Compositeur : Beethoven, Ludwig van
Instrumentation : Piano solo
Editeur Musicologique : Wallner, Bertha Antonia
Couverture Reliée

[Klaviersonate Es-Dur Opus 81a (Les Adieux)] / Classique / Editeur : Bertha Antonia Wallner / Doigtés : Conra / Partition / Broché / Edition Urtext

Asseoir au Piano et chill out avec certains des mélodies plus apaisants du monde. Cette nouvelle collection de pièces classiques cool vous permet de jouer la crème du répertoire classiques. Comprend la Barcarolle qui en vedette dans pétrole du film Lorenzo et les contes d'Hoffmann et aussi l'adieu Ashoka qui en vedette dans la série télévisée The Civil War. / Piano

Par BEETHOVEN LUDWIG VAN. It was not until 1814, five years after the Sonata op. 81 ; Les Adieux, that Beethoven, then at the height of his popularity during the Congress of Vienna, returned to the piano sonata. The highly lyrical Sonata in E minor, the last piano sonata from his middle period, consists of two movements with solely German tempo marks and is dedicated to his piano-playing friend and patron, Moritz Count von Lichnowsky. In terms of technical difficulty regarding Beethoven's later piano sonatas, this sonata is one of the more accessible for advanced students. - Well-suited for advanced student lessons - Scholarly-critical Urtext edition at the forefront ofmusical scholarship - All known sources taken into account - Elegant musical engraving with optimal page turns - Valuable notes on period performance practice (Eng/Ger)/ Répertoire / Piano

Composed in 1809-10, Beethoven's Sonata op. 81a expresses his very personal feelings. He titled its three movements 'Das Lebewohl? (The Farewell), 'Die Abwesenheit? (The Absence) and 'Das Wiedersehn? (The Return) in reference to the hasty departure of his good friend and patron Archduke Rudolph of Austria who fled Vienna with the imperial family on 4 May 1809 to escape Napoleon's approaching troops. Beethoven referred to op. 81a as a 'characteristic sonata?, not in the sense that it had an underlying programme, but because it lent musical expression to his feelings. He reacted angrily when his publisher printed French translations of its title and movement headings. This however did not prevent op. 81a from becoming widely known by its French name 'Les Adieux?.Jonathan Del Mar, worldwide authority for Beethoven's instrumental music, offers a reliable musical text on the basis of the most recent research. The editorial principles are clearly laid out in the Critical Commentary. The elegant engraving meets the performer's needs. Specifically, in the Bärenreiter Urtext edition there is no longer disruptive page turning between the slow second movement and the ?attacca subito' of the following Vivacissimamente. The publication is rounded off by helpful comments on important issues of historical performance practice and by an informative Introduction. / Piano

Includes five of the most popular of Beethoven's piano sonatas: No. 1 in F minor, Op. 2, No. 1 No. 8 in C minor, Op. 13 PathÚtique No. 14 in C-sharp minor, Op. 27, No. 2 Moonlight No. 17 in D minor, Op. 31, No. 2 The Tempest No. 26 in E-flat Major, Op. 81a Les Adieux (Das Lebewohl) / Piano

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

[Klaviersonaten - Band 2] / Classique / Editeur : Bertha Antonia Wallner / Doigtés : Conra / Partition / Relié toilé / Edition Urtext

[Klaviersonaten - Band 2] / Classique / Editeur : Bertha Antonia Wallner / Doigtés : Conra / Partition / Broché / Edition Urtext

Par ZELENSKI WLADYSLAW. Wladyslaw Zelenski had the Six Character Pieces for piano, op. 17 ready around 1871, although it is quite possible that he composed them earlier, even in 1864. Such is indicated by the opus number. At that time he was giving opus numbers to works in chronological order of composition. This set is dedicated to Auguste Auspitz-Kolár, a pianist whom Zelenski could have met on one of his trips to Vienna. The composer published these works in 1872, with Gotthard of Vienna, in two books under the common title Sechs Charakterstücke. The present edition is based on Ludwig Doblinger?s Viennese edition (cat. no. 1221 comprises the Praeludium, Promenade and Tanz, cat. no. 1222 the Canon, Scherzo and Abschied). The compositions collected in Zelenski?s opus 17 have been unjustly forgotten. Their undeniable qualities include advanced harmonies and expressive melodic writing, as well as a wide range of textural means and composition techniques. Quite ?densely? written, these miniatures may prove challenging, but the right fingering eliminates many difficulties of performance. The second book of Wladyslaw Zelenski?s Six Character Pieces contains three miniatures: Canon, Scherzo and Farewell. They manifest characteristic features of the composer?s style, such as the use of counterpoint and a rich, organ-like texture. The Canon, with its emotional charge and build-up of tension, brings to mind miniatures from the brilliant piano cycles of Robert Schumann. A very simple phrase is imitated canonically between the top voice and the two bottom voices, passing through different keys. A touch of finesse is added by the triplet figuration in the middle plan. The next miniature is a classic Scherzo in ABA form. The outer sections, with an imitated theme, are in G minor. With its rather ominous, perhaps somewhat tragic, character, it contrasts with the middle section, Un poco più tranquillo, in the parallel key of G major, which clearly represents a more luminous, dance-like episode in this set of works. The title Farewell given to the last piece in opus 17 may stir associations with Ludwig van Beethoven?s only programme sonata, Les Adieux. This miniature is far more expansive and texturally richer than the other works in this set. The virtuosic elements are of the highest order, not overwhelming the composition, but emphasising its powerful emotional charge. Each of these miniatures can function as a separate work, but when played as two three-part cycles they fall into logical wholes, in which the climax is reached in the last, most elaborate piece. Yet a performance of all six works from both books, so the whole of Zelenski?s opus 17, allows us to discern an even larger cyclical form, developed in an equally deliberate way. - Anna Miernik/ Répertoire / Piano