Sonatas(3)

Piano / Organ optional. Par SPEER DANIEL. / Niveau : Difficile / Répertoire / 3 Trombones ou Piano ou Orgue Ad Libitum

Die sechs Sonaten für drei Flöten von Boismortier haben durch ihre seltene Klangform viel Reiz. Alle Sätze sind - in ihrer einfachen Art - mit Phantasie und Klangsinn gesetzt. Boismortier verstand es, die elegante Haltung seiner Musik mit den vielfältigen / 3 Flûtes Traversières (Violons Et Hautbois) Ou Instruments Divers

Par BEETHOVEN LUDWIG VAN. The newly revised edition of Ludwig van Beethoven's piano sonatas in the Wiener Urtext Edition is the only one of the more recent Urtext editions on a broad source basis. It includes not only autographs, verified copies and first editions, but also 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 transcriptions are preserved. The edition contains a critical report in German and English, in which the complex source problems of these sonatas are explained in a comprehensible way and the editorial decisions are comprehensibly justified. This makes the band an indispensable tool in the study of these outstanding works of piano literature./ Répertoire / Piano

Bach: Complete Organ Works Vol. 5 Sonatas / Trios / Concertos - ed. by Pieter Dirksen Organ Works Based on Compositions by Bach and Others Genres such as sonata, trio and concerto were initially uncommon in the keyboard music of the early 18th century. Thus it comes as no surprise that many of the pieces in this volume are arrangements by Bach of original compositions and of works by other composers. Next to the Sonatas BWV 525?530 and the Concertos or concerto movements based on pieces by other composers BWV 592?596, the volume also contains the Trio in D minor BWV 583, the Trio settings BWV 585?587 as well as the early versions of BWV 527 and 528. Moreover, the CD-ROM offers eight arrangements of trio movements by Bach made by others. In his detailed introduction, Pieter Dirksen discusses various aspects of these pieces' origins, inasmuch as they help us better understand the works. The organist will especially welcome the comments on performance practice and registration. It is precisely the fact that these works derive from chamber-music models that leads to individual considerations for each work group.

Edition de Reinhard Goebel Nearly all of the music from the seventeenth-century court at Dresden was unfortunately lost when Frederick II of Prussia bombarded the city in 1756. Fragments of the repertoire, however, have been preserved in the libraries of the courts of Protestant northern Europe, which were connected to Dresden by friendship or familial ties. Some of these works are presented here as they have been performed and recorded by the ensemble Musica Antiqua Koln, directed by Reinhard Goebel. The editions include both scores and parts. Dresden Sonatas 3 presents two works for three violins, two violas, and basso continuo by Johann Wilhelm Furchheim (ca. 1635–82), as well as the Rondeau in C Major by Johann Joseph Fux (1660–1741), which features violino piccolo and bassoon, with an accompanying ensemble of violin, two violas, and basso continuo.

When Christa Landon presented the first printed version of her edition of Joseph Haydn's Piano sonatas Haydn's sonata oeuvre was still overshadowed by the works of Mozart and Beethoven. Since then Haydn's sonatas have progressed from the teaching rooms to the concert halls and Landon's edition has played a crucial role in that process. The Haydn anniversary in 2009 is a welcome occasion to thoroughly revise this 'legendary' edition for over the course of more than forty years new sources have come to light and questions of authenticity have been resolved not least because the editorial principles for 18th-centurymusic have changed considerably. The new edition comprises all works of the previous Wiener Urtext edition plus the sonata Hob. XVI:16 edited by Landon along with the Sonata in F major which was rediscovered in Bozen a few years ago and attributed to Joseph Haydn. The new edition is published in four volumes the content of each volume being compatible with the volumes of the previous edition. Volumes 1 and 2 contain the early sonatas. In the Notes on Interpretation Robert D. Levin explains important aspects of Haydn's performance practice.

Beethoven Complete Piano Sonatas Volume I. Edited by Harold Craxton. Annotated by Donald Francis Tovey.

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

A flat maj Wq. 49/2 B min Wq. 55/3 F maj Wq. 55/5 F min Wq. 57/6 C min Wq. 60-Five of Carl Philipp Emanuel Bach's best sonatas in one terrific volume edited and annotated by Howard Ferguson. Published within the â??Signature Series' a series of authoritative performing editions of standard keyboard works prepared from original sources by leading scholars including informative introductions and performance notes. These authoritative and satisfying volumes are all set for solo Keyboard instrument and are suitable for Piano Harpsichord or Keyboard solo.

Although unjustly neglected in the past today Clementi's piano sonatas are widely admired and recorded. This volume contains 10 of his finest works in the genre. For this edition they have been reprinted from an authoritative edition originally published by C.F.Peters Leipzig.

No. 1-4. Par ULLMANN VIKTOR. Ullman‘s seven Piano Sonatas were written between 1936 and 1944. Though rediscovered as recently as 1990, they are now available in a number of recordings. Neo-classical in approach, the piano writing and the use of polytonality places them closer to Skriabin and Prokofiev than to the works of Ullman‘s teachers Arnold Schoenberg and Alois Hába – this applies also to the Piano Concerto, written during the same period. The numerous quotes from Mozart, Wagner, Mahler, and Dukas to folksongs and tunes from operettas are particulary interesting in this context./ Répertoire / Piano

[Klaviersonaten - Band 3 : Frühe und unvollendete Sonaten] / Classique / Editeur : Paul Badura-Skoda / Doigtés : Paul Badur / Partition / Broché / Edition Urtext / Edition révisée

[Klaviersonaten - Band 3 : Frühe und unvollendete Sonaten] / Classique / Editeur : Paul Badura-Skoda / Doigtés : Paul Badur / Partition / Relié toilé / Edition Urtext / Edition révisée