Mozart: Violin Sonatas Vol. 5

Violin Sonatas Fragments-This Urtext edition contains rewarding discoveries for all lovers of Mozart.Mozart left behind a total of eight unfinished works for Piano and Violin predominantly discontinued sonata movements. Themusic is so wonderful that Henle have published a separate volume with this group of works all of which (aside from a fragment in the appendix of this edition) have been completed so that they can be performed.They notonly include the familiar completed versions by Maximilian Stadler but also new ones by Robert D. Levin. He has contributed five each of which is full of Mozartian spirit. A preface with a critical report presents the facts indetail and incorporates the most recent scholarly findings. Benjamin Schmid and Ariane Haering have provided fingerings for this edition that is in every sense unique.

Wunderkind Sonatas I K. 6-9 for Piano and Violin-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 theirtravels 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 butnot 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? todiscover some treasures.With marked and unmarked string parts

This complete edition of the Mozart sonatas for violin and keyboard has been researched and prepared by Cliff Eisen one of the most distinguished Mozart scholars of our time. Professor Eisen recognizes that many of the apparent inconsistencies and idiosynchrasies of Mozart's notation are perfectly deliberate and that the attempts in many other editions to impose uniformity upon similar phrases or musical paragraphs can bemisguided. As he writes in the preface '...the notion that the classical style represents a model of symmetry balance and clarity is for the most part an 19th-century fiction...it has little to do with Mozart's actual practice which is basedprimarily on variety of both content and articulation.' So in this new edition alternative readings found in parallel passages are preserved rather than being sterilized by a spurious quest for conformity. Naturally all such instances are noted within the Critical Commentary. The highly individual beaming within Mozart's autographs is also respected in the new edition as this often contributes to our aural perceptions of phrase structure and accent. Professor Eisenis is conscious that there is no single 'Urtext' for this music. On the contrary he believes that 'there is compelling evidence that Mozart's later performances of his works were characterized by changes--sometimes substantial changes--in the musical text.' It is the achievement of this edition to indicate how far this freedom of musical expression can extend and as such it is likely to take pride of place in the collections of all those involved in the study and performance of these masterpieces.Contents: Sonatas K296 K376-K380; Andante and Fugue K402 (completed by Stadler); Sonata K403 (completed by Stadler).

(Spätere Wiener) Urtextausgabe mit einer bezeichneten und einer unbezeichneten Streicherstimme-This is the third volume of Mozart’s Complete Sonatas for Piano and Violin and contains fully revised versions of his five sonatas for Piano and Violin K.454 K.481 K.526 and K.547 also known as Die spateren WienerSonatas and also includes the Violin Sonata In B Flat K.570.This authoritative Henle Urtext edition has been carefully edited by Wolf-Dieter Seiffert with fingerings by Walther Lampe and Karl Rohrig and provides you with the most accurate realisation of the composer’s original intentions with thoroughly comprehensive and detailed editorial markings and suggestions.

Instrumentation: Vln—Pf Editor: Cliff Eisen Format: Sheet Music Details: This projected complete edition of the MozartSonatas for Keyboard and Violin has been researched and prepared by Cliff Eisen, one of the most distinguished Mozart scholars of our time. Professor Eisen recognises that many of the apparent inconsistencies and idiosyncrasies of Mozart's notation are perfectly deliberate, and that the attempts in many other editions to impose uniformity upon similar phrases or musical paragraphs can be misguided. As he writes in the preface: '…the notion that the classical style represents a model of symmetry, balanceand clarity is for the most part a 19th-century fiction…it has little to do withMozart's actual practice, which is based primarily on variety of both content and articulation. So in this new edition, alternative readings found in parallel passages are preserved, rather than being sterilised by a spurious quest for conformity. Naturally all such instances are noted within the Critical Commentary. The highly individual beaming within Mozart's autographs is also respected in the new edition, as this often contributes to our aural perceptions of phrase structure and accent. Professor Eisen is conscious that there is no single 'Urtext' for this music. On the contrary he believes that 'there is compelling evidence that Mozart's later performances of his works were characterised by changes – sometimes substantial changes – in the musical text'. It is the achievement of this edition to indicate how far this freedom of musical expression can extend, andas such it is likely to take pride of place in the collections of all those involved in the study and performance of these masterpieces. Contents: K454, K481, K526, K547 & Variations K359, K360

Instrumentation: Vln—Pf Editor: Eisen ISMN: M-57708-560-9 Format: Sheet Music Details: Contents: Sonatas K296, K376-K380; Andante and Fugue K402 (completed by Stadler); Sonata K403 (completed by Stadler). Contents: This complete edition of the Mozart sonatas for violin and keyboard has been researched and prepared by Cliff Eisen, one of the mostdistinguished Mozart scholars of our time. Professor Eisen recognizes that many of the apparent inconsistencies and idiosynchrasiesof Mozart's notation are perfectly deliberate, and that the attempts in many other editions to impose uniformity upon similar phrases or musical paragraphs can bemisguided. As he writes in the preface, '...the notion that the classical style represents a model of symmetry, balance and clarity is for the most part an 19th-centuryfiction...it has little to do with Mozart's actual practice, which is based primarily onvariety of both content and articulation.' So in this new edition, alternative readingsfound in parallel passages are preserved, rather than being sterilized by a spurious quest for conformity. Naturally all such instances are noted within the Critical Commentary. The highly individual beaming within Mozart's autographs is also respectedin the new edition, as this often contributes to our aural perceptions of phrase structure and accent. Professor Eisenis conscious that there is no single 'Urtext' for this music. On the contrary, hebelieves that 'there is compelling evidence that Mozart's later performances of his works were characterized by changes--sometimes substantial changes--in the musical text.' It is the achievement of thisedition to indicate how far this freedom of musical expression can extend, and as such it is likely to take pride of place in the collections of all those involved in the study and performance of these masterpieces.

Wunderkind Sonatas Volume III for Piano and Violin K. 26-31 Editor: Wolf-Dieter Seiffert Fingering and bowing for Violin: Benjamin Schmid Fingering Piano: Ariane Haering In autumn 1765 Mozart's family was in Holland, not least at the request of Princess Caroline von Nassau-Weilburg. The fame of the prodigy Wolfgang Amadeus had already reached her so that she had an extraordinary desire to see this child (according to Leopold Mozart). The 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 naturally dedicated to the princess. An early copy which has nothing to do with Mozart was consulted by the New Mozart Edition as a primary source alongside the first edition. Our Urtext edition revises the musical text, deleting the misleading additions from this source. Violin Sonata (Wunderkind) E flat major KV 26 Level of difficulty (Violin): medium (Level 4) Violin Sonata (Wunderkind) G major KV 27 Level of difficulty (Violin): easy (Level 3) Violin Sonata (Wunderkind) C major KV 28 Level of difficulty (Violin): easy (Level 3) Violin Sonata (Wunderkind) D major KV 29 Level of difficulty (Violin): easy (Level 3) Violin Sonata (Wunderkind) F major KV 30 Level of difficulty (Violin): easy (Level 3) Violin Sonata (Wunderkind) B flat major KV 31 Level of difficulty (Violin): easy (Level 2)

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

Par BEETHOVEN LUDWIG VAN. Beethoven’s Sonatas for Pianoforte and Violin are now available at a special set price. The set consists of volume I (BA 9014) and volume II (BA 9015). Beethoven’s ten sonatas for piano and violin, along with those by Mozart, constitute the heart of this classical music genre. Following the lead of Mozart’s late sonatas, Beethoven lets the violin part become increasingly independent from the piano part. Not only does Clive Brown’s scholarly critical edition offer a meticulously edited text but for the first time it presents a list of sources and a Critical Report. Furthermore Brown documents a great number of passages where, by today’s standards, the notation raises some questions. These passages had previously been overlooked in the autograph but their significance is now clarified. One example can be found in Beethoven’s “Tempo di Minuetto” from Sonata op. 30 No. 3, where he uses a notational idiosyncracy based on C.P.E. Bach’s “Versuch über die wahre Art das Clavier zu spielen” to denote a rest. This musical symbol, which was included in the first edition published during Beethoven’s lifetime, has not been addressed in any modern edition to date. In addition, a score through a chord can also not be found in previous modern editions - this denotes an arpeggiated chord./ Recueil / Violon et Piano

Par MOZART WOLFGANG AMADEUS. Cette projection édition complète les sonates de Mozart pour clavier et violon a été l'objet de recherches et préparé par Cliff Eisen, un des plus éminents spécialistes Mozart de notre temps. Professeur Eisen reconnaît que les contradictions apparentes et particularités de la notation de Mozart sont parfaitement délibérées, et que les tentatives dans de nombreuses autres éditions d'imposer l'uniformité sur des expressions similaires ou paragraphes musicales peuvent être erronées. Comme il l'écrit dans la préface: ' …la notion que le ' style classique ' représente un modèle de symétrie, équilibre et la clarté est en grande partie une fiction…it du XIXe siècle a peu à voir avec la pratique de Mozart, qui repose principalement sur la variété de contenu et d'articulation '. Donc dans cette nouvelle édition, lectures alternatives dans les passages parallèles sont préservés, plutôt que d'être stérilisés par une quête fallacieuse de conformité. Naturellement, toutes ces instances sont notés dans le commentaire critique. L'accroche hautement individuels au sein de le Mozar... / Urtext / Répertoire / Violon et Piano

Eighteen of Mozart's sublime Sonatas for Violin And Piano are collected here edited and fingered by Henry Schradieck with a Piano reduction by Alexander Rihm. They are delightful graceful and flowing displaying all the traits of Mozart’s character. Some date back to 1778 and include the six Palantine Sonatas. All the Violin parts for every sonata are included in a separate volume packaged together with the Piano score.

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

Par MOZART WOLFGANG AMADEUS. Cette projection édition complète les sonates de Mozart pour clavier et violon a été l'objet de recherches et préparé par Cliff Eisen, un des plus éminents spécialistes Mozart de notre temps. Professeur Eisen reconnaît que les contradictions apparentes et particularités de la notation de Mozart sont parfaitement délibérées, et que les tentatives dans de nombreuses autres éditions d'imposer l'uniformité sur des expressions similaires ou paragraphes musicales peuvent être erronées. Comme il l'écrit dans la préface: ' …la notion que le ' style classique ' représente un modèle de symétrie, équilibre et la clarté est en grande partie une fiction…it du XIXe siècle a peu à voir avec la pratique de Mozart, qui repose principalement sur la variété de contenu et d'articulation '. Donc dans cette nouvelle édition, lectures alternatives dans les passages parallèles sont préservés, plutôt que d'être stérilisés par une quête fallacieuse de conformité. Naturellement, toutes ces instances sont notés dans le commentaire critique. L'accroche hautement individuels au sein de le Mozar... / Urtext / Accessoire / CD