Mozart W.a. - Piano Sonata A Major Kv 331 (300i) (with Alla Turca)

Wunderkind-Sonatas Volume III K. 26-31 Editor: Wolf-Dieter Seiffert Fingering: Ariane Haering The Six Sonatas for Piano K. 26-31 that can also have a violin accompaniment were composed in The Hague. They were published in 1766 and were dedicated to Princess Caroline von Nassau-Weilburg. These jewels by the Wunderkind Mozart have only been known in the form of violin sonatas up to now (also see Henle Urtext edition HN 1079). Our edition for solo piano, the first time it has ever been printed in this form, is now available for piano teachers to make use of in their lessons, as well as for all lovers of Mozart. Piano Sonata (Wunderkind) E flat major KV 26 Piano Sonata (Wunderkind) G major KV 27 Piano Sonata (Wunderkind) C major KV 28 Piano Sonata (Wunderkind) D major KV 29 Piano Sonata (Wunderkind) F major KV 30 Piano Sonata (Wunderkind) B flat major KV 31

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

Piano Sonata C major K. 309 (284b) Editor: Ernst Herttrich Fingering: Hans-Martin Theopold I wish to do it to reflect the character of Mad:selle Rose, Mozart replied when asked how he intended to set out the Andante of his Sonata in C major. In autumn 1777 he had got to know Rosina Cannabich in Mannheim and during her lessons immediately introduced her to the Sonata K. 309 that he had composed for her. Indeed, in December 1777 according to her teacher she was already able to perform it excellently. So that a great many other pupils might follow in her footsteps, we are now publishing this small gem that shows Mozart‘s great skill in composing for the piano as a single edition with a new preface by the editor; it was previously only available in the complete volumes (HN 1 and 3). FIRST MOVEMENT The first movement of the C major Sonata K 309 is a model teaching sonata form structure. With sonata forms, as with Bach fugues, no formal dogmas underlie the process of composition, but each sonata varies anew a basic principle. For Mozart, this entailed strict adherence to certain fundamental patterns without his creative freedom. In his sonata movements in major keys, for example he favoured a distinct second subject in the dominant as most contemporary composers did. Haydn, on the other hand, reveled in experiment at this point. A brief analysis may help to demonstrate Mozart's standard sonata allegro form and the first movement of it is an ideal example for such an investigation. The first subject is a distinctive, marcato opening followed by a five-bar response. The falling fourth and rising sixth of the opening is one of Mozart's favourite motifs, his common melodic device. He often uses it in the minor as well as the major, and many of his themes start with this motif (e.g. the second movement of the A major Sonata K 331, the Adagio in B minor K 540, and subjects in the Symphonies K 114, 124, 319/II and 551/II). The seven measures of the main theme are repeated, slightly varied. Measures 15 to 21 conclude the first subject group with an answering phrase (3+3 bars). The transition consists of new material and then, in measure 35 (after two measures of preparation comes a second cantabile theme, in the dominant (G major) comprising 2x4 bars, which is also repeated and proceeds to a spirited closing theme (concluding group) using passage-work (m. 43) and incorporating a delightful diminuation of measures 35 36 in measure 45. The exposition ends with a codetta of five bars. The development presents the opening motif first in g minor, and then the various ideas of the first subject are worked out. With this procedure Mozart is keeping much more closely to textbook principles than he usually does. Two further statements of the opening motif lead back to the recapitulation in measure 94. The second subject, now in the tonic, has surprisingly changed place with its accompaniment. The opening is recalled again in an effectively assertive coda. SECOND MOVEMENT The second movement of this sonata is an introspective Andante un poco adagio. In a letter Mozart stated his desire to make this Andante match the character of the young pianist Rosa Cannabich for whom he wrote it: ...she is a sweet, pretty girl, just like the andante. For her age she is sensible and level-headed; she is serious, and doesn't talk too much, though what she says is pleasing and sympathetic. THIRD MOVEMENT An elegant and smoothly flowing Rondo of unusually large proportions concludes this Sonata. Paul and Eva Badura-Skoda

revised edition Compositeur : Mozart, Wolfgang Amadeus Instrumentation : Piano solo Editeur Musicologique : Scheideler, Ullrich Couverture Reliée Contenu : Piano Sonata No. 23 f minor op. 57 [Appassionata]

Compositeur : Mozart, Wolfgang AmadeusInstrumentation : Piano soloEditeur Musicologique : Herttrich, ErnstCouverture BrochéeContenu : Sonata D major K. 311 (284c)Sonata a minor K. 310 (300d)Sonata G major K. 283 (189h)Sonata E flat major K. 282 (189g)Sonata B flat major K. 281 (189f)Sonata C major K. 279 (189d)Sonata F major K. 280 (189e)Sonata C major K. 309 (284b)Sonata F major K. 533/494Sonata B flat major K. 570Sonata D major K. 576Sonata D major K. 284 (205b)Sonata B flat major K. 333 (315c)Sonata F major K. 332 (300k)Sonata C major K. 330 (300h)Sonata [Facile] C major K. 545Fantasy and Sonata c minor K. 475/457Sonata (with a Turkish March [Alla Turca]) A major K. 331 (300i)

Wunderkind-Sonatas Volume I K. 6-9 Editor: Wolf-Dieter Seiffert Fingering: Ariane Haering As astonishing as it might sound, Mozart was already composing piano sonatas (K. 6-9) at the age of seven. It is wonderfully fresh and varied music. We have already published Urtext editions of these four sonatas in the version for piano and violin (HN 1077). As far as we are aware they have never been published solely as piano sonatas, even though Mozart described them thus in the title and they were assuredly played as such. Whilst the added violin provides tonal enrichment, it can be omitted without loss. A true treasure trove of easier, unknown original music by Mozart. Piano Sonata (Wunderkind) C major KV 6 Piano Sonata (Wunderkind) D major KV 7 Piano Sonata (Wunderkind) B flat major KV 8 Piano Sonata (Wunderkind) G major KV 9

Wunderkind Sonatas Volume I for Piano and Violin K. 6-9 Editor: Wolf-Dieter Seiffert Fingering and bowing for Violin: Benjamin Schmid Fingering Piano: Ariane Haering At the time, Mozart's genius - recognised at an early age - could only be explained as being God-given. Wolfgang Amadeus and his sister Maria Anna, older by five years, were admired as being Wunderkinder (prodigies) on their travels through Western Europe between 1763 and 1766. The piano sonatas with a violin accompaniment K. 6-9 were composed in Paris. It is wonderfully fresh and varied music. The piano is joined by a violin that adds colour, but not as an equal partner unlike in the later, great violin sonatas (see HN 77-80). This music is not only ideally suitable for piano and violin teaching purposes but will also allow musicians who already know everything to discover some treasures.

Piano Duets edited by Michael Aston-Piano Duets: Classical Composers presents varied and accessible repertoire for every duet player. The collection includes attractive new arrangements of orchestral and chamber gems alongside new editions of original works written specifically for Piano duet.You'll find sonata movements by less well-known composers of the period Clementi and J.C.F. Bach as well as Beethoven's complete Sonata in D major one of the few original duet sonatas written by the composer. The volume is concluded with a light and attractive Minuet and Trio by Haydn a colourful Theme and Variations by Mozart and a graceful and flowing arrangement of Schubert'sEntr'acte Music from Rosamunde. Ranging from the intimate to the virtuosic these pieces are ideal for duettists looking for new recital material as well as those beginning to explore the medium.Contents:J. C. F. Bach: Allegro con spirito from Sonata in A majorL. van Beethoven: Sonata in D major Op. 6Muzio Clementi: Allegro maestoso from Sonata in E flat major Op. 3 No. 2Joseph Haydn: Minuet and Trio from Symphony No. 100 'Military'W. A. Mozart: Allegro from Serenade K388Franz Schubert: Entr'acte No. 3 from Rosamunde

25 Original Works This anthology contains 25 original works by composers of the Classical period. Including pieces by Haydn, Cimarosa, Beethoven and Czerny, amongst others, it offers a wide stylistic range of works, and is accompanied by a CD of all pieces performed beautifully by Nils Franke. The collection is ideal for those looking to broaden their playing and teaching repertoire and as such may be used in addition to any graded curriculum for pianists of grade 3-4 standard. Content - G.C. Wagenseil: Allegro, from Divertimento No.2 WWV43 - D. Cimarosa: Sonata in G major - J. Hook: Rondo, from Sonatina Op.12 No.9 - C. Ditters von Dittersdorf: English dance No. 15 - J.B. Cramer: Guaracha, from Pianoforte Method - S. Wesley: Vivace, from Sonatina Op.12 No.8 - J.N. Hummel: Allegro, from Pianoforte Method - F. Schubert: Landler D378 No.3 - Ludwig van Beethoven: Landlerischer Tanz WoO 11 No.2 - J.B. Cramer: Praeludium and Andantino, from Pianoforte Method - J.W. Hassler: Allegro assai Op. 38 No.20 - J.W. Hassler: Presto Op.38 No.29 - C. Czerny: Andante Op.453 No.32 - J. Haydn: Scherzo from Sonata Hob. XVI:9 - J.C.F. Bach: Solfeggio, from Musikalische Nebenstunden - W.A. Mozart: Tempo di Minuetto KV236 - M. Clementi: Arietta, from Pianoforte Method - F. Ries: Polonaise Op.124 No.3 - C. Czerny: Andantino Op. 453 No.41 - J.N. Hummel: Romanze Op.52 No.4 - J.N. Hummel: Gigue, from Pianoforte Method - Carl Maria von Weber: Favoritwaltzer J. 143-8 No.4 - Carl Maria von Weber: Favoritwaltzer J. 143-8 No.2 - J. Haydn: Adagio Hob., XVII:9 - Ludwig van Beethoven: Klavierstuck, Lustig Traurig WoO 54