Adagio & Variations op. 45

Piano Sonata D major K. 284 (205b) Editor: Ernst Herttrich Fingering: Hans-Martin Theopold The Sonata in D major is the last of the Six Sonatas K. 279-284 that Mozart had in his luggage when he set off for Paris in September 1777. He had already successfully performed this music in Munich, Augsburg and Mannheim, a fact he proudly told his father back at home. He gave the works particularly rich dynamic markings and also found unusual solutions concerning their formal aspect, for instance having a slow Rondeau en Polonaise as the middle movement of the Sonata in D major. The six sonatas, which were previously only published together in the complete volumes (HN 1 and 3), are now all available as single editions with new prefaces. Mozart dedicated this Sonata to a Freiherr Thaddäus von Dürnitz - which is why it has often been called the Dürnitz-Sonata. It is undoubtedly the best, the most brilliant and the most technically demanding of these six early Sonatas. Understandably, Mozart retained a special affection for it and continued to perform it himself. It was this Sonata of which he said that it sounded incomparable on Stein's new fortepianos. FIRST MOVEMENT A first version of the beginning of the first movement, written on one and a half pages, was cancelled by Mozart. On the same page, he started anew to write the final version underneath. The thematic material of this opening movement (and to a lesser degree also that of the following movements) is laid out on a more ample, nearly orchestral scale, a departure from the intimacy of the early sonatas. The tremolo effect in measures 13-16 and the unison announcements of the first subject read very much like a piano reduction of an orchestral tutti. The second subject, a supple melodic line, unaccompanied in its opening bar, incorporates a descending chain of first inversions a favourite harmonic formula of the baroque and classical periods. (There are analogous passages in the subsidiary themes in Gluck's overture Iphigénie en Tauride and the first movements of J. S. Bach's Italian Concert). This functions as a solo passage in contrast to the ensuing tutti entries in m.30. The development moves through a circle of minor keys before the recapitulation begins in measure 72. SECOND MOVEMENT Mozart called the second movement a Rondeau en Polonaise, so it is a dance. The opening four measures from a kind of dialogue (like the theme of the first movement of the preceding G major Sonata), and Mozart subjects them to felicitous counter-statement is heightened by Mozart's meticulous dynamic markings. THIRD MOVEMENT The last movement of the Sonata is a pianistically rewarding, cheerful set of variations, which, up to the adagio variation, has the character of a gavotte. It shows Mozart's special gift for writing variations at its most brilliant. The superficial impression of a diffuse form does not stand up to a closer inspection: it would not be at all easy to omit one of the twelve variations, or to add an extra one. The adagio variation is on special interest to Mozart scholars, for it gives us some insights into his concept of impromptu ornamentation. The autograph is only modestly ornamented, and Mozart presumably embellished it in performance as his fancy dictated. But a richly ornamented version survived in the first edition, published during Mozart's lifetime, and undoubtedly this embellished version is Mozart's own work. Who else could embellish in such an ingenious way? It illuminates Mozart's ideas on ornamentation in general and in particular. Paul and Eva-Badura-Skoda

'Quartet In C Minor' is in four movements with a total duration of about 25 minutes. The opening Allegro is similar in style to Dvorak in its lyricism though there is a darker more brooding atmosphere towards the close. It is tempting to detect a hint of folk-song in the theme of the Andantino played by the viola but that may be stretching hindsight too far. The movement has a wistful melancholy that carries over into the following Intermezzo a song-like episode containing some of the most virtuosic writing in the work. The last movement is a theme and six variations with a fugal ending. The theme is ballad-like with a suggestion of 18th-century elegance. Modalitycreeps into the second Adagio variation and there is rhythmic exhilaration in the succeeding Presto. What can be admired in this attractive quartet is its conciseness. This String Quartet was his first major composition of any kind.

Le volume de Mozart dans la série de Schott Piano Collection a été une des oeuvres standards dans l'enseignement pendant une longue période de la musique. Il contient une sélection de 33 bien connu et facile à jouer des oeuvres pour piano de Mozart, y compris la marche turque, les variations sur Ah ! Vous dirai-je, Maman!, Fantasia en ré mineur, Adagio en si mineur et beaucoup d'autres. Quelques travaux importants et populaires ont été ajoutés à la présente édition de nouveau élargie par Marianne Magolt, tels que: 4 KV Menuets 2-6, Rondeau dans D KV majeur d 15 et Sonate facile en c majeur KV 545. En conséquence, cette nouvelle édition est encore mieux adaptée aux besoins des élèves et des amateurs de piano. / Piano

from Enigma Variations-This “adagio” movement from the Enigma Variations provides an excellent opportunity for developing bands to work on tone blend intonation and dynamics.Jay Bocook's arrangement is designed for smaller bands and features flexible scoring options to fit most any ensemble.

L'Adagio se réfère directement à Mozart Adagio h-Moll KV für Klavier 540. Goehr l'Adagio d'abord suit les événements et motivique harmoniques de l'original, tandis que les répétitions des deux parties permettent de latitude pour des variations et des développements propres. Les augmentations de tempo, de texture et le son sont de plus dense. Dans le contexte de l'oeuvre originale de Mozart, Goehr dessine un autoportrait musical dans une instrumentation subtilement différenciée, basée sur sa propre compréhension. / Orchestre

For the Beginning Pianist with Downloadable MP3s-Now even the often-challenging works of the last of Russia's Romantic composers are accessible to beginning pianists. Rachmaninoff's music can be daunting to those just starting out but these simple arrangements focus on the composer's melodies and style. The more abstract works are excerpted and presented in manageable samples and the keys are simplified. Suggested fingerings are also provided.The collection features easy-to-play versions of 'Vocalise'; Prelude in C-sharp Minor Op. 3 No. 2 ('Bells of Moscow'); the second movement of the Piano Concerto No. 2 in C Minor Op. 18 (Theme); Nocturne No. 1 in F-sharp Minor and Nocturne No. 3 in C Minor; Morceaux de Salon No. 3 Op. 10; Variations of a Theme of Corelli; and other selections.In addition to the piano arrangements the compilation includes a free MP3 download for every piece which will help students develop an ear for the melodies. The MP3s may be downloaded individually or collectively.

Bridge’s early works those written before the first World War were more late Romantic in style warmly expansive than his mature works. The Adagio is a four-Voice fugue of poetic expressiveness that makes full use of the instrument’s tonal resources.British composer Frank Bridge was active in the early decades of the 20th century and was a highly respected conductor violist and teacher his sole composition student having been Benjamin Britten. Britten honoured his former teacher in his work Variations on a Theme of Frank Bridge based on a theme from one of Bridge’s pieces for String quartet.

This 'adagio' movement from the 'Enigma Variations' provides an excellent opportunity for developing bands to work on tone blending intonation and dynamics. Jay Bocook's arrangement of this classic work should be in every band's library.

Variations on an Original Theme Instrumentation : orchestra Version : study score Contenu : Preface / Vorwort - Faksimilie - I. (C.A.E.) L'istesso tempo - II. (H.D.S.P.) Allegro - III. (R.B.T.) Allegretto - IV. (W.M.B.) Allegro di molto - V. (R.P.A) Moderato - VI. (Ysobel) Andantino - VII. (Troyte) Presto - VIII. (W.N.) Allegretto - IX. (Nimrod) Adagio - X. (Dorabella) Intermezzo. Allegretto - XI. (G.R.S.) Allegro di molto - XII. (B.G.N.) Andante - XIII. (***) Romanze. Moderato - XIV. (E.D.U.) Finale. Allegro / Presto Nombre de pages : 140 Collection : Eulenburg Miniature Scores Format : ETP small