/ 2 Violons, Violoncelle Et Piano
SKU: HL.49009572
ISBN 9783795764388. UPC: 841886008274. 5.25x7.5x0.284 inches.
With more than 1,200 titles from the orchestral and choral repertoire, from chamber music and musical theatre, Edition Eulenburg is the world's largest series of scores, covering large part of music history from the Baroque to the Classical era and looking back on a long tradition.
SKU: PR.ZM10180
UPC: 680160647019.
SKU: HL.49005025
ISBN 9790001053853. UPC: 884088055172. 9.0x12.0x0.193 inches.
2 violins and bass continuo; cello ad lib.
SKU: PR.ZM10190
SKU: CF.BF115
ISBN 9781491150993. UPC: 680160908493. 9x12 inches.
Johann Sebastian Bach’s (1685—1750) SixSonatas and Partitas have captivated violinistsfor centuries. Rachel Barton Pine—havingspent decades studying the music of Bach,his contemporaries, and his predecessors—now offers this unparalleled edition completewith detailed historical notes, performancesuggestions, and downloadable study materialsincluding a new Urtext edition and a speciallyprepared manuscript. Pine’s interpretationis informed by thorough historical study, which has been polished byyears of performance insight, but also encourages those studying Bach’srepertoire to craft their own unique interpretation of these timelessmasterpieces. This edition closely follows Pine’s critically acclaimed 2016recording “Testament: Complete Sonatas and Partitas for Solo Violin byJ.S. Bach†(Avie 2360) making it an invaluable resource for any student,teacher, or performer enthralled with J.S. Bach’s long standing legacy.Ms. Pine holds the distinction of being the only American and youngestperson to win the gold medal at the J.S. Bach International ViolinCompetition in Leipzig, Germany, 1992.here is no one right way to play Bach. More thanalmost any repertoire, each individual’s interpretation isas unique as their personality. Though I have spent decadesstudying Bach’s music as well as that of his contemporariesand predecessors, my final rationale for artisticdecisions is often taste and instinct. Every violinist whoundertakes a lifetime’s journey with this incredible repertoireis continually discovering new ideas. Thus, theopinions on the following pages may evolve over time.However, everything in the sheet music closely follows my2016 recording “Testament: Complete Sonatas and Partitasfor Solo Violin by J.S. Bach†(Avie 2360), which I trulyfeel represents the culmination of my exploration intothese extraordinary works.In choosing to present this edition, my hope is thatyou will find useful solutions to challenges of fingering,bowing, and polyphony, and helpful information aboutphrasing. I have also included additional dynamic suggestionswith the hope that trying these ideas will help inspireyou to discover your own. All of these markings aredesigned to work with a baroque violin and baroque bow,a modern violin and baroque bow, or a modern violinand modern bow. While the information in this editionis unusually dense, there is much that I did not include,such as lifts, breaths, articulations, whether to play on oroff the string, metronome markings, details of timing,and emphases other than hemiolas.I offer this book to you in the spirit of Bach: “SoliDeo Gloria.â€.
SKU: BR.EB-8327
ISBN 9790004176351. 9 x 12 inches.
Tommaso Giordani wrote sonatas - here for violin or flute - that are typical examples of early Classical chamber music: their scoring is flexible, they are fun to play, and their technical demands are moderate. The Sonatas Op. IVa show that Giordani is a Haydn contemporary who can really hold his own. Giordani's chamber-music works with obbligato piano were actually very important for the development of chamber music. Too bad Giordani did not contend himself with writing more of these enchanting ensemble sonatas rather than investing in dubious opera projects and going bankrupt. That was no way to become a serious Classical composer!Tommaso Giordani wrote sonatas - here for violin or flute - that are typical examples of early Classical chamber music: their scoring is flexible, they are fun to play, and their technical demands are moderate.
SKU: ST.MB88
ISBN 9790220221996.
Hitherto unpublished, the four trio sonatas and two fivepart sonatas by William Croft, which came to light in 1977, are among the most interesting and rewarding of English chamber works to have been written in the period between the trio sonatas of Purcell and those of Boyce and Arne. Possibly first heard at the concerts of the musical smallcoals man, Thomas Britton, they are complemented by six sonatas for two solo recorders, and three violin sonatas that are amongst the earliest printed works in this genre by an English composer.
SKU: BT.EMBZ12051
English-German-Hungarian.
The present edition contains Twelve Sonatas for Violin Solo and Basso Continuo, Op. 5 by Arcangelo Corelli. The first part of the series (Z. 12050: Sonatas No. 1-3, Z. 12051: Sonatas Nos. 4-6) comprises church sonatas (sonate da chiesa), while the second one (Z. 12265: Sonatas Nos. 7-12) chamber sonatas (sonate da camera). The present edition is based on the first edition of the work published in Rome in 1700. Der vorliegende Band enthält die zwölf Sonaten für Solo-Violine mit Basso continuo, Op. 5 von Arcangelo Corelli. Die erste Teil (Z. 12050: Sonaten 1-3, Z. 12051: Sonaten 4-6) umfasst die Kirchensonaten (sonate da chiesa), der zweite Teil (Z. 12265: Sonaten 7-12) die Kammersonaten (sonata da camera). Die vorliegende Ausgabe stützt sich auf die 1700 in Rom erschienene Erstausgabe des Werkes.
SKU: BR.EB-8408
ISBN 9790004177143. 9 x 12 inches.
Gerhard Braun has made an important contribution to the rediscovery of this truly worth-while chamber music of the Dresden Court composer Johann Adolf Hasse by editing these delightful flute sonatas Op. 5.
SKU: BR.EB-8409
ISBN 9790004177150. 9 x 12 inches.
SKU: FZ.1279
ISBN 9790230612791. 24.00 x 33.00 cm inches.
This facsimile of an original by Etienne-Nicolas Mehul is part of our Dominantes collection. Three sonatas for harpsichord or fortepiano, Opus I - Edition : Paris, Jouve, s. d. (=1783). Three sonatas for harpsichord or fortepiano with violin accompaniment, Opus 2 - Editions : Paris, Le Duc, s. d. (=1788). Two volumes: piano part of opus I and II - preface and violin part of opus II. Preface by Joel Pontet: The keyboard sonatas of E. N. Mehul - a precocious talent - remarks on performance (choice of instrument and indications of nuances - articulations - ornaments). The preface sets out the essential points for performance of these youthful works. Editions originales of 1783 and 1788, preserved at the library national of Paris. Collection supervised by the musicologist Jean Saint-Arroman, professor at the Conservatoire National Superieur de Musique et de Danse of Paris and at the CEFEDEM Ile de France (Training Centre for Music Teachers). He is the author of the majority of our prefaces and has also been involved in library searches. Facsimile of a copy in the National Library of Paris (France). Anne Fuzeau Classique propose period copies of classical music scores.
SKU: PR.UT050427
Newly revised, the Wiener Urtext edition of Beethoven's piano sonatas is unique, in that it is based on a wide range of sources, including autographs, reviewed copies, and first editions, as well as early reprints published during the composer's lifetime and Haslinger's complete edition. This is especially important for those sonatas of which neither autographs nor copies exist. This performing edition contains a Critical Report in German and English, in which the complex source problems of these sonatas and the editorial decisions are explained in a comprehensible way. The best of the available urtexts.Volume 1 of the Wiener Urtext complete edition of Beethoven’s 32 Piano Sonatas contains op. 2/1-3, 7, 10/1-3, 13, 14/1-2 and 22.
SKU: UT.QC-2
ISBN 9788881094585. 6.5 x 9.5 inches.
The career of Muzio Clementi (1752-1832) spanned the lives of both Mozart and Beethoven and was exceptionally diverse. It encompassed performing on the keyboard, conducting, teaching, business activities and composition in the realms of keyboard, chamber and orchestral music. This book focuses on Clementi’s keyboard sonatas and aims to shed new light on their relationship with the complex cross-currents of late eighteenth-century musical style, both in England, where Clementi was active for much of his career, and the continent, which he visited periodically.The first chapter summarises Clementi’s historical reputation as it developed in the nineteenth and twentieth centuries, and evaluates the impact on it of the significant developments in Clementi scholarship since 2000. The aim is to stress the deficiencies of the established view of Clementi as a keyboard pedagogue and to stress the importance of liberating him as much as possible from this ingrained perception. This is attempted, in the remaining chapters, through close, analytical readings of a variety of keyboard sonatas from all stages of his career, comparing them with a range of works by Haydn, Mozart, Beethoven and other contemporaries such as Jan Ladislav Dussek (1760-1812). The comparisons are made from the perspectives of distinguishing features of Clementi’s style such as his unusually intense deployment of strict counterpoint in the later keyboard sonatas; his cultivation of irregularity in recapitulations; his use of the ‘three-key’ exposition in the middle-to-later stages of his career that seems to anticipate nineteenth-century developments, and also his assimilation of heightened virtuosity into the earlier sonatas, often in the form of cadenzas more suggestive of the keyboard concerto a genre Clementi seems, rather strangely, to have neglected. The book has been envisaged as a direct response, not only to the most recent scholarship on Clementi, but also to current approaches to eighteenth-century music in general, including the interdisciplinary work of Annette Richards.