Sonata For Piano #1. Op. 6

'Mozart is sunshine ' remarked Anton n Dvorák and most listeners would agree. This new compilation unites six of Mozart's most familiar inventive and melodious sonatas all displaying the balance of design lyricism and drama for which the composer is well known. Contents include: Sonata No. 8 in A minor (K310); Sonata No. 10 in C major (K330); Sonata No. 11 in A major (K331); Sonata No. 12 in F major (K332); Sonata No. 14 in C minor (K457); Sonata No. 16 in C major (K545). Authoritative editions.Dover Original.

Developing Artist Original Keyboard Classics-A comprehensive and carefully graded introduction to authentic Keyboard Sonatinas selected from the established Piano repertoire and arranged to be suitable for the early-advanced student.Alongside melodies by composers as celebrated as Beethoven Mozart and Haydn this anthology of performance pieces includes a guide to help you understand Sonata and Sonatina form itself. You'll also find carefully devised warm-up exercises to help stretch and prepare the hands before tackling these musical challenges.With ten substantial pieces on offer this collection is an ideal source to expand your performance repertoire as well as an ideal opportunity to gain valuableearly experience of the rigours of classical piano playing.

A broad selection of piano works by Aaron Copland conveniently published in a single volume. Contents: The Cat and the Mouse ? Down a Country Lane ? Four Piano Blues ? In Evening Air ? Midsummer Nocturne? Night Thoughts ? Passacaglia ? Petit Portrait ? Piano Sonata ? Piano Variations ? Three Moods ? Midday Thoughts ? Proclamation for Piano.

including the unfinished works-The third volume in the series of Franz Schubertâ??s Complete Piano Sonatas has been carefully edited annotated and fingered for the ABRSM by Howard Ferguson. Published within the â??Signatureâ?? Series a series of authoritative performing editions of standard keyboard works prepared from original sources by leading scholars including informative introductions performance notes and detailed editorial markings. Volume Three includes the final four of his twelve fantastic Sonatas as well as several unfinished pieces. All composed between 1815 and 1828 these range from popular favourites to mere fragments only a few bars long. Even in the earliest of thesesonatas Schubert demonstrates his compositional poeticism sensitivity and skill in the romantic idiom. For a broad scope of emotion and feeling they are second only to Beethovenâ??s sonatas.

Johannes Brahms:The Works for one Instrument and PianoJohannes Brahms' compositions for one instrument and piano have been standards in chamber music literature ever since their inception. These works were written with specific performers in mind and Brahms worked closely with them when refining the final texts. Nevertheless, we rarely approach the music taking into consideration the possibilities of the instruments for which Brahms wrote or the performing practices of the individual players who first performed these compositions, including Brahms himself.The New Urtext EditionsBärenreiter's pioneering new scholarly-critical editions of Brahms' works for one instrument and piano are edited by a team of musicologists who are also performers. They offer today's musicians not just a reliable musical text based on all known sources, but also a comprehensive approach to the works, which aims to place them in their historical context and to elucidate the complex of meanings that the composer wished his notation to convey to performers.In addition to the musical text these editions offer an informative Introduction laying out the genesis, publication history and reception of the works. At the same time there is a complete list of the sources, an explanation of the editorial procedures and a Critical Commentary. Also, each volume contains a detailed discussion of specific performing practice issues raised by individual works.An integral part of Bärenreiter's Brahms publication complex is a text booklet which approaches general performance practice issues of the 19th century with regard to e.g. tempo, rubato, rhythmic flexibility and articulation. Furthermore musicians will find valuable information concerning vibrato, portamento and bowing. Last but not least characteristics of Brahms' own piano playing as well as that of his circle and contemporaries are discussed.The violin and viola sonata editions come not only with an Urtext part freed from all editorial emendations, but also with an additional part including fingering and bowing based on the practices of Joseph Joachim and his colleagues. These markings especially draw on publications of the sonatas edited by Joachim's pupils Leopold Auer and Ossip Schnirlin as well as those by Brahms' associate Franz Kneisel. A similar approach has been used for the violoncello sonatas, drawing on performance markings by Robert Hausmann (for whom Brahms wrote the Sonata in F major), Hugo Becker, with whom Brahms performed it, and Julius Klengel who was also close to his circle.Bärenreiter's new Brahms complex also importantly brings two neglected works back into the player's hands, namely the splendid versions of the op. 120 sonatas, originally written for viola or clarinet and piano. Brahms' arrangements for violin and piano unaccountably disappeared from the standard repertoire early in the 20th century. In these versions Brahms did not simply adjust the solo part for the violin, he made many alterations to the piano part, casting thought-provoking light on the clarinet and viola versions.- A pioneering set of Urtext editions- String editions include an Urtext solo part and a second part with fingering as well as performance markings- Each edition offers a preface on performance practice aspects pertaining to the respective works- A separate text booklet includes pioneering texts on general issues of performance practice in the 19th century as well as on specific issues with regard to Johannes Brahms' chamber music / Violon Et Piano

The Works for one Instrument and PianoJohannes Brahms' compositions for one instrument and piano have been standards in chamber music literature ever since their inception. These works were written with specific performers in mind and Brahms worked closely with them when refining the final texts. Nevertheless, we rarely approach the music taking into consideration the possibilities of the instruments for which Brahms wrote or the performing practices of the individual players who first performed these compositions, including Brahms himself.The New Urtext EditionsBärenreiter's pioneering new scholarly-critical editions of Brahms' works for one instrument and piano are edited by a team of musicologists who are also performers. They offer today's musicians not just a reliable musical text based on all known sources, but also a comprehensive approach to the works, which aims to place them in their historical context and to elucidate the complex of meanings that the composer wished his notation to convey to performers.In addition to the musical text these editions offer an informative Introduction laying out the genesis, publication history and reception of the works. At the same time there is a complete list of the sources, an explanation of the editorial procedures and a Critical Commentary. Also, each volume contains a detailed discussion of specific performing practice issues raised by individual works.An integral part of Bärenreiter's Brahms publication complex is a text booklet which approaches general performance practice issues of the 19th century with regard to e.g. tempo, rubato, rhythmic flexibility and articulation. Furthermore musicians will find valuable information concerning vibrato, portamento and bowing. Last but not least characteristics of Brahms' own piano playing as well as that of his circle and contemporaries are discussed.The violin and viola sonata editions come not only with an Urtext part freed from all editorial emendations, but also with an additional part including fingering and bowing based on the practices of Joseph Joachim and his colleagues. These markings especially draw on publications of the sonatas edited by Joachim's pupils Leopold Auer and Ossip Schnirlin as well as those by Brahms' associate Franz Kneisel. A similar approach has been used for the violoncello sonatas, drawing on performance markings by Robert Hausmann (for whom Brahms wrote the Sonata in F major), Hugo Becker, with whom Brahms performed it, and Julius Klengel who was also close to his circle.Bärenreiter's new Brahms complex also importantly brings two neglected works back into the player's hands, namely the splendid versions of the op. 120 sonatas, originally written for viola or clarinet and piano. Brahms' arrangements for violin and piano unaccountably disappeared from the standard repertoire early in the 20th century. In these versions Brahms did not simply adjust the solo part for the violin, he made many alterations to the piano part, casting thought-provoking light on the clarinet and viola versions.- A pioneering set of Urtext editions- String editions include an Urtext solo part and a second part with fingering as well as performance markings- Each edition offers a preface on performance practice aspects pertaining to the respective works- A separate text booklet includes pioneering texts on general issues of performance practice in the 19th century as well as on specific issues with regard to Johannes Brahms' chamber music / Violon Et Piano

Sergei Prokofiev's nine piano sonatas span the years 1907 to 1953. This collection, edited by Thomas Schumacher, addresses the first four of these masterworks: Op. 1 (in F minor), Op. 14 (in D minor), Op. 28 (in A minor), and Op. 29 (in C minor). In prefatory matter, Schumacher discusses Prokofiev's compositional style and the form of each sonata, in addition to analyzing the various themes and compositional nuances of each work. Helpful fingering and pedaling suggestions are also offered in this comprehensive, clearly engraved edition. Thomas Schumacher, professor emeritus of piano at the Eastman School of Music, has toured and lectured throughout the United States, Canada, Italy, Sweden, Belgium, China, Taiwan, and Japan. He studied at the Manhattan School of Music and the Juilliard School. / Piano

Considéré par beaucoup comme le dernier représentant du classicisme viennois, Ludwig Van Beethoven, mort à 57 ans est un génie qui a composé quantité d'oeuvres dont Piano Sonatas, Volume I pour Piano. Ce sont les éditions Henle qui ont éditées cette oeuvre de Ludwig Van Beethoven. Il ne vous reste plus qu'à la jouer. / Piano / Chanson En Séparée