Partie séparée de violon 2 Compositeur : Haydn, Joseph Instrumentation : Piano Quartet Editeur Musicologique : Walter, Horst Couverture Reliée Contenu : Concertini for Piano (Harpsichord) with two Violins and Violoncello

In autumn 1827 Schubert composed eight 'Impromptus' for publication as a complete collection by Haslinger in Vienna. When the plan fell through Schubert offered his 'Impromptus' to Schott as pieces which 'could be issued individually or all four together'. The name of the works probably originated from the publisher Haslinger and Schubert also used it for his collection published later as op. posth. 142. The lyrical-romantic works are suitable for advanced piano students and have the character of sonata movements. Robert Schumann who regarded them as parts of a four-movement sonata drew attention to the second collection published by Diabelli in 1839 in hisreview.For the first time this scholarly-critical Urtext edition presents the musical text of the 'New Schubert Edition' in new engraving and with optimum page-turns. The fingering takes essential aspects of performance practice of Schubert’s time as well as performance on the modern concert grand piano into consideration.A detailed foreword suggestions for performance and notes on the evaluation of the primary sources complete the edition.- Scholarly-critical editions based on the Urtext of the New Schubert Edition taking all known sources into account- Newly engraved editions with optimum page-turns- With fingering and suggestions for performance (Ger/Eng) by Mario Aschauer- With a detailed foreword (Ger/Eng) and critical commentary (Eng)Mario Aschauerstudied piano historical keyboard instruments conducting and musicology in Linz Salzburg and Vienna. He performs as a soloist and chamber musician with groups including the Austrian Calamus Consort presenting a wide-ranging repertoire on fortepiano harpsichord and organ. Four Impromptus op. 90 - D 899: I. Impromptu C minorII. Impromptu E flat majorIII. Impromptu G flat majorIV. Impromptu A flat majorFour Impromptus op. post. 142 - D 935: I. Impromptus F minorII. Impromptus A flat majorIII. Impromptus B flat majorIV. Impromptus F minor Critical Commentary

Performance Score-About Little Preludes and FughettasBy Johann Sebastian Bach. Edited by Michael Topel; Adel Erenyi. For Piano/Harpsichord. Playing Score. Published by Baerenreiter-Ausgaben (German import). (BA5238

J. S. Bach (1685-1750) was a German Baroque composer who is revered for the originality and skill of his contrapuntal and harmonic techniques. Although he spent most of his life working as an organist and choirmaster he was familiar with many different keyboard instruments. He used this knowledge when composing his six French Suites in 1722-1725.French Suite No.2 in C Minor (BWV813) is a collection of sevenshort dance-style pieces for solo Piano Harpsichord or Clavichord.This popular edition from the highly-regarded musicologist Orlando Morgan is designed with the performer in mind and is still seen as the bestedition available for students today. It includes phrasing fingering and annotations.

6 Sonatas for Violin and Piano (Harpsichord)-Les six sonates pour violon de Bach virent le jour vraisemblablement entre 1717 et 1723 alors qu?il était maître de chapelle à la cour de Köthen. Ne se contentant manifestement plus d?accompagner la partie soliste d?une partie de basse continue Bach écrivit entièrement la partie de clavecin sur le modèle de la sonate en trio baroque. Ce faisant il traçait le chemin menant à la sonate en duo selon la conception moderne. Il fallut attendre 50 ans après la mort du compositeur avant que ces sonates paraissent en version imprimée. La transmission des différentes sonates peut parfois s?avérer problématique à cause du manque de documents autographes parvenus à la postérité. Certainessont parfois disponibles dans plusieurs versions. Celles-ci sont reproduites en annexe du présent volume de l?édition Urtext.

Essential Repertoire for Piano-Core Classics is a collection of seven books of music from the piano canon selected and graded by leading educationalists. Drawn from ABRSM???s extensive back catalogue each volume contains a rich selection of engaging pieces to form the backbone of any pianist???s repertoire. From Bach to Beethoven Scarlatti to Schumann this series includes an abundance of much-loved pieces. All pieces have been carefully selected to ensure that each book is nothing short of a ???teacher???s toolkit??? ??? works that any teacher would want their pupils to learn as part of their musical journey. Each book is authoritatively graded with pieces gradually increasing in difficulty throughout. Thebooks are equally valuable for learners working towards a grade exam between grades or playing for leisure building technical skills and confidence. With an elegant and attractive design and an unrivalled range of repertoire this is an essential collection for piano teachers and learners alike. Core Classics is a collection of seven books of music from the piano canon selected and graded by leading educationalists. Drawn from ABRSM???s extensive back catalogue each volume contains a rich selection of engaging pieces to form the backbone of any pianist???s repertoire. From Bach to Beethoven Scarlatti to Schumann this series includes an abundance of much-loved pieces. All pieces have been carefully selected to ensure that each book is nothing short of a ???teacher???s toolkit??? ??? works that any teacher would want their pupils to learn as part of their musical journey. Each book is authoritatively graded with pieces gradually increasing in difficulty throughout. Thebooks are equally valuable for learners working towards a grade exam between grades or playing for leisure building technical skills and confidence. With an elegant and attractive design and an unrivalled range of repertoire this is an essential collection for piano teachers and learners alike.

In early 1729 Bach became director of the so-called »Scottish Collegium Musician« a music organization of students and local citizens. The remarkable results of this undertaking are the concertos for Harpsichord. Today it is almost certain that practically all of these concertos were transcribed from concertos for melody instruments (mostly Violin or Oboe).- Urtext of the New Bach Edition- Full scores and performing material to the five concertos for Harpsichord and Strings BWV 1052-1056 (BA5224-BA5228) the concerto for Harpsichord two Recorders and Strings BWV 1057 (BA5229) as well as the concerto BWV 1058 (BA5230) also for Harpsichordand Strings based on the Violin concerto in A minor are available for sale.- Study score of the Complete Concertos for Keyboard format 22.5 x 16.5cm (TP410)

Early Keyboard Gold (CD Edition)-This fine selection features the most famous early Keyboard masterpieces for solo Piano including works from greats such as J.S. Bach G.F. Handel Purcell William Byrd and DomenicoScarlatti.An essential addition to your Piano library this collection now includes a CD with full performances of each piece! Includes Variations on an Aria by Lully Sarabande in D minor (from HarpsichordSuite) and Tambourin (from Pieces for Harpsichord in Three books).

Scholarly-critical Urtext performing edition based on the New Bach Edition.With fingering for performance on modern Pianos as well as a commentary regarding the fingering.Division of parts between the hands based on Bach?s original print. Bach?s Goldberg Variations have remained a challenge for every Harpsichord player and pianist to the present day. One special problem with performances on a modern Piano is that Bach wrote this work for a two-manual Harpsichord. Ragna Schirmer?s fingering offers the most convenient solutions for the many crossings of the hands.Ragna Schirmer has already providedfingering for the Bärenreiter edition of Bach?s Six Partitas: First Part of the Clavier Übung (BA 5247).

In early 1729 Bach became director of the so-called »Scottish Collegium Musician« a music organization of students and local citizens. The remarkable results of this undertaking are the concertos for harpsichord. Today it is almost certain that practically all of these concertos were transcribed from concertos for melody instruments (mostly violin or oboe).When Johann Sebastian Bach created his six-part corpus of harpsichord concertos in 1738 (BWV 1052-1057) he gave pride of place to the Concerto in D minor BWV 1052. It has long been thought for good reasons that this piece was based on a lost violin concerto in the same key that he had already transcribed on twoprevious occasions.The second 'forerunner' of BWV 1052 is the present harpsichord concerto. It was first published by Wilhelm Rust in volume 17 of the old Bach Society Gesamtausgabe (1869) and given the number BWV 1052a in the Schmieder catalogue. Rust felt that Johann Sebastian Bach himself wrote out the principal source a set of orchestral parts preserved in the Berlin Staatsbibliothek under the shelf mark Mus. ms. St 350 and therefore treated the piece as an authentic early version of BWV 1052. Today however we know that the scribe was Carl Philipp Emanuel Bach who is generally also regarded as the work's author.Urtext of the New Bach EditionParts (BA5231) two-keyboard reduction (BA5231-90) and study score (TP410) format 22.5 x 16.5cm (all 6 concertos) available for sale

Urtext with fingering-Haydn’s late piano sonatas Hob. XVI:40–42 (1784) and Hob. XVI:48–52 (1788-95) reveal him to be a distinctive and consummate master in terms of form and expression. These technically brilliant works the quintessence of his sonata output reflect the fresh inspiration he received in London. This new Urtext edition presents these piano sonatas in a spacious engraving. The early version of the second movement of the Sonata in C major Hob. XVI:50 is reproduced in the appendix. Rounding off this performing edition are historically informed fingering and valuable notes on period performance practice by Rebecca Maurer a highly acclaimed harpsichord andfortepiano player. Critical performing edition at the cutting edge of musicology Valuable notes on period performance practice (Ger/Eng) Includes historically informed fingering Practical page turns Informative Foreword (Ger/Eng) and Critical Commentary (Eng)

Hob. XVII: 4-When he switched from the harpsichord to the fortepiano in the 1780s Joseph Haydn found he had a rich palette of sound colours and dynamic variations at his disposal and he employed them enthusiastically in his C-major Fantasy.This piano piece composed in early 1789 in a ?whimsical hour? was intended by Haydn to meet with approval from ?both connoisseurs and amateurs? not least because it is ?not too difficult?. Christine Schornsheim provideshistorically accurate fingerings. This stand-alone edition follows the musical text of the Haydn Complete Edition and provides an ideal means for players to get to grips with Haydn?s experiments with the sounds of the piano.