulations are laid bare allowing musicians to make their own decisions.

Attention String quartet players: the long wait is over! Henle launches its series of late Beethoven quartets with Op. 131 in c sharp minor and Op. 132 in a minor using the definitive urtext from theBeethoven Gesamtausgabe. It need hardly be added that great care was taken to find sensible page turns. The quartets will also appear simultaneously in miniature scores with exactly the same text and commentary. Theeditor Emil Platen has given each volume detailed critical comments consisting of a preface explanatory footnotes and an impressive section of editorial remarks. All of Beethoven‘s late String quartets are scheduledfor subsequent publication in the Gesamtausgabe. Franz Beyer the authority on String quartets with regard to this new issue: 'The most significant edition over the last twenty years worldwide!'

Attention String quartet players: the long wait is over! Henle launches its series of late Beethoven quartets with Op. 131 in c sharp minor and Op. 132 in a minor using the definitive urtext from theBeethoven Gesamtausgabe. It need hardly be added that great care was taken to find sensible page turns. The quartets will also appear simultaneously in miniature scores with exactly the same text and commentary. Theeditor Emil Platen has given each volume detailed critical comments consisting of a preface explanatory footnotes and an impressive section of editorial remarks. All of Beethoven‘s late String quartets are scheduledfor subsequent publication in the Gesamtausgabe. Franz Beyer the authority on String quartets with regard to this new issue: 'The most significant edition over the last twenty years worldwide!'

Par BEETHOVEN LUDWIG VAN. Beethoven’s Sonatas for Pianoforte and Violin are now available at a special set price. The set consists of volume I (BA 9014) and volume II (BA 9015). 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./ Recueil / Violon et Piano

Ludwig van Beethoven écrivit ses dix sonates pour violon en l?espace de 15 ans seulement ? entre 1797 et 1812. Dans les deux volumes de cette édition soigneusement révisée de l?ensemble des sonates l?interprète pourra s?émerveiller et constater d?une ?uvre à l?autre comment Beethoven s?attachait à varier et à renouveler le principe formel du mouvement de sonate. Cette édition Urtext est particulièrement précieuse puisque toutes les sonates sont publiées sur la base des manuscrits conservés et des éditions originales supervisées personnellement par Beethoven. Au cours de l?élaboration de la partition présentée ici l?éditeur a veillé à rester au plus près des sources.Ainsi l?écriture originale de Beethoven est-elle présentée autant que possible à l?identique afin que les rapprochements musicaux souhaités par le compositeur soient clairement visibles. En plus de la partie de violon annotée une autre partie de violon dépourvue de doigtés est également jointe à l?intention de tous les violonistes souhaitant approfondir leur approche personnelle des sonates pour violon de Beethoven.

Beethoven ?crivit dix sonates pour violon et piano en l?espace de quinze ans seulement (entre 1797 et 1812). La mani?re dont il s?attacha l? encore ? trouver pour chaque nouvelle ?uvre un nouveau mod?le est impressionnante. Dans la sonate en la majeur op. 47 publi?e s?par?ment ici pour la premi?re fois ce genre prend d?embl?e une nouvelle dimension d?s l?entr?e cadentielle du violon sans accompagnement et de par le style virtuose et concertant maintenu du d?but jusqu?? la fin. Sur la page de titre originale Beethoven avait d?ailleurs not? ? juste titre: ?scritta in un stilo molto concertante quasi come d?un Concerto?. Il d?dia cette sonate au violoniste parisien RodolpheKreutzer d?o? son surnom de ?Sonate ? Kreutzer?. ?labor?e avec soin l??dition urtext est fond?e sur le fragment du manuscrit autographe sur l??dition originale allemande la premi?re ?dition anglaise ainsi que sur une copie r?alis?e dans l?atelier du copiste W. Schlemmer et retrouv?e par les ?ditions G. Henle. Cette copie corrig?e par Beethoven fut utilis?e comme copie ? graver pour l??dition originale. L??diteur et chercheur sp?cialiste de Beethoven Sieghard Brandenburg a ?galement supervis? l??dition de la m?me sonate dans le cadre de l??dition compl?te des ?uvres de Beethoven. Sa pr?face comporte des informations importantes relatives ? l??dition de ce chef-d??uvre.

Par BEETHOVEN LUDWIG VAN. Beethoven completed his String Quartet Op.135 at Wasserdorf Castle in Gneixenhof, where he sought to recuperate with his nephew Karl after the latter?s failed suicide attempt in summer 1826. It stands out among his late quartets owing to the often cheerful, almost pastoral character of its four movements. Since Beethoven?s death it has often been interpreted as an attempt to take wise and positive stock of the mishaps that had befallen him in the preceding years regarding his life situation, family and health. This interpretation is strongly suggested by the final movement, ?Der schwer gefasste Entschluss? (The Difficult Decision), with its motto ?Must it be? It must be! It must be!? The editing of this quartet proved especially complex, for the authentic sources were reworked at various stages by the composer. By judiciously assessing them, editor Jonathan Del Mar has managed to clarify many anomalies found in previous editions. - Beethoven?s final string quartet with many new readings - Introduction by Misha Donat (Eng/Ger), editor?s foreword by Jonathan Del Mar (Eng/Ger) and a scrupulous, separately published Critical Commentary (Eng) / Date parution : 2022-07-30/ Répertoire / Quatuor à Cordes

Serenade for Flute Violin and Viola in D major op. 25-What occasioned Beethoven to write a composition for such an unusual and yet sonorous group of instruments? Was it perhaps commissioned by a nobleman who played music with such a group and needed music? Whatever thereason behind it Opus 25 is one of Beethoven’s few chamber music works that did not have a Bass instrument. Despite the unusual combination of instruments Beethoven had no difficulty in finding apublisher for his serenade; shortly afterwards he even turned to the work again and revised an arrangement for Flute and Piano (Op. 41) which had been made by a third party. Our revised edition follows the musical text which willsoon be published in volume VI/1 of our new Beethoven Complete Edition.

String Trios op. 3 8 and 9 and String Duo WoO 32-Comme on peut le déduire de leurs numéros d?opus les cinq trios à cordes sont des ?uvres relativement précoces. Beethoven fit imprimer l?opus 3 au début de l?année 1796 et commença à écrire la sérénade op. 8 au cours de la même année bientôt suivie par les trois trios op. 9. Par la suite Beethoven abandonna ce genre et n?y revint plus. Ces cinq pièces sont pourtant du pur Beethoven et continuent à être volontiers régulièrement jouées. Dans le même volume figure le morceau désigné dans le manuscrit autographe comme un «duo avec deux lunettes obligées» que Beethoven destinait manifestement à deux amis atteints de myopie.