The Easiest Piano Sonatas

Leopold Koželuch (also Koželuh) was among the leading musical figures of 18th-century Vienna well-known in his day as an excellent pianist and piano teacher. Six delightful sonatas have been selected from the complete edition of his piano sonatas published by Bärenreiter â?? namely the easiest as this album is specifically aimed at beginner and moderately advanced pianists. The edition includes Piano Sonatas No. 37 in G major No. 47 in E-flat major No. 7 in D major No. 46 in C major No. 10 in F major and No. 14 in G major inviting pianists to explore the piano music of the Viennese Classic.

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.

The 32 Piano sonatas of Beethoven are his most significant and revealing biography. This book is designed for both teaching and performance and includes a helpful introduction to each piece and a suggested order of study.

Violoncello and Piano-Originally Beethoven wrote Sonata Op. 17 for Horn and Piano. This composition was intended for the famous Horn virtuoso Johann Wenzel Stich who called himself Giovanni Punto. Punto had greatly expanded the playing techniques on the natural Horn. Accordingly Beethoven tailored the solo part completely to the unique playing skills of this virtuoso musician. Punto performed the work several times; to other hornists however it remained unaccessible at that time because of its difficulties. That probably was the reason why this work was published in a version for Horn or Violoncello one year after the world premiere already. It isdeemed to be fairly certain that this arrangement goes back to Beethoven himself. Carl Czerny already ranked this sonata among Beethoven's original Cello sonatas and listed it chronologically as No. 3. Like the 1801 edition of the Viennese publisher Tranquillo Mollo the Wiener Urtext Edition publishes the sonata for Horn or Violoncello and Piano. Whereas the Horn sonata was very difficult to play at the time of creation the arrangement for Violoncello curiously enough is one of the easiest among Beethoven's Cello sonatas. For this reason the composition is increasingly popular among cellists as an accessible approach to Beethoven's oeuvre for violoncello and piano. Consequently the work is now available in the Wiener Urtext Edition series as separate edition as well.