Sonata III C-Dur

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.

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

Leichte Vortragsstucke. To every pupil, the first concert is a special experience. The period of intensive preparation, the mixture of trepidation and joyful anticipation, the concentration during the performance, the applause of the audience and the pride after the successful performance. Such impressions will all stick in the pupil's mind and quite often influence his or her entire future development. The choice of the 'right' performance piece is of vital importance: It should be neither too long nor too short, make a strong impression and give great pleasure in practising. The edition My First Concert includes 25 easy and appealing pieces for descant recorder and piano ranging across five centuries; most of these are original recorder pieces, along with a few arrangements. The collection includes not only Renaissance, Baroque and early Classical works, but more recent compositions too, notably various genres from the field of popular music. Pieces range from little dance movements first published by Attaingnant and Susato, with sonata movements by Telemann and Loeillet through to jazzy tunes. Some of these easy pieces will suit players who have had two years of tuition. Slightly more demanding pieces can then be tackled in later lessons. This book offers a wide selection of repertoire for auditions, concert performances and youth music competitions; it offers an ideal complement to any recorder tutorial method. The accompanying CD will give an impression of how the music can sound, making it easier to start practice. With the separately recorded piano accompaniment, pieces can be played even when no pianist is available./ Recueil / Flûte à Bec et Piano

In 1790, during the lifetime of Mozart and Haydn, Ernst Ludwig Gerber wrote of Ko?eluch in his famous handbook for musicians, 'without opposition, by young and old, (?) generally the best-loved composer alive today?. His works display 'liveliness and grace, the noblest of melodies with the purest of harmonies, and a pleasing organisation of rhythm and modulation.? Until now, pianists have had little chance to acquaint themselves with the complete range of Ko?eluch's sonatas since very few modern editions were available. For the first time, this new complete edition by Christopher Hogwood presents all of Ko?eluch's sonatas for keyboard solo. The four volumes each contain 12 to 13 sonatas, and the works are presented chronologically according to the date of their first publication. Volume IV will contain those sonatas that are found only in hand-written sources.- First complete edition of the sonatas for keyboard by Leopold Ko?eluch- Fills a gap in Czech and Middle-European Classical repertoire- Suitable for amateurs as well as professionals- ideal for teaching purposes- Includes a detailed introduction (Eng/Czech/Ger), critical commentary (Eng) and facsimile pages from the sources / Piano

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

Wolfgang Amadeus Mozart's Sonatas. Volume 2 for Violin with Piano accompaniment.   The contents includes the following:-   Foreword  Notes on Interpretation  Sonata I F-Dur KV 374d (376)  Sonata II C-Dur KV 296  Sonata III F-Dur KV 374e (377)  Sonata IV B-Dur KV 317d (378)  Sonata V G-Dur KV 373a (379)  Sonata VI Es-Dur KV 374f (380)  Critical Comments

Piano Sonata C major K. 309 (284b) Editor: Ernst Herttrich Fingering: Hans-Martin Theopold I wish to do it to reflect the character of Mad:selle Rose, Mozart replied when asked how he intended to set out the Andante of his Sonata in C major. In autumn 1777 he had got to know Rosina Cannabich in Mannheim and during her lessons immediately introduced her to the Sonata K. 309 that he had composed for her. Indeed, in December 1777 according to her teacher she was already able to perform it excellently. So that a great many other pupils might follow in her footsteps, we are now publishing this small gem that shows Mozart‘s great skill in composing for the piano as a single edition with a new preface by the editor; it was previously only available in the complete volumes (HN 1 and 3). FIRST MOVEMENT The first movement of the C major Sonata K 309 is a model teaching sonata form structure. With sonata forms, as with Bach fugues, no formal dogmas underlie the process of composition, but each sonata varies anew a basic principle. For Mozart, this entailed strict adherence to certain fundamental patterns without his creative freedom. In his sonata movements in major keys, for example he favoured a distinct second subject in the dominant as most contemporary composers did. Haydn, on the other hand, reveled in experiment at this point. A brief analysis may help to demonstrate Mozart's standard sonata allegro form and the first movement of it is an ideal example for such an investigation. The first subject is a distinctive, marcato opening followed by a five-bar response. The falling fourth and rising sixth of the opening is one of Mozart's favourite motifs, his common melodic device. He often uses it in the minor as well as the major, and many of his themes start with this motif (e.g. the second movement of the A major Sonata K 331, the Adagio in B minor K 540, and subjects in the Symphonies K 114, 124, 319/II and 551/II). The seven measures of the main theme are repeated, slightly varied. Measures 15 to 21 conclude the first subject group with an answering phrase (3+3 bars). The transition consists of new material and then, in measure 35 (after two measures of preparation comes a second cantabile theme, in the dominant (G major) comprising 2x4 bars, which is also repeated and proceeds to a spirited closing theme (concluding group) using passage-work (m. 43) and incorporating a delightful diminuation of measures 35 36 in measure 45. The exposition ends with a codetta of five bars. The development presents the opening motif first in g minor, and then the various ideas of the first subject are worked out. With this procedure Mozart is keeping much more closely to textbook principles than he usually does. Two further statements of the opening motif lead back to the recapitulation in measure 94. The second subject, now in the tonic, has surprisingly changed place with its accompaniment. The opening is recalled again in an effectively assertive coda. SECOND MOVEMENT The second movement of this sonata is an introspective Andante un poco adagio. In a letter Mozart stated his desire to make this Andante match the character of the young pianist Rosa Cannabich for whom he wrote it: ...she is a sweet, pretty girl, just like the andante. For her age she is sensible and level-headed; she is serious, and doesn't talk too much, though what she says is pleasing and sympathetic. THIRD MOVEMENT An elegant and smoothly flowing Rondo of unusually large proportions concludes this Sonata. Paul and Eva Badura-Skoda

The piano sonatas are regarded as the central works of Alexander Skrjabin?s compositional output. No other composer after Beethoven reshaped this genre so radically, thereby reinvigorating the tradition of the sonata. Skrjabin?s desire not simply to continue the existing tradition, but to surpass it, is evident as early as his first sonatas. These are exciting works from the pianist?s perspective and in their abundance of expression and wealth of imagination. Up to the third sonata Skrjabin developed a distinctive feeling for structural coherence and cyclical unity which at the same time revealed poetic qualities.

This volume contains the earlier works; sonatas officially published during the composer?s lifetime as No. 1 op. 6, No. 2 (Sonate-Fantaisie) op. 19 and No. 3 op. 23 as well as the sonatas written during his youth, in G-sharp minor (1886) and E-flat minor (1887-89). The edition also includes the virtually unknown fragment of a sonata in C-sharp minor (1887) and the reconstructed parts of a sonata in G-sharp minor (1892) never previously published.

The editor Christoph Flamm draws on autograph manuscripts, first printed editions and on Russian editions of the 1920s. For the first time the recordings of Sonatas nos. 2 and 3 which Skrjabin made in 1908 on paper rolls for the Hupfeld company, Leipzig are also taken into account. / [L'intégrale des Sonates pour Piano, Volume I] / Classique / Partition /

Comme le principal représentant de la musique tchèque à Vienne du 18e siècle, LeopoldKozeluch (17471818) a été observée principalement comme compositeur, pianiste et professeur de clavier. Ses 50 sonates pour clavier couvrent toute sa carrière et marquent non seulement la transition de la manière clavecin et clavicorde au style fortepiano entièrement idiomatique, mais aussi le développement de la 'sonate classique' qui a duré plusieurs décennies (17731809).Jusqu'à présent, les pianistes ont eu peu de chance de se familiariser avec la gamme complète des sonates de Kozeluch depuis quelques existait dans les éditions modernes. Pour la première fois cette nouvelle édition complète par Christopher Hogwood présente toutes les sonates pour clavier solo. Il y aura quatre volumes au total et les oeuvres seront présentées par ordre chronologique. Volume IV contient également ces sonates qui ne se trouvent que dans les sources manuscrites. La première édition complète de toutes les sonates pour clavier par le compositeur tchèque Leopold Kozeluch Comble une lacune dans le répertoire du répertoire classique tchèque et de l'Europe centrale Convient pour les amateurs et les professionnels idéal pour des fins d'enseignement Comprend une introduction détaillée (Eng / CZ / Ger), commentaire critique (Eng)et facsimilés / Clavier