SKU: HL.296962
ISBN 9781480328204. UPC: 884088882518. 9.0x12.0x0.448 inches.
Pedagogical in nature, Schirmer Performance Editions offer new research, insightful interpretive suggestions, pertinent fingering, and historical and stylistic commentary. Each volume includes an excellent performance based on the recorded edition. Prepared by experienced artists and master teachers, these publications provide an accurate, well-informed score resource for pianists. This volume presents nine Mozart sonatas, including: Piano Sonata in A minor, K. 310 • Piano Sonata in B-flat Major, K. 281 • Piano Sonata in C Major, K. 279 • Piano Sonata in C Major, K. 309 • Piano Sonata in D Major, K. 284 • Piano Sonata in D Major, K. 311 • Piano Sonata in E-flat Major, K. 282 • Piano Sonata in F Major, K. 280 • Piano Sonata in G Major, K. 283.
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: BR.KM-2277
ISBN 9790004502426. 9 x 12 inches.
It is now regarded as a proven fact that J. S. Bach derived two works from a trio sonata which was most likely in the key of B flat major: the well-known organ Trio Sonata No. 1 in E flat major BWV 525 and the slow middle move-ment of the incomplete Flute Sonata in A major BWV 1032. In his reconstruction, Klaus Hofmann comes as close as possible to the presumably lost original version. While the melody instruments - the range suggests an alto recorder and oboe - were adapted practically without change, the bass part underwent considerable alterations. An organ pedal part simply is not a continuo line. However, Hofmann found a stylistically and idiomatically compelling solution to this dilemma.In his recon-struction, Klaus Hofmann comes as close as possible to the presumably lost original version.
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: BA.SM02886
ISBN 9790202118733. 30.2 x 23 cm inches. Key: B-flat major.
Gerhard Frommel, a composer performed and much admired by Furtwangler, viewed his seven piano sonatas as a microcosmtraversing the various stages of my compositional evolutiorm.
