Baroque Sonatas 2

Sonatas Wq 71-74 BWV 1036 Violinsonaten nach den Trios Wq 143-147-Carl Philipp Emanuel Bach's works for Violin and Harpsichord obbligato pervade his entire compositional oeuvre. The earliest works like the Sonata in D minor still numbered BWV 1036 date back to the years of study with his father yet show already a remarkable creative will of his own. The latest work the fantasia 'C. P. E. Bachs Empfindungen' in F flat minor of 1787 is characterized by the composer's highly expressive late style. The new two-volume edition of Wiener Urtext Edition contains C. P. E. Bach's complete works for Harpsichord (Piano) obbligato and Violin. Vol. 1 contains not only the sonatas Wq 71–74 and BWV 1036 but alsothe arrangements of the trios Wq 143–145 for Violin and Harpsichord most of which are included in C. P. E. Bach's autographs as well as a – previously ignored – early version of Wq 71 which like BWV 1036 grants a rare insight into the early works of the composer. Vol. 2 contains the four major sonatas of 1763 which already fascinated Johannes Brahms. Brahms not only played them in concert together with Joseph Hellmesberger but also published two of these sonatas in 1864. This volume concludes with the two late works 'Arioso' and 'Fantasie' of 1781 and 1787 respectively. With these works C. P. E. Bach bridged the gap between the late Baroque sonatas of his father and the early classical 'Klaviersonate mit begleitender Violine' [Piano Sonata with Accompanying Violin].

Carl Philipp Emanuel Bach's works for violin and harpsichord obbligato pervade his entire compositional oeuvre. The earliest works, like the Sonata in D minor still numbered BWV 1036, date back to the years of study with his father, yet show already a remarkable creative will of his own. The latest work, the fantasia 'C. P. E. Bachs Empfindungen' in F flat minor of 1787 is characterized by the composer's highly expressive late style. The new two-volume edition of Wiener Urtext Edition contains C. P. E. Bach's complete works for harpsichord (piano) obbligato and violin. Vol. 1 contains not only the sonatas Wq 71-74 and BWV 1036 but also the arrangements of the trios Wq 143-145 for violin and harpsichord, most of which are included in C. P. E. Bach's autographs, as well as a - previously ignored - early version of Wq 71 which, like BWV 1036, grants a rare insight into the early works of the composer. Vol. 2 contains the four major sonatas of 1763 which already fascinated Johannes Brahms. Brahms not only played them in concert, together with Joseph Hellmesberger, but also published two of these sonatas in 1864. This volume concludes with the two late works 'Arioso' and 'Fantasie' of 1781 and 1787 respectively. With these works, C. P. E. Bach bridged the gap between the late Baroque sonatas of his father and the early classical 'Klaviersonate mit begleitender Violine' [Piano Sonata with Accompanying Violin]. / Violon Et Piano

Incarnant le classicisme viennois tout comme Mozart et Beethoven, le compositeur autrichien Franz Joseph Haydn, a eu une carrière musicale couvrant tout la période baroque en allant jusqu'au début du romantisme. A travers cette partition Complete Piano Sonatas, Volume I écrite et composée pour Piano vous retrouverez tout le talent de ce compositeur. Ce sont les éditions Henle qui ont eu le privilège d'imprimer cette oeuvre. / Piano / Chanson En Séparée

Kirchhoff est né à Mühlbeck (près de Bitterfeld) en 1685 et mort à Halle en 1746. Il était (comme Haendel), l'élève de Zachov et devient, en 1714, successeur de Zachov comme organiste et ' Directeur Musices ' à la Marienkirche à Halle. Ses sonates pour violon, qui ont salué par Leopold Mozart, sont très bien adaptés pour utilisation dans l'enseignement du violon, car ils sont habilement structurés autour des capacités de l'instrument. Particulièrement recommandé pour les amis de la musique de violon baroque. / Violon Et Basse Continue

Par WEISS SILVIUS LEOPOLD. Silvius Leopold Weiss (1687 1750) is known to guitarists as the greatest baroque composer for the lute, yet most are only familiar with the earlier portion of Weiss?s prolific output found in the British Library in London. Inspired by a forty-year friendship with the late Douglas Alton Smith - a major figure in the scholarly study of the history of the lute - guitarist, composer, and head of the guitar program at Temple University in Philadelphia, Allen Krantz explored the Weiss manuscripts found in other European cities, particularly the Dresden editions which contain the fifteen sonatas that Weiss produced from the late 1730s to the end of his life. Transcriptions of three of those fifteen late sonatas are featured in this book in modern standard notation along with the original lute tablature as found in the Sächsische Landesbibliothek - Staats- und Universitätsbibliothek, Dresden. While the baroque lute?s tuning makes some works awkward or impossible on the guitar, the three works presented here?Sonatas No. 35 in D minor, No. 42 in A minor and No. 45 in A Major? are in their original keys which happen to be guitar-friendly. The author?s generous and scholarly ?Preface? provides thorough historical and performance notes for the music in this volume. While just three of Weiss?s 109 multi-movement lute sonatas are represented here, the importance of this publication cannot be overstated. It contains some of the greatest music of a masterful lutenist? Weiss once faced-off with J. S. Bach on keyboards in a counterpoint improvisation contest?now made accessible to the modern classical guitarist. / Date parution : 2022-04-09/ Recueil / Guitare Classique

For Solo Violin-Dr. Lawrence Golan's edition of Bach's masterpieces for solo violin combines the authenticity and accuracy of a Scholarly Urtext Edition with the practicality and helpfulness of a Performing Edition. A facsimile of Bach'sautograph manuscript was used in the preparation of this edition and the composer's intentions have been preserved to the last detail. Of particular note is the fact that all stems have been beamed together as they appear in theautograph manuscript. This is of great importance when making interpretive decisions regarding dotted rhythms. Helpful fingering and bowing suggestions are provided by the editor but are clearly distinguished from Bach's originalnotation allowing the performer the freedom to accept or reject any given suggestion. The volume comes complete with Dr. Golan's essay 'Performing Bach: Dotted Rhythms and Trills in the Sonatas and Partitas for Solo Violin 'which also includes scholarly discussions of vibrato fingerings bowing styles and ritardandos in Baroque music. The inclusion of this comprehensive study of Baroque performance practices makes this edition a must for anyviolinist interested in performing the Bach Sonatas and Partitas in an historically informed manner.

Par BANCALARI ROBERT. The German Baroque period featured three virtuosi—Biber, Westhoff and Johann Jakob Walther. Walther (1650-1717) performed as a violinist in the orchestra of Cosimo III from 1670 to 1674 (Medici dynasty) and served as concertmaster at the court in Dresden. Walther's compositions are contained in two books: Scherzi da Violino solo con il basso continuo (1676) and Hortulus Chelicus (1688). This book presents six sonatas for violin from Hortulus Chelicus transcribed for the mandolin. The collection is a wonderful addition to the classical mandolin repertoire. All the sonatas are written in standard notation and tablature./ Recueil / Mandoline

Sonatas X-XII-This is the full printed sheet music Violin 2 part for Henry Purcell's 12 Sonatas Of Three Parts (Sonatas X-XII). Henry Purcell was a 17th century English Baroque composer considered to be one of the greatest English composers of all time.