Late Piano Sonatas

Urtext with fingering-Haydn’s late piano sonatas Hob. XVI:40–42 (1784) and Hob. XVI:48–52 (1788-95) reveal him to be a distinctive and consummate master in terms of form and expression. These technically brilliant works the quintessence of his sonata output reflect the fresh inspiration he received in London. This new Urtext edition presents these piano sonatas in a spacious engraving. The early version of the second movement of the Sonata in C major Hob. XVI:50 is reproduced in the appendix. Rounding off this performing edition are historically informed fingering and valuable notes on period performance practice by Rebecca Maurer a highly acclaimed harpsichord andfortepiano player. Critical performing edition at the cutting edge of musicology Valuable notes on period performance practice (Ger/Eng) Includes historically informed fingering Practical page turns Informative Foreword (Ger/Eng) and Critical Commentary (Eng)

All 15 Sonatas including the celebrated 'C Minor' 'A Major' and 'B Flat Major' Sonatas. Breitkopf

Carl Philipp Emanuel Bach's works for violin and harpsichord obbligato pervade his entire compositional oeuvre. The earliest works, like the Sonata in D minor still numbered BWV 1036, date back to the years of study with his father, yet show already a remarkable creative will of his own. The latest work, the fantasia 'C. P. E. Bachs Empfindungen' in F flat minor of 1787 is characterized by the composer's highly expressive late style. The new two-volume edition of Wiener Urtext Edition contains C. P. E. Bach's complete works for harpsichord (piano) obbligato and violin. Vol. 1 contains not only the sonatas Wq 71-74 and BWV 1036 but also the arrangements of the trios Wq 143-145 for violin and harpsichord, most of which are included in C. P. E. Bach's autographs, as well as a - previously ignored - early version of Wq 71 which, like BWV 1036, grants a rare insight into the early works of the composer. Vol. 2 contains the four major sonatas of 1763 which already fascinated Johannes Brahms. Brahms not only played them in concert, together with Joseph Hellmesberger, but also published two of these sonatas in 1864. This volume concludes with the two late works 'Arioso' and 'Fantasie' of 1781 and 1787 respectively. With these works, C. P. E. Bach bridged the gap between the late Baroque sonatas of his father and the early classical 'Klaviersonate mit begleitender Violine' [Piano Sonata with Accompanying Violin]. / Violon Et Harpe (Ou Piano)

All ten of Scriabin's Sonatas composed between 1892 and 1913 are reprinted here from the authoritative Russian edition published in 1964. These works abundantly display his technical virtuosity.

Carl Maria von Weber's fame rests mainly on ?Der Freischütz'. The unprecedented success of this opera overshadowed all his other works and contributed to their increasing fall into oblivion. Certain works such as ?Preciosa', ?Oberon', and ?Euryanthe', the overtures, solo concertos and piano sonatas, the lieder and chamber works enjoyed great popularity and were widely known in Germany and abroad as late as the second half of the 19th century. However, any chance of a revival of Weber's influential and substantial oeuvre was wasted in the 1920s, when a complete edition - begun by Hans Joachim Moser and with potential contributors including Wilhelm Kempff, Hans Pfitzner, Max von Schillings, Fritz Stein and Richard Strauss - failed after the third volume.Ever since there have been numerous attempts to restart a complete edition of Weber's works, but as this kind of project would have required the co-operation of scholars from both sides of the inter-German border, the political situation after 1945 was not conducive to any such enterprise. Careful negotiations led to the first tangible steps in the 1980s. The intention, right from the beginning, was to place Weber's work in context, and not to separate his musical output from his influential work as a writer, critic and organiser in the musical field, but to publish his compositions together with his letters, diaries and other literary output as the best way to document the cross-fertilisation between his musical, literary and practical activities.Since the German re-unification both working-parties concerned - at the Staatsbibliothek zu Berlin, and at the Musikwissenschaftliches Seminar, Detmold/Paderborn - have co-operated on the complete edition of the musical works (c. 45 volumes in 10 series: sacred music - cantatas, odes and other occasional works - stage works - lieder and vocal works - orchestral works - chamber music - music for piano - piano reductions - miscellanea, arrangements and orchestrations - works of doubtful attribution). The diaries (6-8 vols.) are edited in Berlin and the letters (8-10 vols.) and other writings (2 vols.) in Detmold. This complete edition aims to be a reliable basis of scholarly debate as well as for the authentic performance practice of Carl Maria von Weber's music. Conforming to the standards of recent historico-critical editions, the textual material will be based on all available authentic sources, accompanied by a detailed documentation of the genesis and a list of variants for each work. The musicological importance of the works will be evaluated by placing them in their historical context, the presentation of their genesis, history and Critical Commentaries. The letters, writings and diaries will be treated as inter-related and relevant to each other in the commentaries, therefore readers should benefit from a wealth of concise information and cross-references. / Piano

Opus 30-Skrjabin ten complete Piano sonatas offer a fascinating insight into the Russian composer?s stylistic development. While his first works still fully reflect the late-romantic tradition the late works keep bursting thebounds of tonality. The boldly outlined two-movement Fourth Sonata marks a turning point for it evokes the world of the ?Poème de l?extase? with its mystical atmosphere hovering between ethereal raptureand ecstatic flight. The publication of opus 30 means that all of Skrjabin?s sonatas are now available in Henle Urtext quality and edited by the expert Valentina Rubcova of Moscow an invitation to all pianists to plungeinto this unique cosmos.

Volume III of Schubert?s Piano Sonatas includes the tuneful, dance-like Sonata in G major D 894 (1827), sometimes called the ?Fantasie? sonata, as well as the three great sonatas in C minor, A major and B-flat major (D 958, 959 and 960), which were conceived as a triptych and constitute the composer?s greatest contribution to the piano sonata genre. The works pay homage to the three late sonatas of Beethoven. This scholarly-critical Urtext edition is based on the definitive musical text of the ?New Schubert Edition? and presents the works in a spacious new engraving with practical page turns. It includes an informative Foreword and detailed notes (Ger/Eng) on central performance practice issues such as the use of pedals and Schubert?s distinctive manner of notating accents. It is rounded off by a Critical Commentary (Eng) with performance-related alternative readings. Schubert?s drafts for individual sonata movements can be accessed on the Bärenreiter website.

With notes on performance practice by Jonathan Del Mar and Misha Donat-Bärenreiter continues its Urtext edition of the complete Beethoven Piano sonatas. They begin with the frequently played Op.2 Sonatas (Nos. 1-3) (BA10859) which stem from his early yet mature oeuvre when he was developing an independent style from the legacy of Mozart and Haydn. They then proceed to the lyrical D major Sonata Op.28 (BA11814) from his middle period (nicknamed ?Pastorale? by the publisher of the original edition) and finally to the Sonata Op.101 (BA11811) Beethoven?s first sonata specifically intended for the ?hammerklavier? and the one that introduced his esoteric late style to the Piano sonatas.The acclaimed Beethovenspecialist Jonathan Del Mar has consulted every known source for these critical Urtext performing editions. In addition he has analysed various copies of the prints published during Beethoven?s lifetime.The results of his accurate research are presented in a meticulously edited musical text at the cutting edge of scholarship together with a detailed Critical Commentary.All volumes stand out in terms of their elegant and well-presented layout. Special emphasis has been placed on optimum page-turns and on the consideration of the flow of the music. The highly informative Introductions on the genesis and significance of the works are supplemented by valuable notes on historical performance practice.New critical performing editions at the cutting edge of scholarshipOptimum page-turnsIntroductions with valuable notes on historical performance practice (Eng/Ger) and Critical Commentaries (Eng)

Over 50 internationally celebrated pianists were invited to adopt one Haydn piano sonata each and provide it with their personal fingerings ??? a who???s who??? on the contemporary piano scene. G. Henle Publishers now presents this classic revised and with a new look to all pianists in the certainty that Haydn???s sonatas will further cement their place in the world of music. Volume III offers the crowning achievement of Haydn???s sonata-writing with these late works including famous works such as the stormy Sonata in e minor Hob. XVI:34 and the grand??? Sonata in E-flat major Hob. XVI:52. Superbly laid-out settings for the piano are combined here with great musical expressivity which is why these sonatas remain firmly anchored in concert life to this day.

Edition without fingering-The revision of the three-volume edition of Haydn???s piano sonatas also appears in a version without fingerings. Whoever wishes to study the Classical sonata canon in pure??? Urtext free from added fingering suggestions will now also find these in the Henle catalogue. Volume III offers the crowning achievement of Haydn???s sonata-writing with these late works including famous works such as the stormy Sonata in e minor Hob. XVI:34 and the grand??? Sonata in E-flat major Hob. XVI:52. Superbly laid-out settings for the piano are combined here with great musical expressivity which is why these sonatas remain firmly anchored in concert life to this day.

The three piano sonatas by Joachim Raff (1822?1882) representing his three main creative phases occupy a special position among his more than 100 piano pieces. They reflect a significant compositional aspiration whereas Raff otherwise frequently leans towards the salon-music genre in his piano music. Raff composed the early sonata op. 14 in 1844 after his first works were positively evaluated and Felix Mendelssohn Bartholdy had encouraged him to venture a career as a composer. The Fantasie-Sonate [Fantasy Sonata] in d minor op. 168 Raff wrote in 1871 at the height of his fame as one of Germany?s then most-played composers. Its dedication to CamilleSaint-Saëns shows his opposition to the rampant German disapproval of France and its music representatives in the wake of the Franco-Prussian war of 1870/71. The second version of the sonata op. 14 composed in the fall of 1881 had only the opus number in common with the earlier version. In this late work Raff had created an entirely new sonata.

Nos 1 & 2-Scholarly-critical Urtext edition based on the latest research findingsEnlightening Introduction and notes on period performance practice (Eng/Ger)Well-presented engraving and practical page turnsDetailed Critical Commentary (Eng) with facsimilesComposed at about the same time as the Grande Sonate pathétique Op.13 the two Op.14 sonatas are among the easiest Beethoven ever wrote and an indispensable part of Piano lessons. Their lyrical almost chamber-like textures and moderate difficulty make them an ideal introduction to the rich legacy of Beethoven?s sonatas.Jonathan Del Mar a scholar second to none in his knowledge ofBeethoven?s music now presents these sonatas in a cutting-edge Urtext edition based on the latest research findings and an intensive study of the sources. Practical page turns and a fine engraving reflecting the character of the music ensure maximum enjoyment for every pianist.The informative Introduction describes the genesis of the works and is supplemented by valuable notes on performance practice. The Critical Commentary provides information on variants as well as editorial guidelines and contains facsimile pages.

PIANO SONATA NO. 1 was written in 1955. Fiser worked on it during his last year at the Prague Conservatoire under the supervision of Emil Hlobil. The piece is one of Fiser’s early works which still respect a traditional compositional approach. Unlike his major and late piano sonatas, this sonata has three movements, each representing the traditional Classical-Romantic form. The sonata was premiered by Fiser’s fellow-student and friend Antonín Jemelík in Theatre D34 on 30 January 1956. The new setting for this piece is based on the single edition to date (SNKLHU, 1957); only with regard to a few inconsistencies in the score was it necessary to consult the composer’s manuscript (kept at the National Museum – Czech Museum of Music, acquisition number 297/2006). H 7911, ISMN 979-2601-0445-7

Rondo in C major op. 51 no. 1-The two Rondos op. 51 were written independently of one another and only later consolidated into a single opus by Beethoven???s publisher. The first of these works from 1797 quickly became popular on account of how it combines simple catchy melody with surprising modulations and expressive dramatic eruptions within a compact form. With its moderate degree of difficulty the piece is ideal preparation before embarking on Beethoven???s piano sonatas. Based on her preliminary research for the critical Complete Edition Beethoven specialist Joanna Cobb Biermann has carefully revised the musical text of the Henle Urtext edition and updated the preface to reflect the latestscholarship.

Description The entire corpus of Beethoven’s piano sonatas is contained in this two volume work – 32 sonatas in all. Volume One contains the fifteen sonatas from Beethoven’s first period, including the Pathetique, Moonlight and Pastorale Sonatas. The music is reproduced from the exemplary Universal-Edition set edited by Heinrich Schenker. Combining scrupulous scholarship and profound artistic vision, Schenker achieved an edition which is universally admired by musicians and scholars. For this Dover edition, Schenker’s footnotes have been translated into English and his preface retranslated. A new introduction introduction by Carl Schachter has also been included. This edition will be welcomed by all pianists, both professional and amateur, for its accuracy and reliability; it is highly desirable for instruction, study, reference and enjoyment. Songlist Sonata In A Major Op.2, No.2 Sonata In A-flat Major Op.26 Sonata In B Minor Op.14, No.2 Sonata In C Major Op.2, No.3 Sonata In C Minor Op. 10, No. 1 Sonata In C Minor Op.13 Sonata In C Sharp Minor Op.27 No.2 Sonata In D Major Op.10, No.3 Sonata In D Op.28 Sonata In E Major Op.14, No.1 Sonata In E-flat Major Op. 7 Sonata In E-flat Major Op.27, No.1 Sonata In F Major Op.10, No.2 Sonata In F Minor Op.2 No.1 Sonata No.11 In B Flat Op.22