Format : Sheet music + CD
SKU: HL.50601560
ISBN 9781540039699. UPC: 888680894047. 9.0x12.0x0.163 inches.
44 bagatelles, German dances, ländler, minuets, sonatinas, and more. Contents: Allegretto in B minor, WoO 61 • Bagatelle in G minor, Op. 119, No. 1 • Bagatelle in A Major, Op. 119, No. 4 • Bagatelle in C Major, Op. 119, No. 8 • Bagatelle in A minor, Op. 119, No. 9 • Bagatelle in B-flat Major, Op. 119, No. 11 • Bagatelle in G Major “Lustig und Traurig,” WoO 54 • Bagatelle in A minor “Fur Elise,” WoO 59 • Bagatelle in B-flat Major, WoO 60 • Ecossaise in G Major, WoO 23 • German Dance in E-flat Major, WoO 86 • German Dance in E-flat Major, WoO 8, No. 5 • German Dance in G Major, WoO 8, No. 6 • German Dance in C major, WoO 8, No. 7 • German Dance in D Major, WoO 13, No. 1 • German Dance in B-flat Major, WoO 13, No. 2 • German Dance in B-flat Major, WoO 13, No. 6 • German Dance in E-flat Major, WoO 13, No. 9 • German Dance in C Major, WoO 13, No. 10 • Klavierstuck in G minor, WoO 61a • Seven Landler, WoO 11 • Six Landler, WoO 15 • Minuet in B-flat Major, WoO 7, No. 8 • Minuet in F Major, WoO 7, No. 8 • Minuet in F Major, WoO 7, No. 12 • Minuet in G Major, WoO 10, No. 2 • Minuet in E-flat Major, WoO 10, No. 3 • Minuet in C Major, WoO 10, No. 6 • Miinuet in E-flat Major, WoO 82 • Sonata in G minor, Op. 49, No. 1, Andante and Rondo. Allegro • Sonata in G Major, Op. 49, No. 2, Allegro ma non troppo and Tempo di Minuetto • Sonatina in G Major, Anh. 5, No. 1 • Sonatina in F major, Anh. 5, No. 2 • Waltz in E-flat Major, WoO 84 • Waltz in D Major, WoO 85.
SKU: HH.HH528-FSP
ISBN 9790708185413.
Among Vienna’s many composers and pianists of the time, Anton Eberl (1765–1807) was the one considered most worthy of comparison with Beethoven. His Sonata in B flat major, Op.10 No.2, is the first known Viennese sonata for keyboard with clarinet, offered as a first-named alternative to violin. The alternatives are included in this edition. It is probably the fourth of his seven sonatas which included the violin and was published with an optional ‘basse’ – doubtless intended to be a part for a cellist – which permits performance as a piano trio. The sonata was composed around 1800 and dedicated to Franz Joseph the Prince of Dietrichstein, an official at the court of Emperor of Russia Paul I in St Petersburg. Eberl spent two periods in that city, 1796-9 and 1801-2, as Kapellmeister, performer and teacher. The work was first published by the St Petersburg firm of Gerstenberg & Dittmar. As contemporary reviewers found Beethoven’s Sonatas Op.12 with violin – works published in 1799 – challenging and ‘overladen with strange difficulties’, so too were the two sonatas Op.10 thought to be overlong and excessively complex. But in its duration, formal and harmonic novelty, and in the lively relationship between the clarinet or violin and the keyboard, his Op.10 No.2 shares much of the musical ambition and quality of Beethoven’s works in this genre.
SKU: HH.HH424-FSP
ISBN 9790708146254.
Among Vienna’s many composers and pianists of the time, Anton Eberl (1765–1807) was the one considered most worthy of comparison with Beethoven. His Sonata in B flat major, Op.35, his last of seven sonatas with violin, was composed around 1805 and dedicated to Maria Walburga, the Princess Bretzenheim. This was one Eberl’s last works, as he died prematurely, at the age of forty-one, in 1807. Unlike many of Eberl’s lesser contemporaries, in its duration, formal and harmonic novelty, and in the lively relationship between the violin and keyboard, his Op.35 shares much of the musical ambition and quality of Beethoven’s works in this genre.
SKU: HH.HH473-FSP
ISBN 9790708146841.
The model for this sonata is Mozart, specifically his Sonata in B flat major, K.454, written in 1784. Eberl borrows many structural and stylistic features from K.454: the grand, slow introduction of the first movement; the song-like second movement opening over rocking accompaniment; and the gavotte-like closing rondo. Eberl even quotes directly from K.454. But the work also looks forward to Beethoven’s contributions to the genre, and in its duration, formal and harmonic novelty, and in the lively relationship between the violin and keyboard, Op.50 shares much of the musical ambition and quality of Beethoven’s early works in this genre.
SKU: BR.EB-8118
ISBN 9790004175019. 9 x 12 inches.
Richard Wagner (1813-1883) is rightly considered as the 19th-century music dramatist whose formal and harmonic originality, for example in Tristan and Isolde, provided a significant impetus to the development of 20th-century music. Despite Wagner's fame, his reuvre for piano remains practically unknown. Tobe sure, these primarily early works and occasional compositions hardly even hint at the outstanding characteristics of the later works such as leit-motifs, flowing transitions or original forms. Nonetheless, whoever is acquainted with Wagner's later music dramas will undoubtedly not fail to be impressed by the individual melodic and harmonic traits of his piano works. The Sonata in B-flat Major Op. 1 is of special interest to us today since it is Wagner's first published work, composed in 1831 and printed in 1832 by Breitkopf & Hartel. At that time, Wagner was studying counterpoint with Theodor Weinlig, the choral master and music director of the Thomasschule in Leipzig. Weinlig, however, only agreed to give Wagner lessons if he promised to refrain from composing for half a year. In the course of his studies, Wagner was allowed to compose the piano sonata in B-flat Major as a kind of journeyman-work. His teacher Weinlig succeeded in having the work published by Breitkopf & Hartel. Hence the dedication of this piece to Weinlig is not surprising, since the 18-year-old Wagner would otherwise have had great difficulty finding a publisher. This Sonata in B-flat Major, which has long been out of print, is a reproduction of the first edition by Breitkopf & Hartel (plate number 10433). For this reprint, obvious typographical errors have been corrected (missing or wrong accidentals and dynamic indications). The work presents a four-movement classical sonata form and is stylistically reminiscent of Mozart and Beethoven. Shortly before composing this sonata, Wagner wrote a piano reduction of Beethoven's Ninth Symphony, which was easily playable and yet gratifying to hear. This helps explain the octave-doublings typical of piano reductions. Wiesbaden, Fall 1980Respectfully dedicated to Theodor Weinlig, the choral master and music director of the Thomasschule in Leipzig.
