SKU: HH.HH528-FSP
ISBN 9790708185413.
Among Viennaâ??s many composers and pianists of the time, Anton Eberl (1765â??1807) was the one considered most worthy of comparison with Beethoven. His Sonata in B flat major, Op.10 No.2, is the first known Viennese sonata for keyboard with clarinet, offered as a first-named alternative to violin. The alternatives are included in this edition. It is probably the fourth of his seven sonatas which included the violin and was published with an optional â??basseâ?? â?? doubtless intended to be a part for a cellist â?? which permits performance as a piano trio. The sonata was composed around 1800 and dedicated to Franz Joseph the Prince of Dietrichstein, an official at the court of Emperor of Russia Paul I in St Petersburg. Eberl spent two periods in that city, 1796-9 and 1801-2, as Kapellmeister, performer and teacher. The work was first published by the St Petersburg firm of Gerstenberg & Dittmar. As contemporary reviewers found Beethovenâ??s Sonatas Op.12 with violin â?? works published in 1799 â?? challenging and â??overladen with strange difficultiesâ??, so too were the two sonatas Op.10 thought to be overlong and excessively complex. But in its duration, formal and harmonic novelty, and in the lively relationship between the clarinet or violin and the keyboard, his Op.10 No.2 shares much of the musical ambition and quality of Beethovenâ??s works in this genre.
SKU: SU.46200010
Clarinet, Violin & Piano Duration: 25 ' Composed: 1984 Published by: Verdehr Trio This publication contains two separate worksMedieval Suite composed by James NiblockTrio in B-flat transcribed by James Niblock Medieval Suite uses material from a variety of thirteenth through fifteenth-century sources. The second movement is a fantasy for clarinet solo based on a Gregorian Chant melody from the Liber Usualis. Trio in Bb Major, K358 is a transcription on one of four piano sonatas that Mozart composed for four hands. The objective of this transcription was to capture, as accurately as possible, Mozart’s intent had he scored this sonata of the trio. Michigan State University Press.
SKU: BR.KM-2277
ISBN 9790004502426. 9 x 12 inches.
It is now regarded as a proven fact that J. S. Bach derived two works from a trio sonata which was most likely in the key of B flat major: the well-known organ Trio Sonata No. 1 in E flat major BWV 525 and the slow middle move-ment of the incomplete Flute Sonata in A major BWV 1032. In his reconstruction, Klaus Hofmann comes as close as possible to the presumably lost original version. While the melody instruments - the range suggests an alto recorder and oboe - were adapted practically without change, the bass part underwent considerable alterations. An organ pedal part simply is not a continuo line. However, Hofmann found a stylistically and idiomatically compelling solution to this dilemma.In his recon-struction, Klaus Hofmann comes as close as possible to the presumably lost original version.
SKU: BR.KM-2296
ISBN 9790004502891. 9 x 12 inches.
An original by Bach Sr. and Jr. Klaus Hofmann has retraced the path to the ur-sonata! With convincing arguments, he has shown that two well-known Bach works were originally based on one and the same model that is no longer extant. He believes that both the Trio Sonata in G major BWV 1038 and the Violin Sonata in F major BWV 1022 are concealing an original work for violin, viola and basso continuo a work that can easily be reconstructed by a Bach expert. Hofmann has already given ample proof of his unerring sense of style and authenticity in the two B flat major Trio Sonatas (KM 2277 and M 2287). He diplomatically attributes the authorship of the newly recovered sonata to both Johann Sebastian and his son Carl Philipp Emanuel to equal extents. This should preclude any posthumous family arguments, and lovers of Baroque chamber music will be delighted with this rare example of an original Bach piece for viola!
SKU: J1.4166
8.26 x 11.69 inches.
Trio Sonata F Major, op. 16-3 / Trio Sonata B-flat Major, Op. 16-4.
SKU: IG.PFS201
9 x 12 inches.
My first piano sonata was started when I was in college, but was recently revised. The main key is B-flat Major, with the first theme of the first movement being a fanfare. The second theme is more lyrical in nature, in D-flat Major. After an exposition repeat, the development deals mostly with the fanfare material. The recapitulation is by-the-book, with a sudden, surprising coda. The slow movement, placed second, has the character of a chaconne, using two different major scales in the treble and bass clefs. The tempo quickens to a dance, and an explosive climax. From out of the ashes comes the beginning of the piece, modified from it's original state. The scherzo played rather fast, mostly in octaves. There is a short trio which was influenced by Prokofiev's Fifth symphony. After the dacapo, the movement disappears into thin air. The last movement is a Rondo. The material for the A section is taken from the opening measures of the piece. The B and C sections are developments of the other themes of the first movement. The sonata ends with much finality.
Amon g Vienna’s many composers and pianists of the time, Anton Eberl (1765–1807) was the one considered most worthy of comparison with Beethoven. His Sonata in B flat major, Op.10 No.2, is the first known Viennese sonata for keyboard with clarinet, offered as a first-named alternative to violin. The alternatives are included in this edition. It is probably the fourth of his seven sonatas which included the violin and was published with an optional ‘basse’ – doubtless intended to be a part for a cellist – which permits performance as a piano trio. The sonata was composed around 1800 and dedicated to Franz Joseph the Prince of Dietrichstein, an official at the court of Emperor of Russia Paul I in St Petersburg. Eberl spent two periods in that city, 1796-9 and 1801-2, as Kapellmeister, performer and teacher. The work was first published by the St Petersburg firm of Gerstenberg & Dittmar. As contemporary reviewers found Beethoven’s Sonatas Op.12 with violin – works published in 1799 – challenging and ‘overladen with strange difficulties’, so too were the two sonatas Op.10 thought to be overlong and excessively complex. But in its duration, formal and harmonic novelty, and in the lively relationship between the clarinet or violin and the keyboard, his Op.10 No.2 shares much of the musical ambition and quality of Beethoven’s works in this genre.
SKU: BR.EB-9441
ISBN 9790004189184. 9 x 12 inches.
The two sonatas of Johannes Brahms's op. 120 are widely hailed as crowning points of the repertoire for clarinet and piano. Moreover, in the version for viola and piano arranged by Brahms himself, they rank among the most frequently played viola works of the 19th century. They far surpass in compositional substance the relatively few original sonatas written for these instrumentations during the same period.Of the two fellow works, the Sonata No. 2 in E flat major is the more accessible. Diverging from the classical-romantic tradition, Brahms used the key of E flat major here not to express the heroic or monumental, but to obtain lyrical, chiefly restrained characterizations. The serenade-like beauty of the principal theme, which opens the sonata, has always been particularly admired. In his review of the world premiere, the renowned Viennese music critic Eduard Hanslick, a friend of Brahms's, raves with the words it was as if it had fallen from the Heavens. The closing set of variations also follows with gentle gracefulness this lyrical character. However, the middle movement, with its tempestuous outer sections in E flat minor and the hymnic trio in B major provides a passionate and serious contrast, which allows the flanking idyll to unfold its beauties all the more insistently.
SKU: BR.EB-9440
ISBN 9790004189177. 9 x 12 inches.
