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

An extensive volume filled with fugues from the last 350 years! Beginning with works by Frescobaldi Scarlatti Giambattista and Handel this collection features several compositions by the fugue's most famous expositor Johann Sebastian Bach including many pieces from the Well-Tempered Clavier. Contributions from latter-day composers include works by Mozart Beethoven Mendelssohn Robert and Clara Schumann Brahms and Saint-Saëns.

90 chefs d'oeuvres intemporels de la musique classique. Partitions piano. / Piano

for 2019-2020-The Grade 8 Piano Anthology 2019/2020 contains 24 examination pieces from lists A B and C of the piano syllabus of the Associated Board of the Royal Schools of Music. The anthology is enhanced with performance and aural notes on each piece from leading educational experts.

une sélection des plus belles musiques de film du monde, arrangé pour Piano facile. Ces livres utilisent la notation même comme cours de Piano classique de Carol Barratt et sont présentés dans un style nouveau, facile à lire, complet avec doigtés et biographies détaillées compositeur. Convient pour les pianistes entre la norme de Grade 1-3. D'autres livres de la série comprennent : Bach Mozart Chopin Beethoven Baroque classique début romantique / Piano / 64 pages / Partition

Book 2 Bwv 889-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 utilised this knowledge when composing his two volumes of The Well-Tempered Clavier (1722 and 1742) each a collection of 24 Preludes and Fugues in which heexplored the different harmonies of every key. Prelude And Fugue In A Major BMV 889 is No. 20 from Book Two of the Clavier. It is written in a typical Baroque form. This popular edition from thehighly-regarded musicologist Orlando Morgan is designed with the performer in mind and is still seen as the best edition available for students today.

This set of virtuoso etudes by Marc-Andre Hamelin one of the world's leading pianists was composed over a span of 25 years. It includes both original character pieces and also works that incorporate elements of or refer back to works by well-known composers. The publication of this volume coincides with the release of a new recording of the works performed by Hamelin on the Hyperion label. Contents: Detailed foreword by the composer in English and German No.1 in A minor 'Triple Étude after Chopin' No.2 in E minor 'Coma Berenices' No.3 in B minor 'after Paganini-Liszt' No.4 in Cminor 'Étude à mouvement perpétuellement semblable (d'après Alkan)' No.5 in G minor 'Toccata grottesca' No.6 in D minor 'Esercizio per Pianoforte (Omaggio a Domenico Scarlatti) No.7 in E- minor 'after Tchaikovsky (for the left hand alone)' No.8 in B- minor 'Erlkönig (after Goethe)' No.9 in F minor 'after Rossini' No.10 in F+ minor 'after Chopin' No.11 in C+ minor 'Minuetto' No.12 in A- minor 'Prelude and Fugue

A superb 160 page volume packed with solo Piano arrangements of great German music from the 17th to the 20th Centuries. <br> <br>A specially written foreword places the music in historical and national context and includes biographical details of many of the featured composers. The arrangements are intended for the intermediate to advanced player but the book will give any pianist a unique practical and historical insight into Germany's immense contribution to the international world of music. / Classique / Partition /

My First Book Of Bach contains twenty-six favourite pieces in easy piano arrangements edited by David Dutkanicz.Students of all ages will delight in these simple piano arrangements of familiar melodies such as Jesu Joy Of Man's Desiring Wachet Auf and highlights from the Brandenburg Concertos Goldberg Variations and Inventions plus menuets gavottes bourees and other fun-to-play pieces all gathered together here to demonstrate the beauty enjoyment and skill of J.S. Bach's compositions.

Includes 'Chaconne In D Minor', 'Prelude And Fugue In E Flat' (St. Anne) and 'Ten Chorale Preludes'. Authoritative German editions.

Here for the first time in a popularly accessible edition are 35 of his finest keyboard works for solo instruments reproduced from the monumental Deutsche Handelgesellschaft edition including eight 'Great Suites' and 'Fugue In A Minor'. For this new edition the pieces have been rearranged and retitled according to the latest scholarly sequences found in The New Grove Dictionary of Music and Musicians. Students and scholars will find many of the ideas Handel sketched here expanded and reworked in later chamber and orchestral works and in the opera dance movements; musicians and every Baroque music lover will see in these neglected pieces 'a Protean Fluidity' (New Grove) worthyof the great composer and more than worthy of any musical library.

Contents include: Minuet in G Major Minuet in G Minor Prelude in C Major (Bach); Peasant's Flute Song (Bartok); Ode to Joy (Beethoven); Sonatina in A Minor (Benda); Melody (Bloch); Ballade Op. 100 No. 15 (Burgmuller); Waltz in A Minor Op. Posth. (Chopin); King William's March (Clarke); Le Petit Negre (Debussy); Sonatina in G Major Op. 168 No. 2 (Diabelli); The Evening Bell (Granados); Andantino Hob. I:85/2 (Haydn); The Avalanche Op. 45 No. 2 (Heller); Tolling Bell OP. 125 No. 8 (Heller); Bourree (Krieger); Autumn (Maykapar); Minuet in F Major K. 6 (Mozart); Little Fugue in C Major (Pachelbel); Minuet in G Minor (Pezold); In the Forest (Rebikov); Playing Soldiers Op. 31 No. 4(Rebikov); Gymnopedie No. 1 (Satie); Sonata K. 34 L.S. 7 (Scarlatti); Minuet and Trio D. 336 (Schubert); Echoes from the Theatre Op. 68 No. 25 (Schumann); About Foreign Lands and People Op. 15 No. 1 (Schumann); Morning Prayer Op. 39 No. 1 (Tchaikovsky); Sweet Dream Op. 39 No. 21 (Tchaikovsky).