Wiener Urtext Album

Le Wiener Urtext Album est un album de morceaux choisis de piano facile des diverses éditions de Wiener Urtext. L'album contient bien connues et moins connues compositions originales de Bach à Schoenberg destinés à diversifier les leçons de piano de deuxième et de troisième année. L'élève doit s'habituer à des compositions originales d'urtext aussi tôt que possible et, en même temps, être encouragés à jouer de la créativité. Une aide précieuse est fournie par l'index court de compositeurs à la fin du volume contenant des liens vers des pages Internet sur les compositeurs qui encouragent l'élève de chasse de plus amples renseignements. Comme dans d'autres éditions de Wiener Urtext, ce volume contient trop la page fac-similé obligatoire. En comparaison avec la notation moderne, il peut récupérer les enseignants et les élèves sur les expéditions fascinantes. / Piano / Partition

La nouvelle collection Primo ('Urtext Primo-Reihe') de la Wiener Urtext Edition ('édition viennoise - texte original') a pour objectif de remédier au manque qui existe entre la fin de l'étude d'une méthode de piano et le passage à la suite du processus sous forme de cours. Au sortir d'un niveau défini dans ses grandes lignes par le menuet en sol de Bach (BWV Anh. 116), le menuet en fa de Mozart (KV 5) ou le Cavalier sauvage de Schumann, chaque cahier du Urtext Primo-Reihe se compose d'oeuvres choisies parmi celles de trois compositeurs différents, le but étant d'offrir à chaque élève de piano (ou à chaque adulte reprenant le piano) un éventail de morceaux du répertoire à l'aide desquels on sera en mesure de continuer à développer ses capacités techniques. Le cadre de difficulté des pièces est défini avec une relative étroitesse de manière à permettre une utilisation continue du volume sur une période d'environ deux ans. C'est en cela que le concept de 'Urtext Primo-Reihe' se distingue de presque tous les autres albums ou recueils. Dans le choix du répertoire, on tient compte de la nécessité d'y faire figurer des pièces habituelles au cadre du cours de piano classique, d'une part, mais aussi d'autre part des pièces moins connues dont la pertinence dans un cours de piano n'est pas moindre. Les volumes de la collection Urtext Primo-Reihe sont publiés au standard international de la Wiener Urtext-Ausgabe. Les explications adjointes à chaque volume ont pour objet d'approfondir les connaissances en matière de styles, d'histoire de la musique, et de données spécifiques au piano. Un tableau du répertoire porté à la fin de chaque volume donne une idée très globale de la difficulté des pièces y figurant. Le volume 6 de Urtext Primo contient, avec Clementi, Czerny et Cramer, des pièces de piano faciles de trois compositeurs qui ont tous trois fait partie du premier rang des pédagogues du piano, ayant composé pour lui des méthodes et des pièces de répertoire d'étude. De Muzio Clementi, il n'existe pas seulement une sélection de ses sonatines les plus populaires, les pièces choisies de Carl Czerny démontrent qu'on n'a pas toujours besoin des vieilles recettes de leçons de piano, tandis que Johann Baptist Cramer (rendu célèbre par les Etudes de Cramer-Bülow) est l'auteur d'un répertoire qui n'est pas exclusivement destiné aux pianistes de haut niveau. / Piano

Newly re-discovered in the run-up to the Schumann year. About three years ago a previously unknown manuscript of an album leaf for Piano by Robert Schumann was found in the Leopold Sophien Library of Ãœberlingen. The little Piano piece entitled 'Ahnung' had been given and dedicated by Klara Schumann to a friend of hers the lithographer and writer Julius Allgeyer. In the Wiener Urtext Edition series this little work is published for the first time in the run-up to the Schumann year - 2010. A print of the rediscovered Schumann autograph is included in the edition. The expressive relatively easy-to-play piece adds to theRomantic Piano repertoire.

Easy Piano Pieces from Bach to Schoenberg for piano-To awaken musical creativity and get to know Urtext practice - this is the unique and innovative idea pursued by Expedition Klavier. Expedition Klavier is an album of selected easy Piano pieces from various Wiener Urtext editions. The volume contains well-known and lesser known original compositions from Bach to Schoenberg which are intended to diversify second- and third-year Piano lessons. In contrast to common play-along media the accompanying CD focuses on a representative selection of pieces from the compositions contained in this volume thus giving the pupil the opportunity to do his or her own imaginative exploring. He or she willgo on an exciting trip through the epochs which is presented by the pianist Markus Schirmer from Graz. This trip illustrates the varied forms and facets of the compositions contained in this volume from finding the adequate tempo to gaining an insight into an original manuscript by Bach. Internet links listed in an appendix referring to the compositions encourage the pupil to search for other traces. It was with deliberate intent that the music pieces were performed not solely by the professional pianist Markus Schirmer but also by his 12-year-old 'travelling companion' Philipp Scheucher. The reduced distance between the performance of a player of the same age and one's own performance will motivate the pupil better than a still unattainable concert-like performance. Nevertheless this exemplary goal is not suppressed here. An interview with the piano teacher Maria Zgubic from Graz at the end of the CD explains to parents and teachers the purpose and meaningfulness of 'Expedition Klavier'.

Maurice Ravel's Gaspard De La Nuit is one of the most important Piano works of the 20th century and constitutes the height of the extension of the pianistic playing techniques and tonal possibilites which was already begun by Chopin and Liszt in the 19th century. The three movements Ondine Le Gibet and Scarbo are based on poems by Aloysius Bertrand which Ravel put in front of each of the three pieces. Thus too the work is in a tradition represented by composers such as Schumann and Liszt in the 19th century that combines instrumental music with literary models. For the new edition published by the Wiener Urtext Edition the editorsconsulted not only the first edition used almost exclusively up to now but also Ravel's autograph as well as his personal copy of the first edition on the basis of which numerous passages in the musical text could be corrected and brought closer to Ravel's original intention. In addition the editors included corrections from personal copies of various students of Ravel. Entries of the composer going well beyond mere text corrections and practical performance tips handed down by his students are analysed in the Notes of Interpretation. The reader-friendly large-format Wiener Urtext edition is completed by a trilingual glossary of the French performance instructions used by Ravel as well as English and German translations of Bertrand's three poems.

The Wiener Urtext Edition presents the first critical edition of Franz Schubert's Piano Sonatas arranged in chronological order. The newly revised text is based on the sources and is accompanied by a description of genesis and history information on Schubert's instruments and his Piano writing plus notes on authentic performance practice. The editorial approach is documented in a critical report. In order to enable a complete performance the movements only extant in fragmentary form have been carefully reconstructed in accordance with up-to-date research.

Johannes Brahms showed an interest in the music of previous epochs at an early age. In this context he also came across the variation theme of George Frideric Handel which in turn inspired him to write an extensive work of variations for the Piano. The new edition of the Wiener Urtext Edition is based on a meticulous comparison of autographs first edition and personal copies. Brahms' autograph copy served as an essential corrective; subsequent corrections of the composer in the personal copy of Max Kalbeck were taken into account as well. Changes in tempo and indications of expression of Brahms' first version until the first edition allowconclusions about the composer's interpretational ideas; they are analysed in the notes of interpretation. The clear and readily legible notation makes this edition a convenient basis for studying this masterpiece.

This separate edition of the first suite for Cello solo by Johann Sebastian Bach contains the musical text of the well-regarded Wiener Urtext edition with all six Cello suites of Bach by Ulrich Leisinger. Thanks to new findings Leisinger managed to re-evaluate the sources which did not leave the structure of the musical text and the associated delicate problem of the slurs untouched. His re-evaluation gave reasons for a stronger freedom from the manuscript copy of Anna Magdalena Bach which had always been cited as main source until then despite its being very unreliable with regard to the articulation; thus the new edition leads to moreconvincing solutions. This separate edition is the perfect starting point to study Bach's suites for Cello solo in class and provides amateurs with a technically accessible masterpiece in Cello literature.

This new Wiener Urtext Edition of J.S. Bach's English Suites addresses particularly the problematic question of extinct secondary sources. With Bach's autograph no longer surviving the edition attempts to extract the original text from a plethora of manuscript copies by means of detailed comparisons and deduction. The edition attempts to amend passages that appear to be corrupted in all available sources and by careful reasoning bring them closer to Bach's probable intentions. All editorial decisions are documented in an extensive critical commentary with the aim of enabling the readers to conduct their own critical evaluationof the musical text. Indispensable notes on authentic performance practice contain valuable information for the performer.

Originally designed for Voice and Piano Franz Liszt's Liebesträume were published in 1850 as lieder and solo Piano works at the same time. It is the latter ones that have become famous particularly 'Love Dream No. 3' which was to become one of the most popular pieces of the Romantic Piano literature. Existing autograph sketches are of only little significance to the final form of the works; the complete autograph is privately owned and not accessible. This is why the new edition of Wiener Urtext Edition basically follows the first edition of 1850 with its highly reliable text but not the second publication of the originalpublisher which is sometimes mistaken for the first one as the first edition of the second publication contains more mistakes than the edition of 1850. The present edition is completed by a clear notation and convenient page turns as well as informative commentaries of the Liszt expert Christian Ubber.

Under the title of 'Kleinere Werke' [Small Works] the second volume of Organ works by Carl Philipp Emanuel Bach in the Wiener Urtext Edition contains all works written by the composer except for the multi-movement sonatas for Organ: preludes fugues trio chorale arrangements and pieces for musical clock. The fugues in particular prove that C. Ph. E. Bach was an attentive pupil of his father. The music theoretician Friedrich Wilhelm Marpurg appreciated these fugues so much that he included some of them as examples in his theoretical writings. The pieces for musical clock are a varied selection of pieces in the style galant which were originallywritten for mechanical instruments and which are best to be performed on the organ. Together with the Organ sonatas published in Vol. 1 this is probably the most comprehensive collection of works by Bach's second eldest son which can be performed on the Organ.

L'intention de Robert Schumann pour créer les précieux et, en ce qui concerne didactique, musique judicieusement créée pour les enfants et les jeunes ne se limitait pas à la für die Jugend opus 68 de l'Album mondialement célèbre pour piano (1848). Hormis la Liederalbum für die Jugend Opus 79 (1849), il a également créé deux oeuvres qui devraient encourager jouant piano quatre mains et qui était très populaires dans la musique intérieure du XIXe siècle : le progressivement arrangé 12 vierhändige Klavierstücke für kleine und große Kinder opus 85 (1849) et Kinderball Opus 130 (1853), qui a mis le leichte Sechs Tanzstücke ensemble dans une charmante suite archaïque. Basé sur le score de la nouvelle édition complète de Schumann (éd. par Joachim Draheim und Bernhard Appel), la nouvelle édition de la Wiener Urtext édition pour la première fois présente un urtext fiable basée sur les sources, y compris un morceau de piano facile jusqu'ici inédit qui était destiné à 85 op. / Piano 4 Mains

With his Variations Sérieuses Felix Mendelssohn Bartholdy contributed to the anthology Album-Beethoven which had been initiated by the Viennese publisher Pietro Mechetti and whose proceeds were to be donated for the funding of the Beethoven monument in Bonn. In order to do justice to the high standards of the composer to be honoured Mendelssohn decided in favour of a cycle of variations which clearly stands out from the superficially virtuoso variation style of that time. The new edition of the Wiener Urtext Edition is based on the autograph engraver’s copy and the first prints. In addition the correspondence of Mechetti'seditor Becher with Mendelssohn could be consulted for clarifying problematic textual instances. The notes on interpretation by Peter Roggenkamp cover various aspects – from learning to master the technical demands to practical performance details. The edition is rounded off by a practical and user-friendly notation.

When Reubke died in 1858 at the age of only 24 his achievements included two monumental works (a Piano sonata and an Organ sonata) and a few smaller compositions including a Trio for Organ. This Urtext edition brings together the two Organ works in a new edition: the Organ sonata is also known by the title of the 94th Psalm whose words inspired its content. The Sonata whose style and virtuosity show the influence of Liszt is one of the greatest Organ works of the whole Romantic period. The Trio a musically charming but technically less demanding piece should represent a welcome addition to the teaching repertoire forOrgan. The only original documents remaining for these works are the first editions. In this new edition we have attempted to correct obvious mistakes in the first impression and to offer cautious suggestions for improvements in dubious instances.

With the new Urtext Primo series, the Wiener Urtext Edition wants to close the gap arising at the point of transition to additional lessons after having studied a piano method. Beginning with a performance level which is outlined by pieces such as Bach's Minuet in G (BWV Anh. 116), Mozart's Minuet in F (KV 5) or Schumann's Wilder Reiter (Op. 68/8), works by three different composers are selected for each volume of the Urtext Primo series, with the aim of offering piano pupils (or even adults who want to resume piano playing) a wide range of repertoire pieces on the basis of which they can enhance their technical and musical skills. The pieces' range of levels of difficulty is relatively narrow so that the volume can be used continuously over a period of about two years. This is what distinguishes the Urtext Primo approach from almost all common anthologies. The selected repertoire takes into account not only pieces of the classic canon of lessons, but also lesser known works which are in no way of less importance for piano lessons. The Urtext Primo volumes are published in the internationally recognised standard of the Wiener Urtext editions. The explanations included in each volume shall help to deepen the knowledge of musical styles, music history and piano playing. A repertoire chart at the end of each volume gives a rough overview of the levels of difficulty of the selected pieces.Volume 4 combines works of the German Romanticism by Schumann, Brahms and Theodor Kirchner. Apart from well known pieces from Schumann's 'Album for the Youth' and the easiest waltzes from opus 39 (in the easier version) by Brahms, the selection contains the attractive set of variations from Schumann's first Youth Sonata Op. 118/1 and Brahms' Saraband in A minor WoO 5/1 as well as a number of pleasant pieces by Theodor Kirchner which continue the tonal air of Schumann and Brahms in easy playable pieces. / Piano